The shepherds look up in bewilderment at the announcing angel whose golden halo, rose-pink robes, and orangey-bronze wings seem to glow. Surely, this is what a supernatural visitation should look like. And yet the effect of nocturnal shadow shows the painter to be as interested in earthly experiences as heavenly ones – here already is the keenly observational eye of the Renaissance.
Art & Design
Art Review: Cities of Splendor: A Journey Through Renaissance Italy, Denver Art Museum
by Holly Hunt
May 16th, 2011
Art Review: Collecting Matisse and Modern Masters: The Cone Sisters of Baltimore
by Ed Voves
May 12th, 2011
While Robinson’s depiction of a pensive young woman in a sylvan setting hardly seems revolutionary today, his painting marked a significant moment of transition in the American art scene. During the 1890′s, wealthy Americans like Henry Frick were buying Rembrandts by the cart-load.
Badlands Revisited
by Holly Hunt
May 11th, 2011
Badlands was filmed on location in southern Colorado, and recently I finally made it to Pueblo, Colorado’s Rosemount House Museum, aka the interior of the “rich man’s house.” Fans of Malick’s offbeat, lyrical American aesthetic should find plenty to like there.
Denver’s Camera Obscura Gallery Closes
by Holly Hunt
May 9th, 2011
In dramatic contrast to the wide-open, sleekly minimalist aesthetic of most modern art galleries, Camera Obscura’s displays rambled through a series of rooms whose uniform coat of white paint barely obscured their past as a Victorian home. It was in this casual, intimate, even cluttered environment that I encountered many of the luminaries of modern photography, such as Edward Weston, Eliot Porter, Imogen Cunningham…
Art Review: Health for Sale, Philadelphia Museum of Art
by Ed Voves
April 15th, 2011
Designed for short-term use to promote public health or sell the latest “miracle” drug, medical posters have often been ignored. Traditionally, these posters have ranked well below the “stars” of Ars Medica collections, such as books of hand-tinted herbal remedies or anatomical drawings from the 16th century. But each of the prints in Health for Sale tells an amazing story, often confounding the expectations of the viewer.
Art Review: Paris Through the Window: Marc Chagall and His Circle, Philadelphia Museum of Art
by Ed Voves
March 30th, 2011
Chagall was a major exception to the ready embrace of western modes of art and thought by artists from Eastern Europe. However much he might borrow a stylistic element from Cubism or Orphism, Chagall maintained a spiritual element in his art that was in keeping with his Jewish and Russian heritage.
The Denver Art Museum’s New Galleries of American Indian Art
by Holly Hunt
March 23rd, 2011
Navajo “eyedazzler” rugs of the nineteenth century, in which brilliantly colored wools form intricate diamonds, are grouped together to emphasize the subtle formal variations introduced by individual weavers; the vivid reds, yellows, and greens which made the designs possible were the product of new chemical dyes.
A New Take on “Primitivism”? Man Ray, African Art, and The Modernist Lens
by Holly Hunt
March 21st, 2011
There are other questions to ask as well. Can this be anything other than two white men reducing the artifacts of a nonwhite culture to the status of props in their cerebral games? In my years as a graduate student, the academic word on artistic primitivism seemed unambiguous. It was straight-up cultural imperialism…
Art Review: Blink! Light, Sound, and the Moving Image at the Denver Art Museum
by Holly Hunt
March 16th, 2011
A work such as Nam June Paik’s Electronic Fish of 1986, constructed from a 1948 wooden Philco television console converted into an aquarium, fitted with a soundtrack recorded on audiocassette playing on a vintage 1980s car stereo, and tuned to an analog TV signal, poses conservational challenges as daunting as any presented by a crumbling quattrocento fresco.
Art Review: Gauguin: Maker of Myth, National Gallery of Art, Washington, D.C.
by Ed Voves
March 2nd, 2011
“You know that I have Indian blood, Inca blood in me, and it’s reflected in everything I do,” he wrote in 1889 to Theo van Gogh, brother to Vincent. “It’s the basis of my personality; I try to confront rotten civilization with something more natural, based on primitivism…”
New Insights Into the Life of Caravaggio
by Judith Harris
February 14th, 2011
In his most serious brawl, about which the documents provide an entirely new account, Caravaggio killed a man. The brawl, like a Los Angeles fight between rival gangs, had been planned ahead of time with eight participants, whose names are now known.
Badlands and Lost Edens: The Photography of Robert Adams
by Holly Hunt
January 26th, 2011
Adams recorded the ever-expanding suburban sprawl of the 1960s and 1970s, and his haunting, classically composed photos of tract houses and shopping centers engulfing what had been farmland helped define what was dubbed the New Topographics movement after the landmark 1975 exhibition.
The Civil War Begins: An Exhibition at the Rosenbach Museum and Library, Philadelphia
by Ed Voves
January 26th, 2011
These are not merely newspapers, letters, transcripts of speeches and official reports from the 1850′s through the first major battles of the war in 1861. To a very significant degree, the words inscribed on these timeworn documents actually influenced the outbreak of the Civil War.
Farewell to the Future: Iconic “Sleeper” House is Foreclosed On
by Holly Hunt
December 13th, 2010
By 1973, the “technological faith, confidence, and competence” Hines sees embodied in the modernism of the early sixties had already taken a battering. Deaton’s Sculptured House stood empty, its interior still unfinished, when the makers of Sleeper came looking for locations.
Art Review: John Baldessari: Pure Beauty at the Metropolitan Museum of Art
by Frances DeVuono
December 2nd, 2010
There is a big fuss about Pure Beauty, John Baldessari’s retrospective at the Metropolitan Museum of Art in New York. And there should be. While his work has been shown here and internationally since the 1980s, this exhibition comprises the first major survey of Baldessari’s work in the United States in over twenty years. It was about time.

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