A self-portrait of English artist Jonathan Richardson recently entered the Museum's collections.

It is commonly understood that when you compare very alike things, you notice their differences. When comparing unlike things, it can take a little longer to notice their similarities—but eventually I became aware that, notwithstanding the radicalism of Cézanne’s approach,...

In their quest to create a new art suited to new times, many late nineteenth- and early twentieth-century artists rejected the official hierarchies of the French Academy, which privileged epic narratives of history, mythology, and religion, choosing instead to paint...

The Art Museum has received on long-term loan from a private collection two rare and intriguing works of art from the Early Modern period. The painting from Central Europe and bust from Italy enhance the Museum’s display and represent aspects...

This exhibition of thirty-eight paintings from the Phillips Collection in Washington, DC, founded by the collector Duncan Phillips and his wife, the painter Marjorie Acker Phillips, offers a survey of the modernist still life, with works by European and American...

A magnificent sixteenth-century painting by the Italian master Perino del Vaga— The Adoration of the Shepherds— recently entered the Museum’s collections as a gift from George R. Goldner, Graduate School Class of 1972. One of the few works by this...

Currently on view in Pastures Green and Dark Satanic Mills: The British Passion for Landscape are scenes of the agricultural, pastoral, and wild regions of the British Isles together with views of the industrial and mining operations that launched the...

The Museum recently added to its collections of British art a captivating portrait of the mixed-race model Fanny Eaton that captures a quintessential feature of Pre-Raphaelitism: iconic representations of female beauty.

Taking inspiration from Blake’s poem for its title, the exhibition Pastures Green and Dark Satanic Mills: The British Passion for Landscape examines the tensions between nature and culture, country and city, that would play a decisive role in British art...

According to the French Impressionist painter Pierre-Auguste Renoir, during Paul Cézanne’s later years it was not uncommon to discover watercolors he had discarded in the fields near Aix-en-Provence—scattered testimonials to the fine disregard the artist apparently displayed toward these sheets...