Browse Recent Exhibition Reviews

Until several years ago, Richard Spear’s 1971 exhibition catalogue, Caravaggio and His Followers (Cleveland: Cleveland Museum of Art), defined the scope and limits of Caravaggio’s influence on painters in Rome and beyond. But since 2010, more recent exhibitions commemorating the four hundredth anniversary of Caravaggio’s death have offered the opportunity both to evaluate new discoveries in the individual careers of Caravaggesque painters and to discuss anew the large and disparate group of followers. Burst of Light: Caravaggio and His Legacy is the fourth and last of a linked series of exhibitions dedicated to Caravaggio and Caravaggism, an initiative of FRAME… Full Review

Shipwrecks have long attracted salvagers, archaeologists, and historians, offering precious but fragmentary evidence of broader cultural, political, and economic networks. The Westmoreland or Westmorland (so spelled in deference to early Spanish orthography and established scholarship), a British merchant ship that sailed from Livorno for England during the War of American Independence in 1778, was not sunk but captured by French frigates and escorted to Málaga, where her passengers were taken prisoner and her cargo—including books, prints, drawings, pictures, sculptures, music, fans, lava samples, and Parmesan cheeses consigned by British travelers—was confiscated as spoils of war. The story would have ended… Full Review

A major exhibition of Édouard Manet’s portraits was already a gleam in Lawrence Nichols’s eye from the time in 1992 when he joined the Toledo Museum of Art (TMA). What sparked the idea was the handsome portrait of Manet’s close friend, Antonin Proust (1880), donated to the museum in 1925, having passed through just one French collection after that of the sitter. The TMA’s portrait project was developed into a collaboration with the Royal Academy in London, where the active participation of MaryAnne Stevens gave it the particular character revealed in the catalogue and essentially in the larger, London version… Full Review

Jagged peaks surrounded by swirling mists, pavilions perched precariously on cliffs, wise old men walking along winding, narrow paths: such motifs may conjure the stereotypical image of a traditional Chinese painting for many contemporary viewers. Indeed, many of the fifty-odd works displayed in The Artful Recluse: Painting, Poetry, and Politics in 17th-Century China fit this bill. Yet the curators of this exhibition—Peter Sturman, Professor of Art History at the University of California, Santa Barbara; and Susan Tai, Elizabeth Atkins Curator of Asian Art at the Santa Barbara Museum of Art—successfully narrate the politics and human emotions invested in such landscapes… Full Review

The first painting viewers see upon entering the Los Angeles County Museum’s (LACMA) elegantly mounted exhibition, Bodies and Shadows: Caravaggio and His Legacy, is an anomaly in the Baroque master’s oeuvre. One of the very few portraits that is now securely attributed to Caravaggio (after years of debate), it depicts Cardinal Maffeo Barberini who eventually became Pope Urban VIII. The youngish cardinal is shown seated against a typically Caravaggesque shallow and dark background, wearing delicately sketched, diaphanous sleeves and bisected by a sinuous, horizontal streak of red satin along the inside of his sober but sumptuous robes. Along with… Full Review

Walking through the Ken Price retrospective at the Nasher Sculpture Center in Dallas, a line from Clement Greenberg’s 1955 essay “‘American-Type’ Painting” ran persistently through my head. Discussing Hans Hofmann, the painter perhaps most responsible for the critic’s analytic apparatus, Greenberg writes: “The difficult in art usually announces itself with less sprightliness” (Clement Greenberg, “‘American-Type’ Painting,” in The Collected Essays and Criticism, Volume 3: Affirmations and Refusals, 1950–1956, ed., John O’Brian, Chicago: University of Chicago Press, 1993, 223). “Sprightly” certainly describes the ceramic sculptures that crowd the Nasher’s upper and lower galleries. Smallish (except for two late bronzes), with… Full Review

When, in The London Quarterly Review of April 1857, Lady Elizabeth Eastlake wrote that photography’s “business is to give evidence of facts, as minutely and as impartially as, to our shame, only an unreasoning machine can give” (466), she voiced a widely held desire that photography would do two things: first, tell the truth; and second, liberate painting. Eastlake imagined photography’s contribution to art in terms of class, noting that, where once painting had dutifully devoted itself to verisimilitude, photography’s arrival had freed it from that responsibility. “The field of delineation,” she wrote, “having two distinct spheres, requires two distinct… Full Review

Hung Liu’s Offerings at the Mills College Art Museum and Summoning Ghosts at the Oakland Museum of California (OMCA) offer complementary but distinct selections of works, thus avoiding the potential redundancy of two closely timed exhibitions in Oakland, California. The more intimate exhibition Offerings showcases her explorations in installations that employ recurrent metaphors for journey. Contrastingly, Liu’s retrospective Summoning Ghosts nicely chronicles her evolving imagery and processes for more than twenty-five years. While Liu clearly possesses an affinity and dexterity with paint, more surprisingly, the exhibitions highlight her explorations in mixed media, shape, and installation. Additionally, the exhibitions’ complicated mix… Full Review

In January 2006, the Portland Museum of Art acquired Winslow Homer’s studio from the painter’s great-grandnephew. The studio sits above the water on Prouts Neck, a peninsula ten miles south of Portland that separates the northern edge of Saco Bay from Homer’s muse—the rocky, wave-beaten, and occasionally deadly coast of the Atlantic Ocean. During the past six years, with the assistance of architectural historians, engineers, and designers, the museum restored the studio to pristine condition. To celebrate the achievement, this past fall and winter the museum exhibited Weatherbeaten: Winslow Homer and Maine. Weatherbeaten features paintings, watercolors, prints, and… Full Review

To any student of art history for whom the painter Federico Barocci (ca. 1533–1612) had been relatively unknown—one of a shrinking demographic, perhaps, given the scholarly attention to post-Tridentine Italy and to Barocci specifically over the past twenty years—the Saint Louis Art Museum’s exhibition devoted to his artistic activity provided a thorough and visually splendid introduction. The exhibited works spanned almost his entire career, ranging from a compositional drawing (Staatsgalerie Stuttgart/Graphische Sammlung) for Barocci’s earliest extant painting, Saint Cecilia with Saints Mary Magdalen, John the Evangelist, Paul, and Catherine (ca. 1556) in the cathedral of Urbino, to late-career paintings of… Full Review