We’ve all seen it a hundred times, identified with it and even messaged using an emoticon version of Edvard Munch’s skull-like face, clutched by hands raised in horror in a distorted, nightmarish world.
drawing
Maria C. McCarthy commends Alex Josephy’s illustrated selection of poems about Tuscany
As a half French, half American individual, I give in to a pastime common to double nationals, which consists of regularly comparing both countries of origin.
Sometimes free exhibitions are as interesting as ones you pay for. This is the case of three free exhibitions displayed in three different rooms at the Ashmolean museum in Oxford.
An enthralling survey of ancient myths is the central idea of Ovid’s exhibition at Scuderie del Quirinale in Rome.
Andrea Mantegna was a self-made man from Padua. In 1453, he married into the greatest artistic family of nearby Venice and became the brother-in-law of Giovanni Bellini.
The beautiful park and the edifices of Villa Torlonia in via Nomentana in Rome is an unmissable place in the tour of the capital.
This is a remarkable exhibition: Jennie Jewitt-Harris’s intricate collages, built in many cases on a foundation of pencil and charcoal drawings of driftwood, are a delight to the eye.
It is surprising that Rodin never visited Greece and that his addiction to Greek architecture was partly satisfied by what he saw in the British Museum. Here Rodin rediscovered classical art and was provoked to make new works seeded by these antiquity.
One of the joys of the MASP in the Paulista Avenue, Sao Paulo’s equivalent of the Champs Elysees, is that when you pay for entry (every day except Tuesday) nearly everyone else is too busy making or spending money to block your view of old and new masters.
Auguste Rodin (1840-1917) was the consummate commercial artist. He devised a formula for making lots of money out of his work long before Andy Warhol proclaimed “Being good in business is the most fascinating kind of art”.
The ideal venue of the Municipal Gallery of Modern Art in via Francesco Crispi in Rome displays a vast range of pictures and sculptures from the Capitoline collections retracing the interpretation and development of the female form and her artistic personality from the end of the nineteenth century until today.
By Carla Scarano • art, drawing, exhibitions, painting, sculpture, year 2019 • Tags: art, Carla Scarano, drawing, exhibitions, painting, sculpture