Written by Jacqueline Hampshire Edited by Émilie Perring In 2011, Lubaina Himid began a presentation at The Monument and the… Read more Doing Differently Now: Lubaina Himid and the Future of Britain’s Memorial Landscape
Written by Sophie PanzerEdited by Lucia Bell-Epstein Dutch genre paintings from the seventeenth century often portray women confined to the domestic… Read more Public Displays of Mastery: Judith Leyster and Dutch Women Artists of the Seventeenth Century
Written by Luke Sarabia Edited by Josephine Spalla Robert Mapplethorpe is often listed among the most ground-breaking, if not at… Read more A Christian Iconography of Robert Mapplethorpe’s Sadomasochistic Photography
Written by Riley McKeown Edited by Lucia Bell-Epstein Humans respond physiologically to significant emotional events; for example, we may sweat… Read more Victim or Monster? Unreliable Narrator as Manipulator of Viewers’ Judgments on Legal Punishment
Written by Lily-Cannelle Mathieu Edited by Gabby Marcuzzi Herie David Ruben Piqtoukun, an Inuvialuit artist born in Paluatuk, a small… Read more The Multiple Dimensions of David Ruben Piqtoukun’s Our Spirits: They Soar High
Written by Laurence Charlebois Edited by Mallory Rappaport The city of Montreal has become renowned over the years for its… Read more Public Art and the Global in Montreal: A Case Study of Jaume Plensa’s Source
Written by Huong Vu, Edited by Miray Eroglu.
Titian was one of the most important painters and renowned portraitists of the Renaissance, the age of cultural and artistic ‘rebirth’ in Europe. Titian’s two paintings: Portrait of a Man in a Red Cap (1516) and Portrait of Pietro Aretino (1537) are displayed on each side of Giovanni Bellini’s The Ecstasy of St. Francis (1475–1480) at The Frick Collection in New York City. This arrangement that juxtaposes youth and maturity demonstrates Titian’s stylistic development throughout his long reign over the Venetian school of painting in the sixteenth century.
Written by Thomas Macdonald, Edited by Émilie Perring.
Active between 1906 and 1961, Vanessa Bell was a prolific painter, interior designer, and one of the most consequential members of the Bloomsbury Group of artists, which included her sister Virginia Woolf, her husband Clive Bell, Duncan Grant, Roger Fry, and Dora Carrington. Despite her influence, critical attention to her work has long been inadequate and negatively gendered.
Written by Emma Carr, Edited by Tara Flanagan.
Vanessa Bell’s oil portraits of women in domestic spaces were seldom recognized as innovative during the second half of the twentieth century. Art critics trivialized her work and dismissed it as milquetoast rather than progressive.
Written by Erika Kindsfather, Edited by Aimée Tian and Miray Eroglu.
In the tradition of Western art history, craft as a genre of creation has been marginalized and excluded from the canon, undermined for its association with the feminine, domestic sphere. Recent scholarship attempts to rehabilitate craft from the periphery of the canon to a place of critical engagement.