#vanitas

#vanitas

When I finished art school, I thought I was going to do monumental sculpture, big works, and I did for a while. But what I started loving the most-actually always loved the most-was the start, where you figure out what you want to say.

Yale came to me and said there isn't an overarching book about the history of printmaking; they wanted it to be about the printed image. There are a lot of books about printing-about the history of journalism or the history of books, the printing press and the printed word-but not so much about the printed image and its processes. So that was my challenge.

While being treated for a serious mental breakdown in 1940, Carrington passed her days by filling sketchbooks with art that reimagined the hospital as an 'underworld' inhabited by strange, hybrid beasts.

Van Dyck's stay in Italy was pivotal to the development of his artistic language, above all because it accelerated his emancipation from the model of his master Rubens.

So long as I manage to avoid lightbulbs or stay out of wine glasses, the buzzing will inevitably give way to silence. My wings will abruptly stop flapping and I'll careen towards the ground like an asteroid. I'll become a speck on a rug, a bit of debris absent-mindedly vacuumed up by someone who has no idea what adventures I've been on in the past minute.

One day during his first term, Donald Trump summoned a top aide to discuss a new idea. Trump called me down to the Oval Office,' John Bolton, national security adviser in 2018, told the Guardian. He said a prominent businessman had just suggested the US buy Greenland ' The US president's friend Ronald Lauder, heir to the Estee Lauder cosmetics fortune, is now making deals in the island. Guardian investigations correspondent Tom Burgis explored the reasons behind Trump and Lauder's fixation with Greenland. Read more

This exquisite painting displays how Drost, like his teacher, could capture a sitter's distinct individuality with inner life and contemplative potency. [The painting] shows Drost's own unique sensibility, evident in his carefully modulated brushwork and striking use of color.

Fontana is a rare example of a woman Old Master, one of only a few who managed to attain career success on her own and was the first woman elected to the Academy of Saint Luke in Rome. This painting is one of the most ambitious from her early career. Reflecting visual references to Michelangelo-a departure from her usual reference to Correggio and Raphael-the vibrant hues and dramatic composition reflect prevailing Florentine trends of the late 16th century.

Advanced imaging and material analysis have led experts to reattribute a long-overlooked biblical scene to Rembrandt van Rijn, identifying the 1633 painting as a lost masterpiece after more than six decades of doubt. Titled Vision of Zacharias in the Temple, the work was last studied in 1960, when scholars ruled out the possibility that it could be by the Dutch master.

Marciari brought me to a very different place: the luxurious, languid heat of late-summer Rome, in one of the final years of the 16th century. There, an ordinary boy has been made to hold a heavy basket of fruit for far longer than he'd like in a hot, airless studio, and a young, unknown painter is on the precipice of greatness.

Euan Uglow, they say, is an artist's artist, and therein lies the problem. If you were approaching his painstaking canvases out of curiosity how to construct the figure, capture precise perspective, proportions I can see how their visible workings (complex little dashes and crosses and plumb lines and geometric grids) would prove revelatory. But lots of us come to art to be inspired, transported, to feel. And for all their technical prowess, Uglow's 70-odd regimented paintings at MK Gallery leave me cold.

German artist Henrike Naumann, known for her installations of furniture and household objects addressing the turmoil of German reunification and showing how aesthetic choices affect political ideology, died in Berlin on February 14. She was forty-one. Her husband, Clemens Villinger, wrote in a statement that her death arrived "after a cancer diagnosis that came far too late." Naumann had been set to represent Germany at the Sixty-First Venice Biennale, opening this spring alongside Vietnamese German artist Sung Tieu.