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  Alice Ruggles Sohier, Musing, 1914. Oil on canvas. Private collection. Frederick A. Bosley, Indian Pond and Mt. Cube, New Hampshire. Oil on canvas. Private collection. At the  Discover Portsmouth Welcome Center   (Portsmouth Historical Society ) in New Hampshire this summer is a special exhibition on two underappreciated American Impressionists. “Twilight of American Impressionism: Alice Ruggles Sohier and Frederick A. Bosley” (through Sept. 12, 2021) showcases the largely unsung talents of Alice Ruggles Sohier and Frederick A. Bosley, two American impressionists working at a time when realistic art was falling out of fashion and abstract art was in vogue.  Alice Ruggles Sohier (1880–1969) and Frederick Andrew Bosley (1881–1942) were students of Edmund Tarbell, trained at the School of the Museum of Fine Arts, Boston. Related by marriage (Frederick was Alice’s brother-in-law), each artist became a master of the so-called Boston School, creating landscapes, interiors, sti

A visual feast of flowers, abstractions, cityscapes and landscapes from American modernism’s most iconic painter, a new book on Georgia O’Keeffe (1887–1986) corresponds with the traveling retrospective now on view at Spain's Museo Nacional Thyssen-Bornemisza.  Georgia O'Keeffe, Amapolas orientales, 1927. (Oriental Poppies) Óleo sobre lienzo / Oil on canvas. 76,7 x 102,1 cm. Collection of the Frederick R. Weisman Art Museum at the University of Minnesota, Mineápolis. Adquisición del museo / Collection of the Frederick R. Weisman Art Museum at the University of Minnesota, Minneapolis. Museum Purchase, 1937.1 © Georgia O’Keeffe Museum Georgia O'Keeffe Serie I. N º 3 , 1918 / Series I — No. 3 Óleo sobre tabla / Oil on board . 50,8 × 40,64 cm Milwaukee Art Museum, Milwaukee. Donación de la Jane Bradley Pettit Foundation y The Georgia O'Keeffe Foundation / Milwaukee Art Museum, Milwaukee. Gift of Jane Bradley Pettit Foundation and the Georgia O'Keeffe Foundation © M

  I quite like GB News. Once they've sorted out the sound. And the vision. It isn't really "News" though, is it?

What an idiot I am; and an absolute fool for wasting all those precious hours-I’ll-never-get-back trying to be forensic and scrupulous and providing evidence in links that no one can ever be bothered to click on.   Why on earth did I mistake diligence for persuasiveness? I was mad, probably visualising justice , like in the good old black and white days when truth prevailed, and all 12 angry men came round in the end against all the odds even though they were impatient, tired, and dying to get home to snap at the wife and kids. I’m prone to over-thinking and quite slow on the uptake but thankfully I’ve seen the light praise be!   I now realise that no one cares about facts. Sorry, “facts”. I accidentally watched part of a special parliamentary inquiry into MartinBashirGate on T V.   The one where a select committee of MPs sit in a socially distanced horseshoe in order to humiliate certain hand-picked individuals and make them squirm. It reminded me of a cross between a seve

Early reports of Tala Hawala ’s  departure from the BBC didn’t say she was sacked ( this headline   seems to have been added as an afterthought) but we can assume that she has been. Or perhaps she fell on her sword; who knows. Don’t let’s compare historic Tweets.   I didn’t bother to find out what Ollie Robinson’s offensive Tweets actually were. For all I know, he too Tweeted “Hitler was right”, perish the thought,  and even if he did, it probably wouldn't have affected his cricketing expertise, whereas Ms. Hawala’s Hitler Tweets directly compromised her ability to report on Palestine/Israel affairs with due impartiality in accord with her employers' charter obligations.   I don’t think Naz Shah needs to be impartial - in fact, the opposite - her role is to represent her constituency. The media has shown little interest in the disingenuousness that has dogged her political career, but I guess that’s up to them.   I watched her speaking in an HoC select committee debat

  Baltimore Museum of Art   July 18–December 19, 2021   Edvard Munch. Vampire. 1895. The Baltimore Museum of Art: Board of Trustees Fund. BMA 1954.1 © Edvard Munch / Artists Rights Society (ARS), NY / ADAGP, Paris Scipio Moorhead . Phillis Wheatley, Negro servant to Mr. John Wheatley, of Boston. 18th century. Rare Book and Special Collections Division, Library of Congress, Washington, D.C. Eugène Samuel Grasset . Jeanne d'Arc / Sarah Bernhardt (Joan of Arc / Sarah Bernhardt) . 1890. The Baltimore Museum of Art: Gift of Henry E. Treide. BMA 1956.85.18 Edward Steichen. Anna May Wong, New York. 1930, printed 1940s. The Baltimore Museum of Art: Purchase with exchange funds from the Edward Joseph Gallagher III Memorial Collection; and partial gift of George H. Dalsheimer, Baltimore . BMA 1988.557. © The Estate of Edward Steichen/Artists Rights Society (ARS), New York From the heroines of ancient myth to the female trailblazers of the modern era, centuries of independen

  The  Philadelphia Museum of Art  has announced that it will display in its American galleries  The Arch of Nero , a masterpiece by the great 19th-century American landscape painter Thomas Cole (1801–1848), as a long-term loan from the Thomas H. and Diane DeMell Jacobsen PhD Foundation. Purchased by the Foundation at Sotheby’s American art auction in New York on May 19, 2021, this painting was one of a number of works of art  sold by the Newark Museum of Art  in Newark, New Jersey, to raise funds for the direct care of its collection.  The Arch of Nero  was widely considered to be the most important of the works sold by the museum. The Jacobsen Foundation, an organization dedicated to sharing its collection of American art with museums across the country, purchased  The Arch of Nero  intending to keep this important painting in the public domain. It will be placed on view in Gallery 208 of the Philadelphia Museum of Art beginning July 2, 2021. Cole painted  The Arch of Nero  at the

  With ‘Maritime Masterpieces’ the Maritime Museum Rotterdam is opening the coda to the Boijmans Next Door series, bringing together more than 70 treasures from the two collections. Celebrated works by Bosch, Monet and other masters, dating from the 16th to the 21st century, join forces to tell this tale of marine life and art.  The post-lockdown reopening of museums on 5 June means that the public can at last visit the brand-new ‘Maritime Masterpieces’ exhibition in the Maritime Museum Rotterdam. From art-historical and marine perspectives, the exhibition tells the tale of shipping and ports over the last six centuries, as well as people’s lived experiences in these settings. ‘Maritime Masterpieces’ brings together more than 70 works, masterpieces from the collections of Museum Boijmans Van Beuningen and the Maritime Museum. Older works by Hieronymus Bosch, Hendrik Avercamp, Jozef Israëls, Claude Monet and Paul Signac meet modern works by Dolf Henkes, Guido van de Werve and

The Dalí Museum  Jan. 29-May 22, 2022     Some of Pablo Picasso's most creative and prolific artistic periods took place during extended sojourns  in the mountain towns of northern Spain and along the Mediterranean coast of France. An ambitious exhibition considers  the artist’s deep and abiding connection to this cross-cultural region, where he made many of his most important contributions to modern art.  Picasso and the Allure of the South  presents 77 paintings, drawings and collages – approximately half of which have never been seen in the U.S. – from the Musée national Picasso-Paris, which holds the most significant collection of the artist’s work. Encompassing an exceptional selection of portraits, still lifes, figural studies and landscapes that reflect Picasso’s career-long rapport with the cultures of his homeland and southern France, the exhibition offers a new point of entry to the study of Picasso’s celebrated work. The exhibition will be on view at The Dalí Museum,