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200 years after the end of her painting career, it’s high time Louise Élisabeth Vigée Le Brun (1755 1842), better known as Vigée Le Brun, had a major retrospective. An opportunity to see a sizeable amount of her work unlikely to be repeated anytime soon, it also helped save her from the almost certain obscurity that few female artists of her time escaped.
After Joseph Beuys died in January 1986, my then-partner and now-husband, John Hudak, and I organized a mail art show in Philadelphia to honor his passing. It seemed the appropriate thing to do.
And yes, we see Thérèses underpants. The showstopper, Thérèse Dreaming (1938), gets deserved pride of place in this exhibition of paintings made by Balthus between 1937 and 1959.
In ancient civilizations, miniature structures of everyday life or the imagined afterlife were often placed alongside the deceased in tombs and burial sites. We are familiar with the funeral boats of ancient Egypt and the terracotta soldiers of ancient China; far less well known are the architectural models found in ancient Mesoamerican and Andean tombs.
The sculptures from which this extraordinary exhibition of selected new and older works by Giuseppe Penone takes its nameIndistinti confini, (Indistinct Boundaries)look like ordinary tree trunks mounted on finished marble bases and covered with a thick coat of flat white paint, save for certain areas where the bark is peeled away, or where branches are cross-sectioned at their origin.
Maria Morganti is one of those rare artists fortunate enough to have developed a seemingly inexhaustible idiom that is wholly her ownmore meaningful than a gimmick, yet simple enough to sustain infinite variation.
One hundred years ago saw the beginning of World War I and the end of the elaborately codified tradition of wearing mourning. As the phrase indicates, the word mourning had by that time become synonymous with the apparel worn, mainly by women, during the formal mourning period, transforming the internal process of grieving the dead into a codified expression and performance of this process.
This exhibition of Paul Cézannes images of his most frequently portrayed model, his wife, Hortense Fiquet (1850 1922), includes 24 of the 29 known paintings of her, three watercolors, fourteen drawings, and three sketchbooks.