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Posts by Art & Antiques Magazine

Shape-Shifter

By Art & Antiques Magazine | April 13, 2014
Sigmar Polke, Untitled (Rorschach), c. 1999, colored ink in bound notebook, 192 pages;

Sigmar Polke, one of postwar Germany’s most important artists, had a penchant for mystery.

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The Gorgeous Sublime

By Art & Antiques Magazine | March 28, 2014
Paul Jenkins, Phenomena Shooting the Sun, 1978, acrylic on canvas, 77 x 148 inches.

Paul Jenkins eschewed Abstract Expressionism’s inward gaze, aiming to reflect nature’s beauty with sensuous pours of paint.

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The Poet’s Painter

By Art & Antiques Magazine | March 14, 2014

Intimately connected to the literary world, Joan Mitchell devised an abstract language of her own to make feelings visible.

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Winning Bronze

By Art & Antiques Magazine | March 14, 2014
Ritual bronze fermented-beverages vessel fangyi, Shang dynasty, Yinxu period, circa 13th–11th centuries B.C.;

The beauty and grandeur of Chinese bronzes are equaled only by their historical fascination.

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High Art in the Lowcountry

By Art & Antiques Magazine | January 27, 2014
Kamille Corry, Threads of Illusion (detail), oil on linen on panel.

Charleston’s art scene embraces the best of both tradition and modernity.

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Food for Thought

By Art & Antiques Magazine | January 27, 2014
Wayne Thiebaud, Pies, 1961, oil on canvas, 22 x 28 inches;

Wayne Thiebaud’s tasty-looking paintings have often been mistaken for Pop Art, but the artist is after something deeper, both in art and in life.

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The First Snapshot

By Art & Antiques Magazine | November 29, 2013
Johannes Vermeer, Girl with a Pearl Earring, c. 1665, oil on canvas.

Dutch masters visit New York, giving a glimpse at the birth of modern artistic vision.

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Urban Pastoral

By Art & Antiques Magazine | November 29, 2013
Esteban Vicente, Mota, 1968, collage and paper on board

In his fluid, luminous paintings and collages, Esteban Vicente conjured an aesthetic utopia.

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The Unruffled Irascible

By Art & Antiques Magazine | November 10, 2013
James Brooks, Sull, 1961, oil on canvas, 78 x 92 inches.

James Brooks saw his Abstract Expressionist painting as an extension of, rather than a break with, artistic tradition.

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