The National Portrait Gallery’s acquisition of Van Dyck’s last self-portrait (1640-1) after a big campaign is a perfect moment to consider the Flemish artist’s huge contribution to the genre and to the cult of the artist. Read on for a discussion by James Hall, author of the bestselling Spring book The Self-Portrait.
The Getty Search Gateway allows users to search across several of the Getty repositories, including collections databases, library catalogs, collection inventories, and archival finding aids.
This tool is designed to help researchers, scholars, and educators discover the variety of resources available across the Getty's collections, which include collections in each the four programs: the J. Paul Getty Museum, the Getty Conservation Institute, the Getty Foundation, and the Getty Research Institute. Users can use the tool to browse our collections broadly, by type of resource (i.e., paintings, books, archives), or to search directly for assets related to very specific subjects—historical periods, artists, object types, etc.
While users can search some of these collections individually using online search engines associated with the specific repository, Getty Search Gateway brings records from several of these databases together under one umbrella. Most of these repositories are not searchable through the Getty website's search tool, and some are only searchable here through Getty Search Gateway.
Balboa Park Commons: Collections Sets includes images from Mingei International Museum, Museum of Photographic Arts, San Diego Air and Space Museum, The San Diego Museum of Art, San Diego Museum of Man, San Diego Natural History Museum, and Timken Museum of Art
As part of an effort to shape the future of scholarly publishing, the Getty Foundation in 2009 invited the Art Institute of Chicago and eight other museums to participate in a venture called the Online Scholarly Catalogue Initiative.
I put together my first selection of Forty Galleries You Should Know if You Love Paint in 2012. As with everything in life, a lot has changed in the art world over the past two years. Some of my favorite galleries have … Continue reading →
Joe Krakora’s 2001Vermeer: Master of Light, a rich look at the paintings of the well-known visual chronicler of seventeenth-century middle-class Dutch life, whose use of color could reach pretty formidable heights of scintillation itself.
The Rauschenberg Research Project provides free worldwide access to a wealth of scholarly research and documentation relating to artworks by Robert Rauschenberg in SFMOMA's permanent collection. The museum's holdings span the artist's career from 1949 to 1998 and include Combines, sculptures, paintings, photographs, and prints and other works on paper. A rich range of materials surrounds the featured works, including newly commissioned essays, numerous images, interview footage, artist's statements, conservation reports, and archival materials, which together provide new insights into the artist's work.
How did Pablo Picasso do it? Art historians have spent much time and many words answering that question, but in the video above, you can watch the painter in the act of creation — or, rather, you can watch a series of his paintings as they come into being, evolving from spare but evocative collections of marker strokes into complete images, alive with color. We see Picasso’s visual ideas emerge, and then we see him refine and revise them, sometimes toward a surprising result. All of this happens in under two minutes, since filmmaker Henri-Georges Clouzot shot the artist working with time-lapse photography, compressing each creative process into mere seconds.
The unusual and fantastical silhouettes in Anne Harris’ oil paintings stem from a personal place. In “Phantasmatical: Self-Portraits” at New York's Alexandre Gallery, Harris depicts the emotional and physical facets of women at middle age in a series of new paintings. Both liberating and vulnerable, these nude portraits appear to emerge from thin air and teeter in a state of obscurity and visibility, emphasizing the notion of a maturing woman “being exposed but not looked at.” Harris shared with BLOUIN ARTINFO her personal experiences that led to the visceral self-portraits.
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