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Seeing a Virtual Art Exhibition at a Museum Online Isn t So Bad

Above:The Three Soldiers, by Pieter Bruegel the Elder, from the Frick Collection in New York. I’ll admit it: I fled New York for Florida’s empty beaches in the earliest days of the pandemic. My Brooklyn apartment is tiny. As an art writer and consultant, I am hardly ever home under normal circumstances. Going to galleries and museums is more than an aesthetic pursuit to me; they’re a place to meet friends, and where I go to be alone. They are the living room I do not have. Since last March, the art world has bent over backward to bring itself online, and this has caused all of us to ask what it is we really value from art. Struggling museums now rely on detailed photography and virtual tours to accompany their physical shows, sometimes charging a fee to viewers. Meanwhile, galleries which are really just small, free museums have built bespoke virtual viewing rooms and even staged online-only shows, some with high-production introductions from the artists akin to music vide

The Frick Savors the Opulence of Emptiness

https://www.nytimes.com/2021/02/25/arts/design/frick-madison-moves-breuer-reopen.html “Progress of Love” panels from the Fragonard Room at the Frick Mansion were transported to the Breuer building and illuminated by the trapezoidal window.Credit.Gus Powell for The New York Times The Frick Savors the Opulence of Emptiness No barriers. No texts. No heavy gold fabric. At the museum’s two-year sublet of the Breuer building on Madison Avenue, it’s just you and the masters. “Progress of Love” panels from the Fragonard Room at the Frick Mansion were transported to the Breuer building and illuminated by the trapezoidal window.Credit.Gus Powell for The New York Times

Artdaily - The First Art Newspaper on the Net

The First Art Newspaper on the Net   by Jean-Louis De La Vaissiere PARIS (AFP) .- A French journalist s investigation into the alleged forgery network around art collector Giuliano Ruffini has also criticised the great negligence of art world experts. The doubts first became public when French police seized a painting owned by the prince of Liechtenstein from an exhibition in Aix-en-Provence in 2016. The prince had paid seven million euros at auction for the portrait of the goddess Venus by 16th century Italian painter Lucas Cranach, yet tests would soon reveal that the pigments used in the painting dated from the 20th century. Ruffini was well-known in the art world. Since the 1990s, he had sold dozens even hundreds of paintings by such luminaries as Parmigianino and El Greco to some of the great museums of Europe, including the Louvre, often through intermediaries. Many, he said, had come from the collection of an ex-girlfriend s father, Andre Borie, a civil engineer

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