An aerial view of the Great Pyramid of Giza (bottom), built by the pharaoh Khufu, showing its proximity to the Grand Egyptian Museum site (top). Credit: Amir Makar/AFP Via Getty
Egypt is building a $1-billion mega-museum. Will it bring Egyptology home?
Fra Angelico, The bust of a cleric, c. 1447-50 (Photo: Royal Collection Enterprises Limited 2024 | Royal Collection Trust)
Why bother looking at drawings when paintings are so much bigger, more colourful, and, well, finished? If you’re on the side of the sceptics, a new exhibition at the King’s Gallery is your tonic, guaranteed to persuade you that drawings are so much more than workings-out that have escaped the wastepaper basket. With around 160 works on paper by more than 80 artists, including Leonardo da Vinci, Michelangelo, Raphael and the Carracci brothers, as well as less familiar names, this exhibition of works from the Royal Collection is the most expansive survey of Renaissance drawings to have been mounted in the UK.
Drawing the Italian Renaissance review: This will delight Da Vinci and Michelangelo fans
Rosario de Velasco
Edited by Jennifer A. Thompson and Laurel Garber. 304 pp. incl. 240 col. ills. (Philadelphia Museum of Art, 2024), £45. ISBN 978–0–87633–304–4.
For art historians interested in understanding the contributions of women artists to twentieth-century art, this is a most welcome publication. It accompanies a travelling exhibition dedicated to the work of the Spanish artist Rosario de Velasco (1904–91), which opened at the Museo Nacional Thyssen-Bornemisza, Madrid.[1] Curated by Toya Viudes de Velasco, the artist’s great-niece, and Miguel Lusarreta, it follows the museum’s retrospective of the realist painter Isabel Quintanilla (1938–2017) and is part of wider efforts in museology to recover forgotten women artists.[2] Sometimes such ‘rescue’ missions tend towards overblown and superficial narratives of female artistheroes. Fortunately this is not the case with Rosario de Velasco.
Museum shows can be death for street art. Osgemeos look alive and well.
Sebastian Smee | Yahoo | 1st November 2024
Apart from rare examples like Keith Haring, graffiti artists just don’t get art world attention. Brazilian duo Osgemeos seem another exception to this rule. Their art comes out of 1980’s hip hop and comprises intricate drawings, paintings and sculptures. So, what allows them to straddle the street art / fine art divide? Their art is original but also “twee and repetitive”, prone to nostalgia for 1980’s-style graffiti. This writer found Osgemeos’ appeal came from elsewhere: “discernment is not the point: exuberance is.
posted by f.sheikh