In Giverny, a small village located about 75km west of Paris, Claude Monet owned the “Pressoir” house as well as the gardens that surrounded it. He also rented a piece of land with a small body of water between the Chemin du Roy and the Epte river where he cultivated a few aquatic plants [Fig. […]
Claude Monet: The Water Lily Pond Read More »
It is unlikely to find in Pierre-Auguste Renoir’s oeuvre a work that resembles this still life and it is almost impossible to determine its subject: is it a vase? A lamp? A piece of fruit? A reproduction of this symmetrical composition that recalls Antique Roman frescos was included in Marc Edler and Albert André’s L’Atelier
A Peculiar Still Life Read More »
Roberta Bernstein on “Jasper Johns: Redo an Eye” at the Philadelphia Museum of Art
February 19, 2019
Acclaimed author Roberta Bernstein discussed her definitive monograph on Jasper Johns, as well as her experiences working with him on the catalogue raisonné of painting and sculpture.
Roberta Bernstein on “Jasper Johns: Redo an Eye” at the Philadelphia Museum of Art Read More »
Authenticity Litigation: Challenges, Pitfalls, and New Alternatives
February 7, 2019
The Wildenstein Plattner Institute hosted an introductory panel on the Court of Arbitration for Art. The evening’s event featured presentations on the legal considerations of fine art authentication and the options available for those involved in this practice.
Authenticity Litigation: Challenges, Pitfalls, and New Alternatives Read More »
The WPI is pleased to announce the launch of the Tom Wesselmann Catalogue Raisonné. Working in close collaboration with the Estate of the artist, the WPI will author a dynamic online publication that will link to digitized material from the artist’s archives. In addition to the wealth of archival documentation at the Wesselmann studio, the
The Tom Wesselmann Catalogue Raisonné and Digital Corpus Read More »
Roberta Bernstein, Jasper Johns’s Painting and Drawing: A Dialogue
January 23, 2019
Roberta Bernstein examined selected works from The Condition of Being Here: Drawings by Jasper Johns at the Menil Drawing Institute and discussed how they engage with related paintings. Bernstein also illustrated how Johns’s art blurs the boundaries between painting and drawing and presents factors important to decisions about where certain works reside vis-à-vis recently published Jasper Johns catalogue raisonné.
