Meintest du essen?
Pictures have always been required to live unobtrusively among furnishings of a period not their own, and frames have always been the vehicle enabling them to do so.
and efficiency in structural and ornamental organization, determined above all else
Renowned pipa player Wu Man returns to The Met to perform Lou Harrison’s Pipa Concerto with The Knights.
traditional solo repertoire, but I was always interested in playing with someone else
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
Selected publications “Something Else Press as Publisher.� Master’s thesis
Dive into the magic of iron, bronze, lead, and copper.
of that, it’s a raw material that’s often out of reach to the average person, or else
Threads of identity.
, and you sense the pride in putting all of yourself into making a quilt no one else
Occasionally, the close scrutiny of early Netherlandish paintings yields quite another finding—that portraits of figures, and sometimes figures in their entirety, were reworked or initially painted by a different hand.
How else may we explain the addition of the arched latticework and grape arbor to
This composition, in which half-length figures of the three magi are viewed behind a fictive arcade, offering their gifts to the Christ Child—an event celebrated in the Church as the Feast of Epiphany (January 6)—conforms to the rising popularity in the Netherlands for close-up devotional paintings that put the viewer in a direct relationship with the event depicted
Netherlands, probably in Antwerp, at the end of the fifteenth century, but little else
The most musical tree in the world.
guitarists, the sound of guitars made with wood from The Tree is truly unlike anything else
The innovative designer speaks about how fashion can address social issues, from gender-based violence to government corruption.
Huber: You’ve described fashion as an intelligent medium, above all else.
Turner made three trips to Venice, in the late summers of 1819, 1833, and 1840, and the present painting, exhibited at the Royal Academy in 1835, must have been painted upon his return from his second visit, presumably using his own drawings and watercolors as source materials
Wedderburn 1903–12, vol. 13, 1904], calls it "a challenge to Canaletto, being nothing else
