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Richard Merkin, Gertrude and George, 1979, pastel;

Keeping It Real

Works from the Sara Roby Foundation Collection, now on view at the Smithsonian American Art Museum, broaden the definition of American realism.

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John Wood, Blue Cut Cube, 2014, 10 x 15 x 10 inches.;

Crystallizing an Idea

Helped by new technologies, today’s glass artists are pushing this ancient medium beyond its traditional boundaries.

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Sigmar Polke, Untitled (Rorschach), c. 1999, colored ink in bound notebook, 192 pages;

Shape-Shifter

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

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Alexander Phimister Proctor, Slim, 1914 (cast 1915 or after) 11 7/8 x 10 x 5 inches.

History on a Pedestal

The Metropolitan Museum of Art shows how the American West was bronzed.

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Rudolph Eickemeyer, The Lily Pond, 1916, gelatin sliver print, toned.

Moving Pictures

With a historic acquisition The Museum of Fine Arts, Boston stages its first Pictorialist photography show in decades.

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Paul Jenkins, Phenomena Shooting the Sun, 1978, acrylic on canvas, 77 x 148 inches.

The Gorgeous Sublime

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

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Wendell Castle, oak sleigh chair with hard leather sling seat, 1963

One Piece at a Time

The craftsmen of the studio furniture movement have always been American originals, working independently of each other, following their own visions, making everything by hand.

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Joan Miro, Head, Bird, 1977, lithographic ink and arcylic on Barker paper.

Star Man

An exhibition at the Seattle Art Museum explores Miró’s later, lesser-known works, while telling the story of a peaceful artist living in a politically turbulent world.

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The Poet’s Painter

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

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