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Conversations around American Gothic at Cincinnati Art Museum
Finally figuring out 'American Gothic'
Daughters of Revolution and American Gothic inhabit each other. For a few short months, starting in Cincinnati this month, they'll form an informal diptych, telling an integrated story of small-minded American values.
The Met II in World War II
Philly secretly comes to the rescue
For two years during World War II, from 1942 to 1944, the Metropolitan Museum of Art went to war — in Philadelphia.
Musée de l'Orangerie and the Barnes Foundation
A tale of two museums
There are a variety of similarities, and differences, between Paul Guillaume and Albert Barnes, and between the museums housing their respective collections.
Munich's Haus der Kunst and Hitler's art legacy
What is 'degenerate art'?
The original home of Nazi-approved art, Munich's Haus der Kunst, is now showing works that would make Hitler and Goering ill — and the "degenerate art" they eschewed is now on view in New York City.
Renzo Piano Pavilion at Kimbell Art Museum
What if they built an art museum and forgot the art?
These days, the buildings in which art museums are housed seem to get more attention than the art within.
Amsterdam: The city as museum
Rembrandt would recognize this place (and so would John Adams)
Yes, Amsterdam remains a Mecca for aging hippies, hash parlors and whores. But hold the snarky jokes. The city is an architectural wonderland of the 17th and 18th Centuries, full of dozens of remarkable museums.
Diego Rivera's ghost in Detroit
Where art and ideology meet: Can a dead Communist artist save Detroit?
The city of Detroit may be broke, but the Detroit Institute of Arts owns $2 billion worth of art works. Its most valued pieces, by the Communist Diego Rivera, portray heroic workers triumphing over stoic managers. In the best capitalist tradition, Rivera’s frescoes are now being held hostage by a pair of union-busting Republican politicians.
Dissecting West's "Death of General Wolfe'
The power of a painting: How Benjamin West became Canada's hero
Benjamin West's Death of General Wolfe was once a hallowed symbol of British imperialism. Now it's been hijacked by Canadians, whose supply of national icons is otherwise limited.
Pittsburgh's culture quest
Pittsburgh's culture quandary, or: Where have you gone, Andy Warhol?
The Mellons and the steel mills are gone, but Pittsburgh today boasts first-class museums, music, theaters and universities. The trouble is, they're all in the wrong part of town.
Discovered: La Salle's unsung art museum
The best art museum you never heard of
An obscure museum in a North Philadelphia basement houses world-class treasures by masters like Tintoretto, Edouard Vuillard, Rembrandt Peale, Georges Rouault and Joseph Epstein. Most remarkable of all, admission is free.
Matisse and Barnes: A tale of two museums
When Henri met Albert: A tale of two museums
Henri Matisse was one of the three great revolutionary artists (with Picaso and Duchamp) of the early 20th Century; Albert Barnes was a brilliant collector of revolutionary art. They made a great team until Barnes's insufferable personality drove Matisse away, with consequences that still reverberate today.
"Picasso and the Paris Avant-Garde' at the Art Museum (3rd review)
In the Art Museum's attic with Pablo
Curator Michael Taylor has unveiled, for the first time in recent memory, the astonishing range, depth, and quality of the Art Museum's Picasso holdings. But his show falls a few bricks short of an Anne d'Harnoncourt blockbuster.
Antiquity, looters and the Penn Museum
Who owns antiquity? James Cuno enters the Penn snake pit
Who are the best stewards of ancient artifacts— enlightened Western curators whose museums stole the loot long ago, or dictators of Third World lands where the treasures were originally found? James Cuno of the Chicago Art Institute (who believes the former) confronts the Penn Museum (which favors the latter).
"American Stories' at the Met in New York
New York's debt to Philadelphia
“American Stories,” currently at the Met in New York, reveals an indebtedness to Philadelphia's artistic patrimony. Almost the whole show could have been assembled from Philadelphia holdings or works by Philadelphia artists. So why is the Art Museum so modest about its contributions?