For classical pianist and activist Lara Downes, Romare Bearden’s collage is a puzzle full of questions and unfinished business. In response, she brings together different musical sources, overlaying sounds to create both harmony and tension.
Nelson is professor emeritus at the University of California, Los Angeles, where
How Grant Wood, Georgia O’Keeffe, and Thomas Hart Benton depicted the humble structures—and how they mask the struggles of farmers today.
Joshua Mabie is a co-owner of Pied Beauty Farm and associate professor of English
Latin America, with its rich histories and cultures — as well as dense jungles, towering volcanoes, and mountain ranges — fascinated American artists in the mid-19th century. Frederic Edwin Church traveled in the tropics and used the sketches he made in different locations to create popular landscape paintings.
College in Beirut (present-day American University of Beirut), where he was the first professor
In her figurative and floral canvases, the Chicago-based painter explores her intersections.
Pindell has been an abstract and conceptual artist, filmmaker, and professor for
Asian Americans are often left out of view of US history. But their lives—and their art—are an essential part of the nation’s story.
She was still an architecture student at Yale University—and she beat her own professor
between Emily Shapiro, Corcoran assistant curator of American art, and Betsy Fahlman, professor
this opinion in the catalog because he “was a guest of the National Gallery (Kress Professor
Irene di Spilimbergo was about 20 years old when this painting was begun. Along with a pendant portrait of her older sister, Emilia, the two paintings were probably initially commissioned in anticipation of the prospective marriages of the two sitters.
Associated Names d’Attimis, Conte Maniago, Niccolò Volpi, Elia, Professor Duveen
A deeper look at how photography became a tool for the Civil Rights leader.
Marcia Chatelain Marcia Chatelain is professor of history and African American studies
A pair of portraits of Emilia di Spilimbergo and her younger sister Irene was begun in about 1558, most likely in anticipation of their prospective marriages. The initial reason may have been to present two highly eligible, aristocratic young women to potential husbands, or the portraits may have been intended as permanent mementos for the sisters’ family after they were married.
Volpi, Elia, Professor Widener, Peter Arrell Brown Widener, Joseph E.
