Story Archive

Story Archive

  • Recent Acquisition John Peto’s Office Board for Christian Faser

    Recent Acquisition John Peto’s Office Board for Christian Faser

    Office Board for Christian Faser is a superlative early example of John Peto’s so-called rack paintings—images inspired by boards with ribbons tacked into a square to hold notes, letters, and ephemera, represented by the artist in minutely detailed compositions that...
  • John Wilmerding, Eminent Historian and Collector of American Art

    John Wilmerding, Eminent Historian and Collector of American Art

    When John Wilmerding came to Princeton in the fall of 1988 as the inaugural Christopher Binyon Sarofim ’86 Professor in American Art, he broke new ground. John stood at the forefront of a small group of art historians, most of...
  • George Inness’s Moonrise

    George Inness’s Moonrise

    Moonrise is a seminal expression of George Inness’s mature style, the culmination of a gradual evolution that began with the artist’s move away from the classically descriptive compositions with which he began his career, exemplified by Pastoral Scene of 1857,...
  • Mary Cassatt’s Little Girl in a Large Red Hat

    Mary Cassatt’s Little Girl in a Large Red Hat

    Mary Cassatt is triply distinguished as among the greatest American artists, the greatest artists of the nineteenth century, and one of the finest female painters of the Western tradition. Little Girl in a Large Red Hat , completed at the...
  • Picture Ecology: Art and Ecocriticism in Planetary Perspective

    Picture Ecology: Art and Ecocriticism in Planetary Perspective

    We recently spoke with Karl Kusserow, co-curator of the Museumʼs groundbreaking 2018 exhibition Nature’s Nation: American Art and Environment and editor of the forthcoming book Picture Ecology: Art and Ecocriticism in Planetary Perspective . The publication features essays by scholars...
  • Thomas Eakins’s The Right Reverend James F. Loughlin

    Thomas Eakins’s The Right Reverend James F. Loughlin

    For the final twenty-five years of his life, Thomas Eakins devoted himself largely to portraiture, the genre most befitting his intense interest in the human condition.