Cubism tricks the eye at metmuseum, MuseumModernArt spotlights a famous fur teacup, New York City inspires Edward Hopper at whitneymuseum, and more.
might be an intimate nude or a galactic abstraction, in color or black-and-white, extra-large or the size of a postcard, displayed framed or just taped to the wall. This fluid approach has made the fifty-three-year-old queer German photographer one of the most influential figures of his generation.In 1974, Linda Goode Bryant opened a gallery in Manhattan called Just Above Midtown .
Imagine a dynastic drama that opens with Henry VII seizing the English throne and ends with the death of his granddaughter, Queen Elizabeth I. No, it’s not Netflix’s prequel to “The Crown”—it’s the Met’s exhibitiona gathering of magnificent paintings, sculptures, textiles, manuscripts, armor, and more from that turbulent period in British history, when the court flexed its power through its patronage of Europe’s finest artists and artisans.
Edward Hopper, the bard of American solitude, lived for more than half a century on Washington Square, in lower Manhattan. The Whitney—whose collection of the painter’s output includes hundreds of his letters, notebooks, and personal photographs—considers the role of the city as muse inIn the late nineteen-forties, while the construction of the Guggenheim Museum was being planned, the painter—a Brooklyn native, born in 1927—was sketching straphangers on the subway.
The tradition of painters tricking the eye with still-lifes of startling realism dates back to the ancient Greeks. But, because the Cubists essentially dismantled realism in the twentieth century, it’s unlikely that you have ever looked at a piece by Georges Braque, Juan Gris, or Pablo Picasso in light of Pliny the Elder, who wrote about real birds pecking at painted grapes.
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