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Image credits

We index special exhibitions and illustrate them with openly licensed images — museum open-access programmes, Creative Commons files, and works in the public domain. Every image is credited to its source and its licence, and every entry below links back to the original file.

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1148 images, grouped by licence family.

Public domain and CC0

  • A watercolour and bodycolour study of a young brown hare crouched on a blank ground, every whisker and hair of the coat rendered individually, its ear turned back and eye catching a window reflection.

    Albrecht Dürer, Young Hare, 1502. Albertina, Vienna

    Albertina, Vienna / Wikimedia Commons · Source ↗

    Appears on: Collecting for the Future

  • Sompo Museum of Art building

    Sompo Museum of Art (Tokyo, Japan)

    Asanagi / Wikimedia Commons · Source ↗

    Appears on: Sompo Museum of Art

  • Embroidered scene from the Bayeux Tapestry showing mounted Norman knights riding down English foot soldiers, with the Latin inscription naming Harold's death worked into the upper border.

    The Bayeux Tapestry, scene 57: the death of King Harold at the Battle of Hastings, 11th century

    Bayeux Museum / Wikimedia Commons — photograph by Myrabella · Source ↗

    Appears on: The Bayeux Tapestry

  • Embroidered banquet scene from the Bayeux Tapestry: figures seated behind a curved table laden with food and drink, with Bishop Odo raising his hand in blessing at the centre.

    The Bayeux Tapestry, scene 43: Bishop Odo blesses the feast after the Norman landing, 11th century

    Bayeux Museum / Wikimedia Commons — photograph by Myrabella · Source ↗

    Appears on: The Bayeux Tapestry

  • A panel of the Bayeux Tapestry in wool on linen: a crowd of men point up at a long-tailed comet in the sky while, at right, King Harold sits slumped on his throne as an advisor leans in to speak to him.

    The Bayeux Tapestry, scenes 32–33: onlookers point at Halley's Comet and Harold is told the news, 11th century

    Bayeux Museum / Wikimedia Commons — photograph by Myrabella · Source ↗

    Appears on: The Bayeux Tapestry

  • The vaulted concrete roof of Louis Kahn's Kimbell Art Museum in Fort Worth at dusk.

    The vaulted concrete roof of Louis Kahn's Kimbell Art Museum in Fort Worth at dusk.

    Carol M. Highsmith / Wikimedia Commons · Source ↗

    Appears on: Kimbell Art Museum

  • Kimbell Art Museum building

    South wing of the Kimbell art museum, Fort Worth, Texas

    Carol M. Highsmith / Wikimedia Commons · Source ↗

    Appears on: Kimbell Art Museum

  • An oblique view of the Los Angeles County Museum of Art campus on Wilshire Boulevard, palms along the street.

    An oblique view of the Los Angeles County Museum of Art campus on Wilshire Boulevard, palms along the street.

    Carol M. Highsmith / Wikimedia Commons · Source ↗

    Appears on: Los Angeles County Museum of Art

  • Crystal Bridges Museum of American Art building

    Crystal Bridges Museum of American Art, Bentonville, Arkansas USA, architect Moshe Safdie, photo of one of three bridge pavilions

    Charvex / Wikimedia Commons · Source ↗

    Appears on: Crystal Bridges Museum of American Art

  • Clark Art Institute building

    Manton Research Center, Sterling and Francine Clark Art Institute, Williamstown, MA - main entrance. This building designed by Pietro Belluschi and The Architects Collaborative, 1973.

    Daderot / Wikimedia Commons · Source ↗

    Appears on: Clark Art Institute

  • Asian Art Museum of San Francisco building

    Wilbur Grand Staircase - Asian Art Museum of San Francisco, San Francisco, California, USA.

    Daderot / Wikimedia Commons · Source ↗

    Appears on: Asian Art Museum of San Francisco

  • Hammer Museum building

    Hammer Museum in Los Angeles, California, USA. Architect Edward Larrabee Barnes.

    Gary Minnaert ( Minnaert )) / Wikimedia Commons · Source ↗

    Appears on: Hammer Museum

  • Portrait of a woman in a red dress trimmed with grey fur, her hair drawn up into a horned headdress of pleated white linen, set against a dark background with inscriptions on the painted frame.

    Jan van Eyck, Portrait of Margaret van Eyck, 1439. Groeningemuseum, Bruges

    Groeningemuseum, Bruges / Wikimedia Commons · Source ↗

    Appears on: Van Eyck: The Portraits

  • Hirshhorn Museum and Sculpture Garden building

    View of the sculpture garden at the Hirshhorn Museum in Washington, D.C. .

    Gryffindor / Wikimedia Commons · Source ↗

    Appears on: Hirshhorn Museum and Sculpture Garden

  • An aerial view of the J. Paul Getty Museum's travertine pavilions and gardens above Los Angeles.

    An aerial view of the J. Paul Getty Museum's travertine pavilions and gardens above Los Angeles.

    Jelson25 / Wikimedia Commons · Source ↗

    Appears on: The J. Paul Getty Museum

  • The J. Paul Getty Museum building

    An aerial view of the Getty Center museum in Brentwood, Los Angeles , viewed from the south.

    Jelson25 / Wikimedia Commons · Source ↗

    Appears on: The J. Paul Getty Museum

  • Brooklyn Museum building

    Brooklyn Museum shortly before sunset on a partly cloudy day.

    Jim.henderson / Wikimedia Commons · Source ↗

    Appears on: Brooklyn Museum

  • Lucas Museum of Narrative Art building

    Lucas Museum of Narrative Art

    Kriddl / Wikimedia Commons · Source ↗

    Appears on: Lucas Museum of Narrative Art

  • A silverpoint drawing on prepared paper: the head and shoulders of an elderly, heavy-jowled cleric in three-quarter view, drawn in fine grey line with the artist's written colour notes in the margin.

    Jan van Eyck, study for the Portrait of Cardinal Niccolò Albergati, ca. 1435. Kupferstich-Kabinett, Dresden

    Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden / Wikimedia Commons · Source ↗

    Appears on: Van Eyck: The Portraits

  • Asian Art Museum of San Francisco building

    China's Terracotta Warriors exhibition in Asian Art Museum of San Francisco , 2013

    LPS.1 / Wikimedia Commons · Source ↗

    Appears on: Asian Art Museum of San Francisco

  • Portland Art Museum building

    en:Portland Art Museum Architect, en:Pietro Belluschi .

    M.O. Stevens at en.wikipedia / Wikimedia Commons · Source ↗

    Appears on: Portland Art Museum

  • de Young Museum building

    De Young Museum, San Francisco, in 2009 during the Tutankhamun exhibition

    Mark Miller / Wikimedia Commons · Source ↗

    Appears on: de Young Museum

  • The copper-clad de Young Museum and its twisting tower in Golden Gate Park, San Francisco.

    The copper-clad de Young Museum and its twisting tower in Golden Gate Park, San Francisco.

    Mark Miller / Wikimedia Commons · Source ↗

    Appears on: de Young Museum

  • Baltimore Museum of Art building

    The Baltimore Museum of Art

    Nrswanson ( talk ) at en.wikipedia / Wikimedia Commons · Source ↗

    Appears on: Baltimore Museum of Art

  • The Broad on Grand Avenue in downtown Los Angeles, seen along the sidewalk: the museum's white perforated shell behind a tall red-and-white banner reading THE BROAD, with downtown towers beyond.

    The Broad, Los Angeles

    Photo: Benoît Prieur / Wikimedia Commons · Source ↗

    Appears on: Yoko Ono

  • An oblique exterior view of the Los Angeles County Museum of Art campus on Wilshire Boulevard, its pavilions set among palm trees.

    Los Angeles County Museum of Art

    Photo: Carol M. Highsmith / Library of Congress via Wikimedia Commons (public domain) · Source ↗

    Appears on: Pablo Picasso — Portraits in Disguise

  • A black-and-white studio photograph of a young Frida Kahlo looking directly at the camera, hair pulled back, wearing a dark blouse with a pale collar.

    Guillermo Kahlo, Frida Kahlo, 1932

    Photograph by Guillermo Kahlo / Wikimedia Commons · Source ↗

    Appears on: Frida: The Making of an Icon

  • National Museum of Women in the Arts building

    National Museum of Women in the Arts, 5 Dec 2004 en:Category:Images of Washington, D.C.

    Polynova at English Wikipedia / Wikimedia Commons · Source ↗

    Appears on: National Museum of Women in the Arts

  • Yale University Art Gallery building

    The Yale University Art Gallery. The main building, designed by Louis Kahn, is on the left.

    Ragesoss / Wikimedia Commons · Source ↗

    Appears on: Yale University Art Gallery

  • Irish Museum of Modern Art building

    North facade of the w:Irish Museum of Modern Art , seen from the formal garden.

    self / Wikimedia Commons · Source ↗

    Appears on: Irish Museum of Modern Art

  • A densely packed miniature scene painted in obsessive detail: dozens of tiny fairy-tale figures crowd around a woodsman raising an axe over a hazelnut, surrounded by oversized grass blades and daisies.

    Richard Dadd, The Fairy Feller's Master-Stroke, 1855–64. Tate, London

    Tate, London / Wikimedia Commons · Source ↗

    Appears on: Richard Dadd

  • A full-length standing portrait of a man in a long dark coat, set against an almost black ground, with only his face and one hand catching the light.

    James McNeill Whistler, Arrangement in Flesh Color and Brown: Portrait of Arthur Jerome Eddy, 1894

    The Art Institute of Chicago — Arthur Jerome Eddy Memorial Collection · Source ↗

    Appears on: Whistler. Dandy and Disruptor

  • A crowded etched scene: Christ stands at the centre in a pool of light, surrounded by the sick, the poor and the curious, with an archway and deep shadow filling the right half of the plate.

    Rembrandt van Rijn, The Hundred Guilder Print, ca. 1648

    The Art Institute of Chicago — Bequest of Ethel Wrenn · Source ↗

    Appears on: Reality and Imagination

  • A Goryeo celadon plum vase with a broad shoulder tapering to a narrow foot, covered in a soft grey-green glaze and incised with a large lotus spray.

    Plum vase (maebyeong) with lotus motif, Korea, Goryeo dynasty, 12th century

    The Art Institute of Chicago — Bequest of Russell Tyson · Source ↗

    Appears on: Korea

  • A colour lithograph of a pale interior: figures in dark dress gathered around a white-clothed table, a lattice-patterned floor beneath them and tall windows opening onto a garden behind.

    Maurice Denis, The Pilgrims at Emmaus, 1895

    The Art Institute of Chicago — Berthold Loewenthal Fund · Source ↗

    Appears on: Maurice Denis: Mystical Illustrator

  • Well-dressed Parisians with umbrellas cross a wide cobbled intersection in the rain, a wedge-shaped building receding behind them under a pale grey sky.

    Gustave Caillebotte, Paris Street; Rainy Day, 1877

    The Art Institute of Chicago — Charles H. and Mary F. S. Worcester Collection · Source ↗

    Appears on: Collecting Impressionism at LACMA

  • A sunlit town view: low ochre houses and small figures along a wide open street, with a hillside fortress and a distant town beyond, under a pale blue sky.

    Bernardo Bellotto, View of Pirna with the Fortress of Sonnenstein, ca. 1760

    The Art Institute of Chicago — Clyde M. Carr Fund · Source ↗

    Appears on: Canaletto & Bellotto

  • Two conical haystacks stand in a stubble field under a hazy sky, their long violet shadows stretching across the ground in the low light of late summer.

    Claude Monet, Stacks of Wheat (End of Summer), 1890–91

    The Art Institute of Chicago — Gift of Arthur M. Wood, Sr. in memory of Pauline Palmer Wood · Source ↗

    Appears on: Monet: Painting Time

  • A close group portrait of eight miners and boys pressed shoulder to shoulder, wearing peaked caps fitted with lamps, their faces and clothes dark with coal dust as they look at the camera.

    Lewis Wickes Hine, Breaker Boys in Pennsylvania Coal Mine, 1920

    The Art Institute of Chicago — Gift of David Vestal · Source ↗

    Appears on: Beneath the Surface: Mining and American Photography

  • A timbered mine tunnel photographed head-on, rails running away into the dark, with the small figure of a boy standing beside the ventilation door at the far end.

    Lewis Wickes Hine, Young Trapper Boy in West Virginia Coal Mine, 1908

    The Art Institute of Chicago — Gift of David Vestal · Source ↗

    Appears on: Beneath the Surface: Mining and American Photography

  • A small monochrome print, laid on a large blank sheet, of an allegorical seated female figure within a decorative rectangular frame.

    Richard Dadd, Invicta, 1842

    The Art Institute of Chicago — Gift of Dorothy Braude Edinburg to the Harry B. and Bessie K. Braude Memorial Collection · Source ↗

    Appears on: Richard Dadd

  • A long section of funerary papyrus with dense columns of cursive hieroglyphic text across most of its length, ending at the right in a painted vignette of figures facing an enthroned deity.

    Funerary Papyrus of Tayuhenutmut, Third Intermediate Period, ca. 1069–945 BCE

    The Art Institute of Chicago — Gift of Henry H. Getty, Charles L. Hutchinson, Robert H. Fleming, and Norman W. Harris · Source ↗

    Appears on: The Egyptian Book of the Dead

  • A decorative lithographed panel of four elegant women in flowing robes, each set in an arched frame of stylised flowers and foliage representing a season.

    Alphonse Mucha, The Seasons, 1897

    The Art Institute of Chicago — Gift of Michael Searle · Source ↗

    Appears on: Reflections of Nature

  • An elongated altarpiece of the Virgin rising into a swirl of cloud and angels, the apostles gesturing upward around the empty tomb below, painted in acid greens and blues.

    El Greco, The Assumption of the Virgin, 1577–79

    The Art Institute of Chicago — Gift of Nancy Atwood Sprague in memory of Albert Arnold Sprague · Source ↗

    Appears on: Thyssen-Bornemisza ❤ Mauritshuis

  • An albumen print of a river valley filling with mist, framed on both sides by tall dark conifers rising from steep wooded banks.

    Carleton Watkins, Big River, from the Rancherie, Mendocino, California, 1863

    The Art Institute of Chicago — Gift of the Auxiliary Board · Source ↗

    Appears on: American Prospects and Landscape Photography, 1839 to Today

  • A still life on a white cloth: a tilted basket of apples, a bottle, and a plate of biscuits arranged on a table whose edges do not line up, seen from several viewpoints at once.

    Paul Cézanne, The Basket of Apples, ca. 1893

    The Art Institute of Chicago — Helen Birch Bartlett Memorial Collection · Source ↗

    Appears on: Cezanne et nous

  • A small bedroom painted in flat planes of blue, yellow and red: a wooden bed against the right wall, two chairs, a window with green shutters, and framed pictures hung above the bed.

    Vincent van Gogh, The Bedroom, 1889

    The Art Institute of Chicago — Helen Birch Bartlett Memorial Collection · Source ↗

    Appears on: Vincent's Path to Fame

  • Self-portrait of a red-bearded man in a pale blue jacket, painted in short dashes of complementary colour that radiate outward from the head like a halo.

    Vincent van Gogh, Self-Portrait, 1887

    The Art Institute of Chicago — Joseph Winterbotham Collection · Source ↗

    Appears on: Vincent's Path to Fame

  • An albumen print looking across Yosemite Valley from the Mariposa Trail: sheer granite cliffs drop into a deep canyon, with pine boughs framing the view at the left.

    Carleton Watkins, First View of the Yosemite Valley from the Mariposa Trail, 1865/66

    The Art Institute of Chicago — Laura T. Magnuson and Maurice D. Galleher Endowments · Source ↗

    Appears on: American Prospects and Landscape Photography, 1839 to Today

  • A pebbled Normandy beach under a broad grey-blue sky, fishing boats drawn up on the shingle and figures in dark clothing standing at the water's edge.

    Claude Monet, The Beach at Sainte-Adresse, 1867

    The Art Institute of Chicago — Mr. and Mrs. Lewis Larned Coburn Memorial Collection · Source ↗

    Appears on: Monet and Renoir: Painting Side by Side

  • A young woman in a dark blue dress and red bonnet sits on a terrace with a little girl beside her; a basket of coloured wool rests on the railing and a blurred green riverbank fills the background.

    Pierre-Auguste Renoir, Two Sisters (On the Terrace), 1881

    The Art Institute of Chicago — Mr. and Mrs. Lewis Larned Coburn Memorial Collection · Source ↗

    Appears on: Monet and Renoir: Painting Side by Side

  • A steam locomotive pulls into a glass-roofed station, its plume of white smoke filling the vault while small dark figures wait on the platform.

    Claude Monet, Arrival of the Normandy Train, Gare Saint-Lazare, 1877

    The Art Institute of Chicago — Mr. and Mrs. Martin A. Ryerson Collection · Source ↗

    Appears on: Collecting Impressionism at LACMA

  • A woman seen from behind, half-undressed, bending forward to wash at a basin on a patterned washstand, a mirror above reflecting the room.

    Mary Cassatt, Woman Bathing, 1890–91

    The Art Institute of Chicago — Mr. and Mrs. Martin A. Ryerson Collection · Source ↗

    Appears on: Mary Cassatt

  • A pond surface filled edge to edge with floating lily pads and pink blossoms, the water reflecting sky and willow in loose strokes of blue, green and lavender.

    Claude Monet, Water Lilies, 1906

    The Art Institute of Chicago — Mr. and Mrs. Martin A. Ryerson Collection · Source ↗

    Appears on: Monet: Painting Time

  • Bust-length portrait of an elderly man emerging from a dark ground, wearing a black plumed beret, a steel gorget at the throat and a heavy gold chain across his chest.

    Rembrandt van Rijn, Old Man with a Gold Chain, 1631

    The Art Institute of Chicago — Mr. and Mrs. W. W. Kimball Collection · Source ↗

    Appears on: Reality and Imagination

  • An English landscape with a church tower rising above dense summer trees, a hay wagon and figures in the sunlit field below, painted with flickering strokes and flecks of white.

    John Constable, Stoke-by-Nayland, 1836

    The Art Institute of Chicago — Mr. and Mrs. W. W. Kimball Collection · Source ↗

    Appears on: John Constable: Views of Nature

  • A woman in profile with elaborately coiled hair wearing a jewelled diadem, set inside a large circular border filled with the twelve zodiac signs.

    Alphonse Mucha, Zodiaque (“La Plume”), 1896–97

    The Art Institute of Chicago — Mrs. Victor F. Lawson Collection · Source ↗

    Appears on: Timeless Mucha

  • A Mediterranean coastal town of pale ochre buildings seen across a bay of intense turquoise water, framed by dark pines in the foreground.

    Claude Monet, Bordighera, 1884

    The Art Institute of Chicago — Potter Palmer Collection · Source ↗

    Appears on: Painting the French Riviera

  • Two young circus performers in white and yellow costumes stand together on the sawdust of a circus ring, one holding oranges in her arms, the tiered audience a blur behind them.

    Pierre-Auguste Renoir, Acrobats at the Cirque Fernando, 1879

    The Art Institute of Chicago — Potter Palmer Collection · Source ↗

    Appears on: Renoir and Love

  • A woman in a striped green-and-white dress leans over a small child on her lap, one hand supporting the child's foot in a china basin, seen from a high vantage point.

    Mary Cassatt, The Child's Bath, 1893

    The Art Institute of Chicago — Robert A. Waller Fund · Source ↗

    Appears on: Mary Cassatt, Mary Cassatt: After Impressionism

  • A life-size crucified Christ emerging from deep blackness, his pale body lit from the left, head fallen to one side, the white loincloth the brightest note in the painting.

    Francisco de Zurbarán, The Crucifixion, 1627

    The Art Institute of Chicago — Robert A. Waller Memorial Fund · Source ↗

    Appears on: Zurbarán

  • A near-abstract twilight seascape washed in olive and grey: a barely-there dark shoreline along the horizon, a small pale disc of moon, and a broad expanse of still water below.

    James McNeill Whistler, Nocturne: Blue and Gold—Southampton Water, 1872

    The Art Institute of Chicago — Stickney Fund · Source ↗

    Appears on: Whistler. Dandy and Disruptor

  • A hand-tinted cased photograph in an ornate gilt mat: two women in patriotic costume stand side by side, one in a striped gown holding a small Stars and Stripes on a staff, the other in a star-covered dress wearing a crown.

    Unidentified maker, Portrait of Two Standing Women Holding an American Flag, 1856

    The Art Institute of Chicago — The W. Bruce and Delaney H. Lundberg Collection, purchased with funds provided by The Leonian Charitable Trust · Source ↗

    Appears on: American Icon: The US Flag in Art

  • An Impressionist view of a small pond on a rocky island, painted in short strokes of blue, green and pink with low scrub in the foreground.

    Childe Hassam, The Little Pond, Appledore, 1890

    The Art Institute of Chicago — Through prior acquisition of the Friends of American Art and the Walter H. Schulze Memorial collections · Source ↗

    Appears on: Dear America: Artists Explore the American Experience

  • A pastel of a small sailing boat carrying two figures, drifting under a mottled sky of orange, blue and violet in which sea and air dissolve into one another.

    Odilon Redon, Flower Clouds, ca. 1903

    The Art Institute of Chicago — Through prior bequest of Mr. and Mrs. Martin A. Ryerson Collection · Source ↗

    Appears on: Odilon Redon

  • A colour drypoint of two women and a baby seated side by side on a Paris omnibus bench, the flat blue and grey shapes and clean outlines showing the influence of Japanese prints.

    Mary Cassatt, In the Omnibus, 1890–91

    The Cleveland Museum of Art — Bequest of Charles T. Brooks · Source ↗

    Appears on: Mary Cassatt: After Impressionism

  • Mont Sainte-Victoire rendered in overlapping patches of green, ochre and blue, the mountain a pale wedge above a mosaic of fields and trees.

    Paul Cézanne, Mont Sainte-Victoire, ca. 1904

    The Cleveland Museum of Art — Bequest of Leonard C. Hanna Jr · Source ↗

    Appears on: Cezanne et nous

  • Seen through a set of glazed French doors, a woman in a red hooded cape pauses outside in the snow and glances back into the warm interior.

    Claude Monet, The Red Kerchief, ca. 1868–73

    The Cleveland Museum of Art — Bequest of Leonard C. Hanna Jr · Source ↗

    Appears on: Monet and Renoir: Painting Side by Side

  • A square album leaf in ink on silk: a gnarled pine leans over a rocky ledge where tiny figures are gathered, the rest of the surface left as empty silk suggesting mist and moonlit air.

    Ma Yuan, Drinking in the Moonlight, late 1100s–early 1200s

    The Cleveland Museum of Art — Bequest of Mrs. A. Dean Perry · Source ↗

    Appears on: Legendary Landscapes

  • A pastel head of Orpheus resting on a lyre among rocks, drawn in soft blues, greens and violets with the face turned upward and eyes closed.

    Odilon Redon, Orpheus, ca. 1903–10

    The Cleveland Museum of Art — Gift from J. H. Wade · Source ↗

    Appears on: Odilon Redon

  • A Mughal miniature within an ornate floral border: the empress Nur Jahan stands in profile against a plain green ground, wearing a striped skirt and a translucent veil, holding a small framed portrait up before her.

    Bishandas, Nur Jahan holding a portrait of Emperor Jahangir, ca. 1627

    The Cleveland Museum of Art — Gift in honor of Madeline Neves Clapp; Gift of Mrs. Henry White Cannon by exchange; Bequest of Louise T. Cooper; Leonard C. Hanna Jr. Fund; From the Catherine and Ralph Benkaim Collection · Source ↗

    Appears on: India's Great Mughals

  • A brush drawing on blue-grey prepared paper of a bare arm reaching upward, the hand closing around a round fruit, modelled in grey wash with white heightening.

    Albrecht Dürer, Arm of Eve, 1507

    The Cleveland Museum of Art — Gift of Alan Kennedy · Source ↗

    Appears on: Danse Macabre

  • A pastel in bright greens and oranges: a woman kneels to dry a naked toddler standing on a white towel, while a second child in yellow leans in from the right.

    Mary Cassatt, After the Bath, 1901

    The Cleveland Museum of Art — Gift of J. H. Wade · Source ↗

    Appears on: Mary Cassatt: After Impressionism

  • A Chinese ink handscroll of continuous mountain scenery: layered peaks fade into mist, with tiny temples, bridges and travellers threaded along a river valley.

    Streams and Mountains without End, China, late Northern Song dynasty, 1100–1150

    The Cleveland Museum of Art — Gift of the Hanna Fund · Source ↗

    Appears on: Legendary Landscapes

  • A road under repair beneath a row of massive plane trees, their mottled trunks and bare branches filling the canvas, with small figures of workmen among fallen leaves.

    Vincent van Gogh, The Large Plane Trees (Road Menders at Saint-Rémy), 1889

    The Cleveland Museum of Art — Gift of the Hanna Fund · Source ↗

    Appears on: Vincent's Path to Fame

  • Portrait of a small girl seated upright in a chair, in a white dress with a dark sash, holding a loose posy of flowers in her lap against a soft grey-green background.

    Pierre-Auguste Renoir, Romaine Lacaux, 1864

    The Cleveland Museum of Art — Gift of the Hanna Fund · Source ↗

    Appears on: Renoir and Love

  • An album leaf in ink and colour on silk showing a long-armed gibbon swinging from a slender branch, painted with rapid, economical brushstrokes.

    Xia Gui, Swinging Gibbon, late 1100s–early 1200s

    The Cleveland Museum of Art — John L. Severance Fund · Source ↗

    Appears on: Legendary Landscapes

  • A terracotta study of a head tipped back with the mouth open and eyes wide, the clay left rough and still showing the sculptor's fingermarks and tool strokes.

    Gian Lorenzo Bernini, Head of Proserpina, 1650–1700

    The Cleveland Museum of Art — John L. Severance Fund · Source ↗

    Appears on: Bernini, Painter and Sculptor

  • A salted paper portrait of Alexandre Dumas seated with his hands clasped in his lap, his thick curling hair and heavy features lit from one side against a plain backdrop.

    Nadar, Alexandre Dumas père, 1855

    The Cleveland Museum of Art — John L. Severance Fund · Source ↗

    Appears on: Photography's First Century

  • A large canvas of a water-lily pond in late style: broad sweeps of blue, green and violet with the trailing strap-like leaves of agapanthus at the lower edge, the horizon dissolved entirely.

    Claude Monet, Water Lilies (Agapanthus), ca. 1915–26

    The Cleveland Museum of Art — John L. Severance Fund and an anonymous gift · Source ↗

    Appears on: Reflections of Nature

  • A quiet domestic interior in warm brown and red tones: the young Christ has pricked his finger on a crown of thorns he is weaving, and the Virgin looks up from her sewing with tears in her eyes.

    Francisco de Zurbarán, Christ and the Virgin in the House at Nazareth, ca. 1640

    The Cleveland Museum of Art — Leonard C. Hanna Jr. Fund · Source ↗

    Appears on: Zurbarán

  • Saint Andrew hangs on a cross with his arms lashed above his head, lit harshly from the left against deep shadow, while an executioner on a ladder reaches up to him and three onlookers press in below.

    Caravaggio, The Crucifixion of Saint Andrew, 1606–07

    The Cleveland Museum of Art — Leonard C. Hanna Jr. Fund · Source ↗

    Appears on: Caravaggio | Revolution

  • A wide view across the Piazza San Marco in Venice: the basilica's domes and the campanile rise beyond the arcaded square, where small groups of figures cast crisp shadows in bright sunlight.

    Bernardo Bellotto, Piazza San Marco, Venice, ca. 1740

    The Cleveland Museum of Art — Leonard C. Hanna Jr. Fund · Source ↗

    Appears on: Canaletto & Bellotto

  • A tall white porcelain jar painted in cobalt blue with a coiling dragon chasing a flaming pearl among stylised clouds.

    Jar with dragon design, Korea, Joseon dynasty, 1700s

    The Cleveland Museum of Art — Leonard C. Hanna Jr. Fund · Source ↗

    Appears on: Korea

  • A Florentine court portrait of a young woman against a plum-grey ground: black gown with a wide white lace collar, a heavy gold chain and choker at her throat, a small gold-bound book held against her waist.

    Agnolo Bronzino, Portrait of a Woman, ca. 1550

    The Cleveland Museum of Art — Leonard C. Hanna Jr. Fund · Source ↗

    Appears on: Thyssen-Bornemisza ❤ Mauritshuis

  • An etching of a woman leaning on the sill of a stone window opening, a pear held in one hand and a cloth draped over the other, worked in dense fine lines.

    Ferdinand Bol, The Woman with the Pear, 1651

    The Cleveland Museum of Art — Mr. and Mrs. Lewis B. Williams Collection · Source ↗

    Appears on: Reality and Imagination

  • A crucifix painted in flat yellow-orange against a brick-red ground, with a row of dark green figures massed below it in simplified silhouettes.

    Maurice Denis, The Orange Christ, 1889

    The Cleveland Museum of Art — Nancy F. and Joseph P. Keithley Collection Gift · Source ↗

    Appears on: Maurice Denis: Mystical Illustrator

  • A carved sandstone talatat block bearing a profile relief portrait of Queen Nefertiti, her long neck and angular chin rendered in the elongated Amarna style.

    Talatat: portrait of Nefertiti, Karnak, New Kingdom, ca. 1353–1347 BCE

    The Cleveland Museum of Art — Purchase from the J. H. Wade Fund · Source ↗

    Appears on: Treasures of the Pharaohs

  • A pen-and-grey-wash architectural fantasy: a grand arcaded palace facade and a ruined classical colonnade set beside water, with a few small figures in the foreground.

    Canaletto, Capriccio: A Palace with a Courtyard by the Lagoon, ca. 1750–55

    The Cleveland Museum of Art — Purchase from the J. H. Wade Fund · Source ↗

    Appears on: Canaletto & Bellotto

  • A long horizontal strip of papyrus carrying a continuous register of small outlined figures and deities above bands of hieroglyphic text.

    Book of the Dead of Hori, Egypt, Third Intermediate Period, ca. 1069–945 BCE

    The Cleveland Museum of Art — The Charles W. Harkness Endowment Fund · Source ↗

    Appears on: The Egyptian Book of the Dead

  • An opened manuscript bifolio: on the left a small framed miniature of figures in a landscape set into a border of gold ivy leaves and coloured flowers, on the right a page of Latin text with an illuminated initial.

    Boethius Illuminator, Leaf from a Book of Hours: Annunciation to the Shepherds, ca. 1410–20

    The Cleveland Museum of Art — The Jeanne Miles Blackburn Collection · Source ↗

    Appears on: The Making of a Medieval Manuscript

  • A small gilt-bronze shrine group: the Amitabha Buddha seated on a lotus throne at the centre with a standing-haloed bodhisattva on either side, all three mounted on a single base.

    Amitabha Triad, Korea, Joseon dynasty, 1400s

    The Cleveland Museum of Art — Worcester R. Warner Collection · Source ↗

    Appears on: Korea

  • A woman's Chinese ceremonial robe displayed flat with the sleeves extended: pale cream silk embroidered with rows of circular floral roundels and a band of stylised waves at the hem, with dark patterned cuffs and collar.

    Woman's ceremonial robe, China, first half of the 18th century

    The Metropolitan Museum of Art, New York — Anonymous Gift, 1943 · Source ↗

    Appears on: Fashioning Chinese Women

  • A small carved stone model of a temple: a tall conical roof rising from a rectangular shrine set on a low stepped platform.

    Temple model, Mexica (Aztec), 1400–1521

    The Metropolitan Museum of Art, New York — Bequest of Arthur M. Bullowa, 1993 · Source ↗

    Appears on: Stendahl's World

  • A hand-coloured 1776 print of a single American rifleman standing full-length in a fringed hunting shirt and cap, a long rifle propped at his side, with a picket palisade behind him and the title lettered below.

    Anonymous, British, The American Rifle Men, 1776

    The Metropolitan Museum of Art, New York — Bequest of Charles Allen Munn, 1924 · Source ↗

    Appears on: Declaring Independence: USA 250

  • A 1776 satirical engraving of a crowd on a shoreline: one figure holds up a newssheet while the others slump, argue and clutch their heads, with a ship at anchor behind them.

    Anonymous, British, News from America, or the Patriots in the Dumps, December 1, 1776

    The Metropolitan Museum of Art, New York — Bequest of Charles Allen Munn, 1924 · Source ↗

    Appears on: Declaring Independence: USA 250

  • Four Provençal men gathered around a small pale table, three seated over their cards and one standing behind with a pipe, in front of a hanging ochre curtain.

    Paul Cézanne, The Card Players, 1890–92

    The Metropolitan Museum of Art, New York — Bequest of Stephen C. Clark, 1960 · Source ↗

    Appears on: Cezanne et nous

  • A small plein-air oil study in a gilt frame: a low range of blue-grey hills under a heavy bank of grey cloud, with the foreground washed in pale pink light.

    Emile Loubon, Landscape Study with Clouds, ca. 1829–31

    The Metropolitan Museum of Art, New York — Catharine Lorillard Wolfe Collection, Wolfe Fund, 2011 · Source ↗

    Appears on: Chasing Clouds

  • A watercolour of three figures in a bare room: a young man seated playing a banjo, an older man standing and beating time, and a barefoot boy dancing in front of them.

    Thomas Eakins, The Dancing Lesson, 1878

    The Metropolitan Museum of Art, New York — Fletcher Fund, 1925 · Source ↗

    Appears on: Painted on Paper

  • A two-panel devotional diptych: at left the Crucifixion with crowds beneath three crosses, at right the Last Judgment stacked in tiers above a skeletal figure of Death.

    Jan van Eyck, The Crucifixion; The Last Judgment, ca. 1436–38

    The Metropolitan Museum of Art, New York — Fletcher Fund, 1933 · Source ↗

    Appears on: Thyssen-Bornemisza ❤ Mauritshuis

  • A weathered block of carved Maya limestone, its face cut with a broad scroll motif and a row of three raised discs.

    Fragmentary relief, Maya, 9th–10th century

    The Metropolitan Museum of Art, New York — Gift of A. J. Lespinasse, 1877 · Source ↗

    Appears on: Stendahl's World

  • A tall cylindrical stone vessel with a flared rim, carved all over in low relief with an overlapping scale pattern, the surface a mottled grey-green.

    Vase with overlapping pattern and three bands of palm trees, Mesopotamia, mid- to late 3rd millennium BCE

    The Metropolitan Museum of Art, New York — Gift of J. Pierpont Morgan, 1917 · Source ↗

    Appears on: Primeval Waters

  • An Art Nouveau cameo glass vase in smoky amber and lavender, its surface carved in relief with the drooping bells and slender leaves of autumn crocus.

    Émile Gallé, “Autumn Crocus” Vase, ca. 1900

    The Metropolitan Museum of Art, New York — Gift of Lloyd and Barbara Macklowe, 1984 · Source ↗

    Appears on: Reflections of Nature

  • An album page holding a photogenic drawing: the branching silhouette of a seaweed frond recorded as pale white tracery against a deep red-brown ground.

    William Henry Fox Talbot, Wrack, 1839

    The Metropolitan Museum of Art, New York — Harris Brisbane Dick Fund, 1936 · Source ↗

    Appears on: Photography's First Century

  • A polished dark stone statue of a seated man with hands clasped at his chest, wearing a brimmed cap, his shoulders and lap covered in columns of cuneiform inscription.

    Statue of Gudea, Neo-Sumerian, ca. 2090 BCE

    The Metropolitan Museum of Art, New York — Harris Brisbane Dick Fund, 1959 · Source ↗

    Appears on: Primeval Waters

  • A Mughal album painting of a caparisoned elephant in profile, its skin finely stippled in grey, a mahout seated on its neck, set against a plain green ground with a decorated border.

    Bichitr, Portrait of the Elephant 'Alam Guman, ca. 1640

    The Metropolitan Museum of Art, New York — Harris Brisbane Dick Fund, 1996 · Source ↗

    Appears on: India's Great Mughals

  • A fifteenth-century engraved playing card showing a crowned queen seated among stylised flowers, printed in fine hatched line on cream paper.

    Master of the Playing Cards, The Queen of Flowers, ca. 1435–40

    The Metropolitan Museum of Art, New York — Janet Lee Kadesky Ruttenberg Fund, in honor of Colta Ives, and Harris Brisbane Dick Fund, 2006 · Source ↗

    Appears on: Tarot! Renaissance Symbols, Modern Visions

  • A night battle scene: mounted Christian and Muslim soldiers clash beneath a dark sky, with a glowing apparition of the Virgin and Child above the fray.

    Francisco de Zurbarán, Battle between Christians and Muslims at El Sotillo, ca. 1637–39

    The Metropolitan Museum of Art, New York — Kretschmar Fund, 1920 · Source ↗

    Appears on: Zurbarán

  • A white porcelain jar of barrel form, painted in cobalt blue with a single spiky thistle plant and its jagged leaves, with plain blue bands at the shoulder and foot.

    Kondō Yūzō, Jar with Thistle, ca. 1950

    The Metropolitan Museum of Art, New York — Mary and Cheney Cowles Collection, Gift of Mary and Cheney Cowles, 2024 · Source ↗

    Appears on: The Kondō Family

  • A full-page vellum miniature of the Crucifixion against a blue ground patterned with red lattice: Christ on the cross at the centre, the Virgin and Saint John standing to either side and a small kneeling donor below.

    Manuscript leaf with the Crucifixion, from a Missal, French, ca. 1270–80

    The Metropolitan Museum of Art, New York — Purchase, Bequest of Thomas W. Lamont, by exchange, 1981 · Source ↗

    Appears on: The Making of a Medieval Manuscript

  • An early paper negative photograph of a gnarled oak tree standing among boulders in the Forest of Fontainebleau, the tones warm brown and the foliage softly blurred.

    Gustave Le Gray, Oak Tree and Rocks, Forest of Fontainebleau, 1849–52

    The Metropolitan Museum of Art, New York — Purchase, Jennifer and Joseph Duke and Lila Acheson Wallace Gifts, 2000 · Source ↗

    Appears on: Photography's First Century

  • A watercolour of three women seated on a garden terrace in dappled shade, one sketching on a large pad while the others sit and watch, painted in loose transparent washes.

    John Singer Sargent, In the Generalife, 1912

    The Metropolitan Museum of Art, New York — Purchase, Joseph Pulitzer Bequest, 1915 · Source ↗

    Appears on: Painted on Paper

  • An early photograph of the harbour entrance at Boulogne: a long stone jetty running out into calm water beneath a wide, almost empty sky.

    Édouard Baldus, Entrance to the Port of Boulogne, 1855

    The Metropolitan Museum of Art, New York — Purchase, Louis V. Bell Fund, 1992 · Source ↗

    Appears on: Light and Magic

  • A panoramic Dutch landscape: a sandy track and clumps of trees in the foreground open onto flat fields and waterways stretching to the horizon, with a vast sky of piled cloud above.

    Philips Koninck, An Extensive Wooded Landscape, 1670s

    The Metropolitan Museum of Art, New York — Purchase, Mr. and Mrs. David T. Schiff and George T. Delacorte Jr. Gifts, special funds, and Bequest of Mary Cushing Fosburgh and other gifts and bequests, by exchange, 1980 · Source ↗

    Appears on: Chasing Clouds

  • A naturalistic study of a nilgai standing in profile on a pale ground, its grey coat and white throat markings closely observed, set within a wide illuminated border of flowers and birds.

    Mansur, Study of a Nilgai (Blue Bull), Shah Jahan Album, ca. 1620

    The Metropolitan Museum of Art, New York — Purchase, Rogers Fund and The Kevorkian Foundation Gift, 1955 · Source ↗

    Appears on: India's Great Mughals

  • A plain rectangular wooden coffin from Middle Kingdom Egypt, the dark boards bare except for a small painted panel of two eyes near one end.

    Outer coffin of Senebtisi, ca. 1850–1775 BCE

    The Metropolitan Museum of Art, New York — Rogers Fund, 1908 · Source ↗

    Appears on: Treasures of the Pharaohs

  • A long strip of funerary papyrus, torn at the edges, filled with columns of cursive hieroglyphic script in black and red, with a small painted vignette of standing figures at the right-hand end.

    Nesiamun's Book of the Dead, ca. 1080–945 BCE

    The Metropolitan Museum of Art, New York — Rogers Fund, 1926 · Source ↗

    Appears on: The Egyptian Book of the Dead

  • A carved and polychromed wooden group: the Virgin and Child ride a donkey beneath a palm tree while angels bend its branches down and Joseph, in a red cloak, walks alongside; the paint is worn back to bare wood in places.

    The Miracle of the Palm Tree on the Flight to Egypt, Spanish, ca. 1490–1510

    The Metropolitan Museum of Art, New York — Rogers Fund, 1938 · Source ↗

    Appears on: Sculpting Colour

  • A carved limestone head of a woman with centre-parted wavy hair, the features calm and frontal, the stone broken away at the neck.

    Limestone funerary bust of a woman, Cypriot

    The Metropolitan Museum of Art, New York — The Cesnola Collection, Purchased by subscription, 1874–76 · Source ↗

    Appears on: My Story – Ancient Female Portraits and Their Afterlife

  • A small mummiform shabti figure standing on a base, with a painted face, a blue-striped wig falling to the shoulders and columns of hieroglyphs down the front of the body.

    Shabti of Yuya, ca. 1386–1347 BCE

    The Metropolitan Museum of Art, New York — Theodore M. Davis Collection, Bequest of Theodore M. Davis, 1915 · Source ↗

    Appears on: Treasures of the Pharaohs

  • An ancient Egyptian gold necklace laid out in a loose serpentine on a white ground: strands of small granulated ball beads alternating with rows of little trumpet-shaped gold pendants.

    Necklace in gold filigree of Queen Tausret, ca. 1214–1200 BCE

    The Metropolitan Museum of Art, New York — Theodore M. Davis Collection, Bequest of Theodore M. Davis, 1915 Purchase, Edward S. Harkness Gift, 1926 (26.7.1346, .1348) · Source ↗

    Appears on: Treasures of the Pharaohs

  • A man in a wide black hat and a woman in a voluminous green gown stand hand in hand in a Flemish bedchamber; a small dog sits at their feet and a convex mirror on the back wall reflects the room.

    Jan van Eyck, The Arnolfini Portrait, 1434. The National Gallery, London

    The National Gallery, London / Wikimedia Commons · Source ↗

    Appears on: Van Eyck: The Portraits

  • Half-length portrait of a middle-aged man against a black ground, his face turned three-quarters toward the viewer and his eyes meeting ours, wearing an elaborately folded scarlet chaperon wound into a turban-like headdress.

    Jan van Eyck, Portrait of a Man (Self Portrait?), 1433. The National Gallery, London

    The National Gallery, London / Wikimedia Commons · Source ↗

    Appears on: Van Eyck: The Portraits

  • Palm Springs Art Museum building

    w:Palm Springs Art Museum

    Toohool / Wikimedia Commons · Source ↗

    Appears on: Palm Springs Art Museum

  • Cleveland Museum of Art building

    Southeast construction of the CMA

    Unknown author Unknown author / Wikimedia Commons · Source ↗

    Appears on: Cleveland Museum of Art

  • The Royal Collection of Paintings and Sculptures building

    Statens Museum for Kunst (National Art Gallery) in Copenhagen, Denmark.

    User:Alphalphi / Wikimedia Commons · Source ↗

    Appears on: The Royal Collection of Paintings and Sculptures

  • The Nelson-Atkins Museum of Art building

    Nelson-Atkins-Museum of Art, Kansas City, Missouri

    User:Charvex / Wikimedia Commons · Source ↗

    Appears on: The Nelson-Atkins Museum of Art

  • The translucent Bloch Building of The Nelson-Atkins Museum of Art in Kansas City, with a Mark di Suvero sculpture on the lawn.

    The translucent Bloch Building of The Nelson-Atkins Museum of Art in Kansas City, with a Mark di Suvero sculpture on the lawn.

    User:Charvex / Wikimedia Commons · Source ↗

    Appears on: The Nelson-Atkins Museum of Art

  • A vigorously brushed oil sketch of an English river scene: a horse-drawn wagon standing in shallow water beside a cottage, under a broad sky of scudding grey and white cloud.

    John Constable, full-scale sketch for The Hay Wain, ca. 1820. Victoria and Albert Museum, London

    Victoria and Albert Museum, London / Wikimedia Commons · Source ↗

    Appears on: John Constable: Views of Nature

  • Philadelphia Museum of Art building

    Philadelphia Museum of Art, main building

    Wikimedia Commons · Source ↗

    Appears on: Philadelphia Museum of Art

  • Vancouver Art Gallery building

    Vancouver Art Gallery Robson Square from third floor

    Wikimedia Commons · Source ↗

    Appears on: Vancouver Art Gallery

  • A very large abstract tempera on paper: a soft blue ground carrying overlapping discs and petal forms in pink, cream and pale yellow, anchored by one large orange circle and one dark blue circle at the lower edge.

    Hilma af Klint, The Ten Largest, No. 2, Childhood, 1907

    Wikimedia Commons (public domain) · Source ↗

    Appears on: Hilma af Klint

  • A tall narrow poster showing Sarah Bernhardt in a Byzantine gown and orchid headdress, holding a palm frond, framed by a mosaic arch, with the word GISMONDA lettered above her.

    Alphonse Mucha, Gismonda, poster for Victorien Sardou's play starring Sarah Bernhardt, 1894

    Wikimedia Commons (public domain) · Source ↗

    Appears on: Timeless Mucha

  • A very large abstract tempera on paper: a dusty pink ground with a big pale pink flower head at the top, below which loop white and yellow spirals, rings and letter-like curling forms.

    Hilma af Klint, The Ten Largest, No. 5, Adulthood, 1907

    Wikimedia Commons (public domain) · Source ↗

    Appears on: Hilma af Klint

  • Crystal Bridges Museum of American Art building

    Administration Building by Childe Hassam, 1893, chromolithograph from World's Columbian Exposition Art Portfolio , Crystal Bridges Museum of American Art

    Wmpearl / Wikimedia Commons · Source ↗

    Appears on: Crystal Bridges Museum of American Art

  • Honolulu Museum of Art building

    Honolulu Museum of Art from Thomas Square

    Wmpearl / Wikimedia Commons · Source ↗

    Appears on: Honolulu Museum of Art

Creative Commons Attribution (CC BY)

Creative Commons Attribution-ShareAlike (CC BY-SA)

Other licences and museum open-access programmes

  • Exhibition image for Constantinople to Istanbul: One City, Two Empires

    'The Sultan riding out in procession to Friday Prayers', watercolour by anonymous Greek artist, about 1809, Istanbul, Turkey

    'The Sultan riding out in procession to Friday Prayers', watercolour by anonymous Greek artist, about 1809, Istanbul, Turkey · License · Source ↗

    Appears on: Constantinople to Istanbul: One City, Two Empires

  • Working for Victory certificate for Willie C. Webb: a studio portrait of a young woman framed by American flags, a V and wartime imagery

    Working for Victory certificate for Willie C. Webb

    "Working for Victory" Certificate Awarded to Master Painter Willie C. Webb, c. 1942-1945, Artist/maker unknown. Purchased with funds contributed by Harvey S. Shipley Miller,2025-24-1. · press.philamuseum.org · Source ↗

    Appears on: Americana: Photographs 1850-1950

  • Black-and-white photograph of two young women with arms crossed standing in a grassy field

    Maiya Ponsky, (Untitled) Field, 2025

    (Untitled) Field, 2025. Maiya Ponsky (Mexican American, b. 2002). Silver gelatin print. Courtesy of the artist. © Maiya Ponsky · supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Lake Effect: Artists from Cleveland Now

  • Exhibition image for Paula do Prado

    2025–26 Studio Program artist Paula do Prado in her Artspace studio, 2026. Photo: Hamish McIntosh.

    2025–26 Studio Program artist Paula do Prado in her Artspace studio, 2026. Photo: Hamish McIntosh. · License · Source ↗

    Appears on: Paula do Prado

  • Suzanne Jackson, A Hole in the Marker–Mary Turner 1918, 2020, a hanging work of acrylic, lace and netting

    Suzanne Jackson, A Hole in the Marker–Mary Turner 1918, 2020

    A Hole in the Marker–Mary Turner 1918, 2020. Suzanne Jackson (American, born in 1944). Acrylic wash, acrylic gel medium, curtain lace, produce bag netting, metal rods, and S‑hooks. The Joyner/Giuffrida Collection. © Suzanne Jackson, courtesy Ortuzar, New York; photo: David Kaminsky. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Suzanne Jackson: What Is Love

  • A Jina Enthroned: a painted cloth with a seated Jina at the center of a patterned square border

    A Jina Enthroned

    A Jina Enthroned, 19th century. Opaque pigments on cloth. Museum purchase, 2018.51. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Kawada Kikuji, from the series Chizu / The Map, gelatin silver print: A Layer of Coca-Cola

    Kawada Kikuji, A Layer of Coca‑Cola (Koka kora), from the series Chizu / The Map, 1959‑65, printed 1989

    A Layer of Coca‑Cola (Koka kora), from the series Chizu / The Map, 1959‑65, printed 1989. Kawada Kikuji (Japanese, born in 1933). Photograph, gelatin silver print. Museum purchase with funds by exchange from the Bequest of Charles W. Millard III. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Kawada Kikuji: Chizu (The Map)

  • Black and white photograph of a male figure that could be flying or falling through the air, arms outspread and face in profile, dramatically contrast against a white sky.

    Aaron Siskind, American (1903-1991), Pleasures and Terrors of Levitation 37; , from the portfolio, Pleasures and Terrors of Levitation, 1953. Gift of Aaron Siskind. RISD Museum, Providence, RI.

    Aaron Siskind, American (1903-1991), Pleasures and Terrors of Levitation 37; , from the portfolio, Pleasures and Terrors of Levitation, 1953. Gift of Aaron Siskind. RISD Museum, Providence, RI. · License · Source ↗

    Appears on: In the Making

  • Exhibition image for Abbas Akhavan: Variations on a Garden

    Abbas Akhavan, cast for a folly , 2019/2023. Installation view, curtain call , Ny Carlsberg Glyptotek, Copenhagen, Denmark, 2023. Photo: David Stjernholm.

    Abbas Akhavan, cast for a folly , 2019/2023. Installation view, curtain call , Ny Carlsberg Glyptotek, Copenhagen, Denmark, 2023. Photo: David Stjernholm. · License · Source ↗

    Appears on: Abbas Akhavan: Variations on a Garden

  • Exhibition image for Abbas Akhavan: Variations on a Garden

    Abbas Akhavan, cast for a folly , 2019/2023. Installation view, curtain call , Ny Carlsberg Glyptotek, Copenhagen, Denmark, 2023. Photo: David Stjernholm.

    Abbas Akhavan, cast for a folly , 2019/2023. Installation view, curtain call , Ny Carlsberg Glyptotek, Copenhagen, Denmark, 2023. Photo: David Stjernholm. · License · Source ↗

    Appears on: Abbas Akhavan: Variations on a Garden

  • Exhibition image for Abdias Nascimento: Interpreter of Brazil

    Abdias Nascimento, Invocação Noturna ao Poeta Gerardo Mello Mourão: Oxossi , 1972. Courtesy Instituto Abdias Nascimento de Pesquisas e Estudos Afro-Brasileiros / Black Art Museum Collection. Photo: Miguel Pacheco e Chaves.

    Abdias Nascimento, Invocação Noturna ao Poeta Gerardo Mello Mourão: Oxossi , 1972. Courtesy Instituto Abdias Nascimento de Pesquisas e Estudos Afro-Brasileiros / Black Art Museum Collection. Photo: Miguel Pacheco e Chaves. · License · Source ↗

    Appears on: Abdias Nascimento: Interpreter of Brazil

  • Exhibition image for Gathering Ground

    Abel Rodríguez, The Tree of Life and Abundance 2020. Lent by the Tate Americas Foundation, courtesy of the Latin American Acquisitions Committee 2022. © Abel Rodriguez, courtesy of the artist and Instituto de Vision.

    Abel Rodríguez, The Tree of Life and Abundance 2020. Lent by the Tate Americas Foundation, courtesy of the Latin American Acquisitions Committee 2022. © Abel Rodriguez, courtesy of the artist and Instituto de Vision. · License · Source ↗

    Appears on: Gathering Ground

  • Exhibition image for Adam Pendleton Some Wild Kind of Language

    Adam Pendleton, Black Dada (A), 2024. Silkscreen ink and black gesso on canvas, two parts. 96 x 76 inch / 243,8 x 193 cm. Courtesy of the artist and Mennour, Paris, private collection. Photo Andy Romer

    Adam Pendleton, Black Dada (A), 2024. Silkscreen ink and black gesso on canvas, two parts. 96 x 76 inch / 243,8 x 193 cm. Courtesy of the artist and Mennour, Paris, private collection. Photo Andy Romer · License · Source ↗

    Appears on: Adam Pendleton Some Wild Kind of Language

  • Aert de Gelder painting of Esther and Mordecai bent over a letter in dim light

    Aert de Gelder, Esther and Mordecai, about 1685

    Aert de Gelder (Dutch, 1645–1727), Esther and Mordecai, about 1685. Oil on canvas. Museum of Art, Rhode Island School of Design, Providence, Museum Appropriation Fund · sent by Cassandra Martinez, 21 Oct 2026 · Source ↗

    Appears on: The Book of Esther in the Age of Rembrandt

  • Painting of a deflated air mattress on the floor of an empty room with tall windows

    Maxmillian Peralta, Air Mattress, 2026

    Air Mattress, 2026. Maxmillian Peralta (Filipino American, b. 1999). Acrylic paint and acrylic ink. Courtesy of the artist. © Maxmillian Peralta · supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Lake Effect: Artists from Cleveland Now

  • Ceramic sculpture of a boy standing upright with hands clasped behind his head, wearing black shorts, tank top, and sandals, his body rendered in solid black-and-white and stylized outlines.

    Akio Takamori 高森昭夫, Japanese (1950–2017; b. in Nobeoka, Japan), Boy, 1996. Gift of Hope and Mel Barkan. RISD Museum, Providence, RI. Photograph by Robert Puglisi Photograph by Robert Puglisi

    Akio Takamori 高森昭夫, Japanese (1950–2017; b. in Nobeoka, Japan), Boy, 1996. Gift of Hope and Mel Barkan. RISD Museum, Providence, RI. Photograph by Robert Puglisi Photograph by Robert Puglisi · License · Source ↗

    Appears on: A Shared Journey

  • Ala Ebtekar, One Thousand Years of Light: a photogravure of the sun in warm ochre tones

    Ala Ebtekar, One Thousand Years of Light

    Ala Ebtekar, One Thousand Years of Light, 2024. Photogravure on copper plates. San Diego Museum of Art, Museum Commission, 2024.28. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • A landscape painting of a snowcapped mountain and a lake.

    Albert Bierstadt (American, born Germany, 1830-1902), Mount Hood, 1869, oil on canvas, frame: 51 1/8 in x 75 1/8 in x 4 5/8 in, Gift of Henry Failing Cabell, public domain, 53.21

    Albert Bierstadt (American, born Germany, 1830-1902), Mount Hood, 1869, oil on canvas, frame: 51 1/8 in x 75 1/8 in x 4 5/8 in, Gift of Henry Failing Cabell, public domain, 53.21 · License · Source ↗

    Appears on: Mystic Mountain: Mount Hood in Art

  • Albrecht Dürer, Knight, Death and Devil: an armored knight on horseback accompanied by Death and a devil

    Albrecht Dürer, Knight, Death and Devil

    Albrecht Dürer, Knight, Death and Devil, 1513. Engraving. Gift of Peter and Miriam Krippl, 2025.19. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Installation of tall curved fabric membranes lit in successive rainbow colours forming a corridor, with visitors walking through

    Aleksandra Kasuba, Spectrum, An Afterthought, 1975/2014

    Aleksandra Kasuba Spectrum, An Afterthought, 1975/2014. Lithuanian National Museum of Art. Photo by Antanas Lukšėnas. · License · Source ↗

    Appears on: Aleksandra Kasuba: Shelters for the Senses

  • Exhibition image for Henri Matisse – Alex Katz

    Alex Katz, 10 AM, 1959 Huile sur lin, 109,9 × 186 cm Courtesy : Alex Katz Studio Photo : Paul Takeuchi © Alex Katz / Adagp, Paris, 2026

    Alex Katz, 10 AM, 1959 Huile sur lin, 109,9 × 186 cm Courtesy : Alex Katz Studio Photo : Paul Takeuchi © Alex Katz / Adagp, Paris, 2026 · License · Source ↗

    Appears on: Henri Matisse – Alex Katz

  • Exhibition image for HER STORY

    Alexandra Exter: Sketch for the Theatre Play "Salome", 1917 52 × 35 cm, Gouache auf Papier (The ALBERTINA Museum, Vienna – Private Collection)

    Alexandra Exter: Sketch for the Theatre Play "Salome", 1917 52 × 35 cm, Gouache auf Papier (The ALBERTINA Museum, Vienna – Private Collection) · License · Source ↗

    Appears on: HER STORY

  • Alfred Kubin, Aladdin, ca. 1902, brush and ink drawing

    Alfred Kubin, Aladdin, ca. 1902

    Alfred Kubin (Austrian, 1877–1959). Aladdin, ca. 1902. Brush, ink and pencil on paper. Neue Galerie New York · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Exhibition image for Ali Banisadr: Temple of the Mind

    Ali Banisadr (American, born Iran, born 1976). Weighing of the heart , 2023. Oil on linen. 48 x 60 inches (121.92 x 152.4 cm). © Ali Banisadr.

    Ali Banisadr (American, born Iran, born 1976). Weighing of the heart , 2023. Oil on linen. 48 x 60 inches (121.92 x 152.4 cm). © Ali Banisadr. · License · Source ↗

    Appears on: Ali Banisadr: Temple of the Mind

  • Alice Lex-Nerlinger, Field Grey Creates Dividends, 1931/1961 — photomontage of a gas-masked figure entangled in barbed wire, from the Frihedens Fald exhibition

    Alice Lex-Nerlinger, Field Grey Creates Dividends, 1931/1961 — photomontage of a gas-masked figure entangled in barbed wire, from the Frihedens Fald exhibition

    Alice Lex-Nerlinger, Field Grey Creates Dividends, 1931/1961. © Neue Nationalgalerie, Stiftung Preußischer Kulturbesitz, Berlin

    Appears on: Frihedens Fald Kunsten i Tyskland 1910 – 1945

  • Watercolor of a red-and-white checkered picnic cloth with a dish of objects at its center

    Maria Laureno, All You Can Eat, 2025

    All You Can Eat, 2025. Maria Laureno (b. 1994). Watercolor and Micron pen on paper mounted on panel. Courtesy of the artist. © Maria Laureno · supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Lake Effect: Artists from Cleveland Now

  • Exhibition image for Architects of Liberation: Modernism in Western Africa

    Alpha 2000 (Société Ivoirienne de Banque), Abidjan, Côte d’Ivoire. 1974–76. Bureaux d’Études Henri Chomette (est. 1948). 2025. Photograph: François-Xavier Gbré

    Alpha 2000 (Société Ivoirienne de Banque), Abidjan, Côte d’Ivoire. 1974–76. Bureaux d’Études Henri Chomette (est. 1948). 2025. Photograph: François-Xavier Gbré · License · Source ↗

    Appears on: Architects of Liberation: Modernism in Western Africa

  • Poster for Sarah Bernhardt as Gismonda at the Théâtre de la Renaissance, Paris, 1895, on view in DIVA at the Denver Art Museum

    Poster for Sarah Bernhardt as Gismonda at the Théâtre de la Renaissance, Paris, 1895, on view in DIVA at the Denver Art Museum

    Alphonse Mucha, poster for Sarah Bernhardt as Gismonda, Théâtre de la Renaissance, Paris, 1895. Chromolithograph. Victoria and Albert Museum, London, no. E.261-1921.

    Appears on: DIVA

  • Altarpiece of Saint Julian and Saint Lucy Pere Serra and Jaume Serra Tempera and gold leaf on panel, 370 × 330 cm c. 1384–85 Zaragoza, Monasterio de la Resurrección, Canonesas del Santo Sepulcro

    Altarpiece of Saint Julian and Saint Lucy Pere Serra and Jaume Serra Tempera and gold leaf on panel, 370 × 330 cm c. 1384–85 Zaragoza, Monasterio de la Resurrección, Canonesas del Santo Sepulcro

    Altarpiece of Saint Julian and Saint Lucy Pere Serra and Jaume Serra Tempera and gold leaf on panel, 370 × 330 cm c. 1384–85 Zaragoza, Monasterio de la Resurrección, Canonesas del Santo Sepulcro · License · Source ↗

    Appears on: In the Italian Manner. Spain and the Mediterranean Gothic, 1320-1420

  • Photograph of a young woman in a grey t-shirt holding a garden hose above her head, eyes closed, with a fence and mountains behind her, shown matted and framed

    Lucas Foglia, Amanda after a Birthday Party, Jackson, Wyoming, from the series Frontcountry, 2010

    Amanda after a Birthday Party, Jackson, Wyoming from the series Frontcountry, 2010, Lucas Foglia (American, born 1983), inkjet print. Virginia Museum of Fine Arts, Gift of Deborah L. Wlaz, 2025.640 · Source ↗

    Appears on: Promise and Peril

  • Exhibition image for Remember Me

    American 19th Century, "Remember Me, Annie", c. 1860, tintype with applied color. National Gallery of Art, Ross J. Kelbaugh Collection, Purchased with support from the Ford Foundation, 2023.39.34

    American 19th Century, "Remember Me, Annie", c. 1860, tintype with applied color. National Gallery of Art, Ross J. Kelbaugh Collection, Purchased with support from the Ford Foundation, 2023.39.34 · License · Source ↗

    Appears on: Remember Me

  • Photograph of a shallow stone grave in rock, the shape of a reclining body outlined and filled with small white flowers and greenery

    Ana Mendieta, Imágen de Yágul, 1973

    Ana Mendieta Imágen de Yágul 1973 ©The Estate of Ana Mendieta Collection, LLC. Licensed by Artist Rights Society (ARS), New York / DACS, 2026 / Courtesy Marian Goodman Gallery and Alison Jacques, London. · License · Source ↗

    Appears on: Ana Mendieta

  • Exhibition image for From the Center: Looking at Lucy Lippard

    Ana Mendieta, Untitled: Silueta Series, Mexico , 1973/1991. Silver dye-bleach print; sheet for parts 1, 6, 9, 10: 15 7/8 × 19 7/8 in. (40.3 × 50.5 cm); sheet for parts 2, 3, 4, 5, 7, 8, 11, 12: 19 7/8 × 15 7/8 in. (50.5 × 40.3 cm). Collection Museum of Contemporary Art Chicago, Gift from The Howard and Donna Stone Collection, 2002.46.7. Photo: Nathan Keay © MCA Chicago

    Ana Mendieta, Untitled: Silueta Series, Mexico , 1973/1991. Silver dye-bleach print; sheet for parts 1, 6, 9, 10: 15 7/8 × 19 7/8 in. (40.3 × 50.5 cm); sheet for parts 2, 3, 4, 5, 7, 8, 11, 12: 19 7/8 × 15 7/8 in. (50.5 × 40.3 cm). Collection Museum of Contemporary Art Chicago, Gift from The Howard and Donna Stone Collection, 2002.46.7. Photo: Nathan Keay © MCA Chicago · License · Source ↗

    Appears on: From the Center: Looking at Lucy Lippard

  • Exhibition image for Bundle

    Andrea Canepa, Bundle , 2025-2026, detail

    Andrea Canepa, Bundle , 2025-2026, detail · License · Source ↗

    Appears on: Bundle

  • Andrea Zittel A to Z Living Unit: a fold-out wooden cabinet with a kitchen, shelves and a bed platform

    Andrea Zittel, A to Z 1994 Living Unit II, 1994

    Andrea Zittel (American, born 1965). A to Z 1994 Living Unit II, 1994. Oven range, upholstery, utensils, saucepans, bowls, glass jars. Overall: 57 x 84 x 82 inches (144.78 x 213.36 x 208.28 cm). Collection Buffalo AKG Art Museum. Gift of Mrs. George A. Forman, by exchange, 2007 (2007:15). © Andrea Zittel. Photo: Tom Loonan, Buffalo AKG Art Museum. · shared by Andrew Mayer, 20 Oct 2026 · Source ↗

    Appears on: The Light in the Window

  • Exhibition image for Day

    Anna Metzger, Sam Tromp, Joel Wycherley image Installation view of 'Day'

    Anna Metzger, Sam Tromp, Joel Wycherley image Installation view of 'Day' · License · Source ↗

    Appears on: Day

  • Anne Noggle, Reminiscence: Portrait with My Sister, 1980

    Anne Noggle, Reminiscence: Portrait with My Sister, 1980, gelatin silver print, Gift of the Anne Noggle Foundation. Portland Art Museum, Portland, Oregon, 2021.14.9

    Anne Noggle, Reminiscence: Portrait with My Sister, 1980, gelatin silver print, Gift of the Anne Noggle Foundation. Portland Art Museum, Portland, Oregon, 2021.14.9 · License · Source ↗

    Appears on: A Brief History of Photography: The Portrait

  • Exhibition image for Salem Gets Dressed

    Artists in the United Kingdom and the United States, Wedding dress of Mary Leverett (detail), 1719. Silk, with reproduction petticoat and sleeve and neck ruffles. Gift of Mrs. William C. West, 1928. 108486. Peabody Essex Museum. Photo by Walter Silver/PEM.

    Artists in the United Kingdom and the United States, Wedding dress of Mary Leverett (detail), 1719. Silk, with reproduction petticoat and sleeve and neck ruffles. Gift of Mrs. William C. West, 1928. 108486. Peabody Essex Museum. Photo by Walter Silver/PEM. · License · Source ↗

    Appears on: Salem Gets Dressed

  • Exhibition image for Walker Design Triennial: Beyond Materialism

    Astronauts, Gemini , 2025. Courtesy the artists, Photo: George Nalbadis

    Astronauts, Gemini , 2025. Courtesy the artists, Photo: George Nalbadis · License · Source ↗

    Appears on: Walker Design Triennial: Beyond Materialism

  • Exhibition image for Walker Design Triennial: Beyond Materialism

    Astronauts, Gemini , 2025. Courtesy the artists, Photo: George Nalbadis

    Astronauts, Gemini , 2025. Courtesy the artists, Photo: George Nalbadis · License · Source ↗

    Appears on: Walker Design Triennial: Beyond Materialism

  • Ricardo de Madrazo, Self-portrait, oil on canvas, c. 1880

    Ricardo de Madrazo, Self-portrait, c. 1880

    Autorretrato. Ricardo de Madrazo y Garreta. Óleo sobre lienzo. Hacia 1880. Madrid, Museo Nacional del Prado. Adquirido en 2025 · acceso profesionales · Source ↗

    Appears on: Ricardo de Madrazo (1852-1917): dibujos y acuarelas

  • Two tall gold-ground scrolls by Venerable Song Cheon: Mary in blue and Avalokitesvara in white

    Venerable Song Cheon, Avalokitesvara and Mary ― The Truth Has Never Left My Side, 2025

    Avalokitesvara and Mary ― The Truth Has Never Left My Side, 2025. Venerable Song Cheon (Korean). Hanging scroll; ink and colors on silk; 410 x 156 cm. Courtesy the artist. © Venerable Song Cheon. Photo © Venerable Song Cheon · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Ten Kings of Hell: The Afterlife in Medieval Korea

  • Small gilt bronze seated Avalokitesvara on a lotus base

    Avalokitesvara, 1300s

    Avalokitesvara, 1300s. Korea, Goryeo dynasty (918–1392). Gilt bronze; 15.5 cm. National Museum of Korea, Bongwan 11724, Treasure · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Ten Kings of Hell: The Afterlife in Medieval Korea

  • Exhibition image for Azzedine Alaïa: Sculpting Fashion

    Azzedine Alaïa (1935–2017), dress (detail), Spring/Summer 1990 Haute Couture. Viscose, polyamide, and elastane. Courtesy of Fondation Azzedine Alaïa. Photograph © Andrea & Valentina

    Azzedine Alaïa (1935–2017), dress (detail), Spring/Summer 1990 Haute Couture. Viscose, polyamide, and elastane. Courtesy of Fondation Azzedine Alaïa. Photograph © Andrea & Valentina · License · Source ↗

    Appears on: Azzedine Alaïa: Sculpting Fashion

  • Exhibition image for Architects of Liberation: Modernism in Western Africa

    Banque Ouest Africaine de Développement (BOAD), Lomé, Togo. 1979–80. Guy Durand, Yves Ménard, and Messan Raphaël Ekoué-Hagbonon. 2025. Photograph: François-Xavier Gbré

    Banque Ouest Africaine de Développement (BOAD), Lomé, Togo. 1979–80. Guy Durand, Yves Ménard, and Messan Raphaël Ekoué-Hagbonon. 2025. Photograph: François-Xavier Gbré · License · Source ↗

    Appears on: Architects of Liberation: Modernism in Western Africa

  • Black and white photograph of a woman seated alone on a bench in a Louvre gallery beneath a large framed portrait of a painter holding a brush

    Barbara Klemm, Musée du Louvre, 1987

    Barbara Klemm. Musée du Louvre, 1987. Photographie. © Barbara Klemm / courtesy Galerie Peter Sillem · License · Source ↗

    Appears on: Louvre Photo

  • Exhibition image for Education & Empowerment: Scholarship Recipients at the Barnes Foundation, Vol. Two: 1927–1952

    Barnes scholarship recipient Claude Clark at work for the Work Projects Administration, 1940. Photo by Myron “Mike” Krasney. Federal Works Agency, Work Projects Administration, on long-term loan to the Philadelphia Museum of Art from the Fine Arts Collection, US General Services Administration, 1943

    Barnes scholarship recipient Claude Clark at work for the Work Projects Administration, 1940. Photo by Myron “Mike” Krasney. Federal Works Agency, Work Projects Administration, on long-term loan to the Philadelphia Museum of Art from the Fine Arts Collection, US General Services Administration, 1943 · License · Source ↗

    Appears on: Education & Empowerment: Scholarship Recipients at the Barnes Foundation, Vol. Two: 1927–1952

  • Pollaiuolo engraving of ten nude men fighting with swords, axes and bows before a dense thicket

    Antonio del Pollaiuolo, Battle of the Nudes, 1470s–80s

    Battle of the Nudes, 1470s–80s. Antonio del Pollaiuolo (Italian, 1431/32–1498). Engraving; image: 42 x 60.4 cm; sheet: 42.4 x 60.9 cm. The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1967.127 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: The Renaissance Engraver at Work

  • Exhibition image for Baya

    Baya L’âne bleu 1948. Gouache and watercolour on paper. 1000 × 1500 mm. Collection Kamel Lazaar Foundation, Geneva / Tunis © Baya Estate, Courtesy Mennour, Paris. Photo: © AGUTTES – Rodolphe Alepuz

    Baya L’âne bleu 1948. Gouache and watercolour on paper. 1000 × 1500 mm. Collection Kamel Lazaar Foundation, Geneva / Tunis © Baya Estate, Courtesy Mennour, Paris. Photo: © AGUTTES – Rodolphe Alepuz · License · Source ↗

    Appears on: Baya

  • Betsabeé Romero, Tejiendo Redes: a woven net installation on a frame outside the museum’s ornate façade

    Betsabeé Romero, Tejiendo Redes

    Betsabeé Romero, Tejiendo Redes (Weaving Nets), installation view, The San Diego Museum of Art. Courtesy of The San Diego Museum of Art. · via 62 Above · Source ↗

    Appears on: Betsabeé Romero: Tejiendo Redes (Weaving Nets)

  • Betsabeé Romero, Tejiendo Redes: the woven net installation on the lawn in front of the museum

    Betsabeé Romero, Tejiendo Redes

    Betsabeé Romero, Tejiendo Redes (Weaving Nets), installation view, The San Diego Museum of Art. Courtesy of The San Diego Museum of Art. · via 62 Above · Source ↗

    Appears on: Betsabeé Romero: Tejiendo Redes (Weaving Nets)

  • Portrait of the artist Betsabeé Romero seated outdoors by the water

    Portrait of the artist Betsabeé Romero seated outdoors by the water

    Betsabeé Romero. Courtesy of The San Diego Museum of Art. · via 62 Above · Source ↗

    Appears on: Betsabeé Romero: Tejiendo Redes (Weaving Nets)

  • Marcel Duchamp, Bicycle Wheel: a bicycle wheel mounted upside down on a white wooden stool

    Marcel Duchamp, Bicycle Wheel

    Bicycle Wheel, 1964 (replica of 1913 original), Marcel Duchamp, Wheel, painted wood, Gift of Galleria Schwarz, 1964, 1964-175-1 · press.philamuseum.org · Source ↗

    Appears on: Marcel Duchamp

  • Billie Holiday performing at the Albert Hall, London, 1954, on view in DIVA at the Denver Art Museum

    Billie Holiday performing at the Albert Hall, London, 1954, on view in DIVA at the Denver Art Museum

    Billie Holiday at her only ever London appearance, Albert Hall, 1954. Harry Hammond © Victoria and Albert Museum, London.

    Appears on: DIVA

  • Exhibition image for Bouquets to Art 2027

    Bouquets to Art Opening Night, 2026. Photograph by Drew Altizer Photography

    Bouquets to Art Opening Night, 2026. Photograph by Drew Altizer Photography · License · Source ↗

    Appears on: Bouquets to Art 2027

  • A sculptural piece of jewelry made up of a lime green cluster of shards and teal gems with vibrant orange accents, mounted on a slender, vertical, mint-green post.

    Brighten Up! Contemporary EnamelsJune 1, 2024 – June 14, 2026

    Brighten Up! Contemporary EnamelsJune 1, 2024 – June 14, 2026 · License · Source ↗

    Appears on: Brighten Up!

  • Brooklyn Museum building

    World's Columbian Exposition: Horticultural Building, Chicago, United States, 1893. Panoramic view of Horticultural Building from the Liberal Arts Building, Sept.; Starks W. Lewis, Amateur, Brooklyn, N.Y. Brooklyn Museum Archives, Goodyear Archival Collection (S03_06_01_016 image 2212). It helps us to know how our visitors work with our images, so if you use it, we'd love to know how! Drop us a line by leaving a comment here or email our archivist: library@brooklynmuseum.org

    Brooklyn Museum / Wikimedia Commons · Source ↗

    Appears on: Brooklyn Museum

  • Bust of the Emperor Marcus Aurelius Unknown sculptor White marble AD 161-169 Donated by Claudio Bravo, 2000

    Bust of the Emperor Marcus Aurelius Unknown sculptor White marble AD 161-169 Donated by Claudio Bravo, 2000

    Bust of the Emperor Marcus Aurelius Unknown sculptor White marble AD 161-169 Donated by Claudio Bravo, 2000 · License · Source ↗

    Appears on: Prado. 21st Century

  • Ricardo de Madrazo, Old Gentleman, a pencil and watercolour copy after El Greco, 1873

    Ricardo de Madrazo, Old Gentleman (copy after El Greco), 1873

    Caballero anciano (copia de El Greco). Ricardo de Madrazo y Garreta. Lápiz y acuarela sobre cartulina. 1873. Firmado y fechado. Madrid, Museo Nacional del Prado. Donado por Claude Rico Robert en 2012 · acceso profesionales · Source ↗

    Appears on: Ricardo de Madrazo (1852-1917): dibujos y acuarelas

  • Pair of twisting gilt-metal Rococo candlesticks shown side by side

    Juste-Aurèle Meissonnier, Candlesticks, c. 1740

    Candlesticks, c. 1740. Juste-Aurèle Meissonnier (French, b. Italy, 1695–1750). Gilt metal; 29.6 x 18.5 x 16.9 cm. The Cleveland Museum of Art, Bequest of Mrs. Severance A. Millikin, 1989.166 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Juste-Aurèle Meissonnier: Rococo Goldsmith in Focus

  • Exhibition image for Arts of Indigenous America

    Cannupa Hanska Luger (Mandan, Hidatsa, Arikara and Lakota, b. 1979), Special Forces , 2025. Acrylic and mixed media on canvas, 110 x 193 in. (279.401 x 490.221 cm). Fine Arts Museums of San Francisco, museum purchase, Phyllis C. Wattis Fund for Major Accessions, 2024.45a-j. Artwork © Cannupa Hanska Luger. Photograph by Randy Dodson

    Cannupa Hanska Luger (Mandan, Hidatsa, Arikara and Lakota, b. 1979), Special Forces , 2025. Acrylic and mixed media on canvas, 110 x 193 in. (279.401 x 490.221 cm). Fine Arts Museums of San Francisco, museum purchase, Phyllis C. Wattis Fund for Major Accessions, 2024.45a-j. Artwork © Cannupa Hanska Luger. Photograph by Randy Dodson · License · Source ↗

    Appears on: Arts of Indigenous America

  • Exhibition image for Women and the Index of American Design

    Carmel Wilson, Silk Couch Cover, c. 1938, watercolor and graphite on paperboard, 29.2 x 36.5 cm. National Gallery of Art, Index of American Design, 1943.8.347

    Carmel Wilson, Silk Couch Cover, c. 1938, watercolor and graphite on paperboard, 29.2 x 36.5 cm. National Gallery of Art, Index of American Design, 1943.8.347 · License · Source ↗

    Appears on: Women and the Index of American Design

  • Naoko Matsubara woodcut print: Cat’s Cradle A, 1976

    Naoko Matsubara, Cat's Cradle A, 1976

    Cat's Cradle A, 1976. Naoko Matsubara (Canadian, born in Japan, born in 1937). Woodcut. Francis Welch Fund, Towles Contemporary Art Fund, and Edward S. Morse Memorial Fund. © Naoko Matsubara. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Naoko Matsubara’s Woodblock Worlds

  • Renaissance portrait of a woman in a black bodice with red velvet sleeves and a lace-trimmed white cap, holding a small white dog, signed and dated in the upper right

    Catharina van Hemessen, Portrait of a Lady, 1551

    Catharina van Hemessen, 'Portrait of a Lady', 1551. © The National Gallery, London · License · Source ↗

    Appears on: Catharina van Hemessen: Signature Works

  • Cecil Beaton, Anna May Wong: the actor seated before a pale floral backdrop

    Cecil Beaton, Anna May Wong

    Cecil Beaton, Anna May Wong,1929. Gelatin silver print. The Cecil Beaton Studio Archive, London. © Condé Nast. · via 62 Above · Source ↗

    Appears on: Cecil Beaton’s Fashionable World

  • Cecil Beaton, Best Invitation of the Season: a woman in a sweeping green and red ballgown by Balmain standing in a grand paneled room

    Cecil Beaton, Best Invitation of the Season

    Cecil Beaton, Best Invitation of the Season (Nina De Voe in Ballgown by Balmain), 1951. Original color transparency. The Condé Nast Archive, New York. © Condé Nast. · via 62 Above · Source ↗

    Appears on: Cecil Beaton’s Fashionable World

  • Cecil Beaton, Cecil Beaton in Hollywood: the photographer smiling as he leans on a stair rail

    Cecil Beaton, Cecil Beaton in Hollywood

    Cecil Beaton, Cecil Beaton in Hollywood, 1930s. Gelatin silver print. The National Portrait Gallery, London. © National Portrait Gallery, London. · via 62 Above · Source ↗

    Appears on: Cecil Beaton’s Fashionable World

  • Cecil Beaton, Cecil Beaton, 1935: the photographer posing inside an ornate carved frame surrounded by flowers

    Cecil Beaton, Cecil Beaton, 1935

    Cecil Beaton, Cecil Beaton,1935. Gelatin silver print. The Cecil Beaton Studio Archive, London. © Condé Nast · via 62 Above · Source ↗

    Appears on: Cecil Beaton’s Fashionable World

  • Cecil Beaton, Fashions Made to Order: a woman in a wool coat and feathered hat reading a letter, in dramatic light

    Cecil Beaton, Fashions Made to Order

    Cecil Beaton, Fashions Made to Order (Andrea Johnson in wool coat by Fira Benenson), 1944. Gelatin silver print. The Cecil Beaton Studio Archive, London. © Condé Nast · via 62 Above · Source ↗

    Appears on: Cecil Beaton’s Fashionable World

  • Cecil Beaton, Gary Cooper: the actor in an open-necked shirt with his hands on his belt

    Cecil Beaton, Gary Cooper

    Cecil Beaton, Gary Cooper, 1929, Toned gelatin silver print, The Cecil Beaton Studio Archive, London. © Condé Nast. · via 62 Above · Source ↗

    Appears on: Cecil Beaton’s Fashionable World

  • Cecil Beaton, Mrs. Carl Bendix in costume for the Galaxy Ball: a woman in a vast shimmering hooped gown

    Cecil Beaton, Mrs. Carl Bendix in costume for the Galaxy Ball

    Cecil Beaton, Mrs. Carl Bendix in costume for the Galaxy Ball, 1929. Gelatin silver print. The Cecil Beaton Studio Archive, London. Cecil Beaton Archive © Condé Nast. · via 62 Above · Source ↗

    Appears on: Cecil Beaton’s Fashionable World

  • Cecil Beaton, Nancy Harris at the Coty Ball: a young woman in a pale strapless ballgown and pink stole holding a small bouquet

    Cecil Beaton, Nancy Harris at the Coty Ball

    Cecil Beaton, Nancy Harris at the Coty Ball, 1946. Original color transparency. The Condé Nast Archive, New York. © Condé Nast. · via 62 Above · Source ↗

    Appears on: Cecil Beaton’s Fashionable World

  • Cecil Beaton, Painters’ Print: three women in patterned printed dresses inside a stylized pointed arch

    Cecil Beaton, Painters’ Print

    Cecil Beaton, Painters’ Print (dress by Eta, Nettie Rosenstein and Sophie at Saks Fifth Avenue), 1946. Original color transparency. The Condé Nast Archive. © Condé Nast · via 62 Above · Source ↗

    Appears on: Cecil Beaton’s Fashionable World

  • Cecil Beaton, Polka Dots (Tilly Losch): the dancer in profile in a polka-dot dress against a polka-dot backdrop

    Cecil Beaton, Polka Dots (Tilly Losch)

    Cecil Beaton, Polka Dots (Tilly Losch), 1930. Gelatin silver print. The Cecil Beaton Studio Archive, London. © Condé Nast. · via 62 Above · Source ↗

    Appears on: Cecil Beaton’s Fashionable World

  • Cecil Beaton, Rex Harrison and Julie Andrews in costume for My Fair Lady: the cast in Edwardian costume and hats posed against a white backdrop

    Cecil Beaton, Rex Harrison and Julie Andrews in costume for My Fair Lady

    Cecil Beaton, Rex Harrison and Julie Andrews in costume for My Fair Lady on Broadway,1956. Gelatin silver print. The Cecil Beaton Studio Archive, London. © Condé Nast · via 62 Above · Source ↗

    Appears on: Cecil Beaton’s Fashionable World

  • Cecil Beaton, The Paris Collections (Comtesse de la Falaise): a woman in black seated before a draped net

    Cecil Beaton, The Paris Collections (Comtesse de la Falaise)

    Cecil Beaton, The Paris Collections (Comtesse de la Falaise), 1929. Gelatin silver print. The Cecil Beaton Studio Archive, London. © Condé Nast · via 62 Above · Source ↗

    Appears on: Cecil Beaton’s Fashionable World

  • Cecil Beaton, The Second Age of Beauty Is Glamour: a woman in a red hat and red suit against a deep red background

    Cecil Beaton, The Second Age of Beauty Is Glamour

    Cecil Beaton, The Second Age of Beauty Is Glamour (suit by Hartnell), 1946, Original color transparency, The Cecil Beaton Studio Archive, London © Condé Nast · via 62 Above · Source ↗

    Appears on: Cecil Beaton’s Fashionable World

  • Cecil Beaton, The Wonder of the Age: Marilyn Monroe lying back with her hands raised to her face against a patterned backdrop

    Cecil Beaton, The Wonder of the Age

    Cecil Beaton, The Wonder of the Age (Marilyn Monroe), 1956. Gelatin silver print. The National Portrait Gallery, London. © National Portrait Gallery, London. Marilyn Monroe™; Rights of Publicity and Persona Rights are used with permission of The Estate of Marilyn Monroe LLC. · via 62 Above · Source ↗

    Appears on: Cecil Beaton’s Fashionable World

  • Cedric Morris, Roma Milla, 1936

    Cedric Morris, Roma Milla, 1936

    Cedric Morris (1889–1982), Roma Milla, 1936. Oil on canvas, 75.2 x 62.7 cm. Gainsborough’s House, Sudbury, Suffolk · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Peggy Guggenheim in London

  • Cedric Morris, portrait of Scott MacGregor, c. 1935–37

    Cedric Morris, Scott MacGregor, ca. 1935–37

    Cedric Morris (1889–1982), Scott MacGregor, ca. 1935–37. Oil on board, 59 x 48 cm. Gainsborough’s House, Sudbury, Suffolk · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Peggy Guggenheim in London

  • Pale green celadon cup with molded lotus petals around its sides

    Celadon Cup with Molded Lotus Petal Design, 1100s–1200s

    Celadon Cup with Molded Lotus Petal Design, 1100s–1200s. Korea, Goryeo dynasty (918–1392). Celadon; h.11 cm, diam. 10.7 cm. The Cleveland Museum of Art, Gift of Mr. Sang-goo Kong in celebration of the museum’s Korean art collection, 2025.180 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Ten Kings of Hell: The Afterlife in Medieval Korea

  • Lobed celadon dish with a molded phoenix design in its well, seen from above

    Celadon Dish with Molded Phoenix Design in the Shape of a Flower, 1200s

    Celadon Dish with Molded Phoenix Design in the Shape of a Flower, 1200s. Korea, Goryeo dynasty (918–1392). Celadon; 8.3 cm. The Cleveland Museum of Art, Gift of Mr. Sang-goo Kong in honor of Dr. William Griswold, 2025.17 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Ten Kings of Hell: The Afterlife in Medieval Korea

  • Exhibition image for Atrium Project: Celeste Rapone

    Celeste Rapone, Sideline (after Ben Shahn) , 2025. Oil on canvas; 72 × 90 in. (182.9 × 228.6 cm).

    Celeste Rapone, Sideline (after Ben Shahn) , 2025. Oil on canvas; 72 × 90 in. (182.9 × 228.6 cm). · License · Source ↗

    Appears on: Atrium Project: Celeste Rapone

  • Exhibition image for Architects of Liberation: Modernism in Western Africa

    Centre International du Commerce Extérieur du Sénégal (CICES), Dakar, Senegal. 1971–74. Jean-François Lamoureux (b. 1943) and Jean Louis Marin (b. 1943). 1974. Photograph: Michel Fegyveres

    Centre International du Commerce Extérieur du Sénégal (CICES), Dakar, Senegal. 1971–74. Jean-François Lamoureux (b. 1943) and Jean Louis Marin (b. 1943). 1974. Photograph: Michel Fegyveres · License · Source ↗

    Appears on: Architects of Liberation: Modernism in Western Africa

  • Charles Marion Russell, Buffalo Hunt, Number 40, 1919, oil paint on canvas, on view in Storytellers: The Blackfeet Nation and Charles M. Russell at the Denver Art Museum

    Charles Marion Russell, Buffalo Hunt, Number 40, 1919, oil paint on canvas, on view in Storytellers: The Blackfeet Nation and Charles M. Russell at the Denver Art Museum

    Charles Marion Russell, Buffalo Hunt, Number 40, 1919. Planned Gift from Tom and Jane Petrie to the Denver Art Museum. Photo by Christina Jackson, courtesy Denver Art Museum.

    Appears on: Storytellers

  • Charles Marion Russell, The Fireboat, 1918, oil on board, on view in Storytellers: The Blackfeet Nation and Charles M. Russell at the Denver Art Museum

    Charles Marion Russell, The Fireboat, 1918, oil on board, on view in Storytellers: The Blackfeet Nation and Charles M. Russell at the Denver Art Museum

    Charles Marion Russell, The Fireboat, 1918. C. M. Russell Museum, Great Falls, Montana, gift of Mrs. Wade George in memory of Wade Hampton George. Courtesy Denver Art Museum.

    Appears on: Storytellers

  • Charles Marion Russell, The Scout, 1915, oil paint on canvas, on view in Storytellers: The Blackfeet Nation and Charles M. Russell at the Denver Art Museum

    Charles Marion Russell, The Scout, 1915, oil paint on canvas, on view in Storytellers: The Blackfeet Nation and Charles M. Russell at the Denver Art Museum

    Charles Marion Russell, The Scout, 1915. Planned Gift from Tom and Jane Petrie to the Denver Art Museum. Photo by Jeff Wells, courtesy Denver Art Museum.

    Appears on: Storytellers

  • Exhibition image for Mondrian Boogie Woogie

    Charles Peterson. Albert Ammons and Meade Lux Lewis at Café Society Downtown. 1939. Gelatin silver print (printed later). 8 x 10 in. Courtesy of Don Peterson.

    Charles Peterson. Albert Ammons and Meade Lux Lewis at Café Society Downtown. 1939. Gelatin silver print (printed later). 8 x 10 in. Courtesy of Don Peterson. · License · Source ↗

    Appears on: Mondrian Boogie Woogie

  • Charles Scowen, Angraecum Sesquipedale: a photograph of a star-shaped white orchid

    Charles Scowen, Angraecum Sesquipedale

    Charles Scowen, Angraecum Sesquipedale, 1880. Photographic prints. Gift of Cam and Wanda Garner, 2020.25. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Charles Willson Peale, Staircase Group: a life-size painting of two young men on a narrow staircase, one holding a palette, set in a real doorframe with a wooden step

    Charles Willson Peale, Staircase Group

    Charles Willson Peale, (1741 - 1827), Staircase Group (Portrait of Raphaelle Peale and Titian Ramsay Peale I), 1795 Oil on canvas 7 ft 5 1/2 in × 39 3/8 in, Philadelphia Museum of Art, The George W. Elkins Collection, 1945 , E1945-1-1. · press.philamuseum.org · Source ↗

    Appears on: A Nation of Artists

  • Exhibition image for Charlotte Perriand. Free to Rethink the World

    Charlotte Perriand with Le Corbusier’s hands holding a plate like a halo, 1928. Photo: Pierre Jeanneret/AChP 2025.

    Charlotte Perriand with Le Corbusier’s hands holding a plate like a halo, 1928. Photo: Pierre Jeanneret/AChP 2025. · License · Source ↗

    Appears on: Charlotte Perriand. Free to Rethink the World

  • Wood sculpture depicting antlers.

    China, Jiangling Chu culture, Hubei province (Chinese), Zhenmushou (Tomb Guardian), 4th century BCE/3rd century BCE, wood and natural antlers with traces of lacquer, 38 in x 25 3/4 in x 18 in, The Arlene and Harold Schnitzer Collection of Early Chinese Art, public domain, 2002.71.1a-e

    China, Jiangling Chu culture, Hubei province (Chinese), Zhenmushou (Tomb Guardian), 4th century BCE/3rd century BCE, wood and natural antlers with traces of lacquer, 38 in x 25 3/4 in x 18 in, The Arlene and Harold Schnitzer Collection of Early Chinese Art, public domain, 2002.71.1a-e · License · Source ↗

    Appears on: Heaven and Earth: Chinese Art from the Collections

  • Kawada Kikuji, Chizu / The Map, 1965, the illustrated photobook

    Kawada Kikuji, Chizu / The Map, 1965

    Chizu / The Map, 1965. Kawada Kikuji (Japanese, born in 1933). Illustrated book. Museum purchase with funds by exchange from the Bequest of Charles W. Millard III. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Kawada Kikuji: Chizu (The Map)

  • Kawada Kikuji, Chizu / The Map, 1965, the illustrated photobook (second view)

    Kawada Kikuji, Chizu / The Map, 1965

    Chizu / The Map, 1965. Kawada Kikuji (Japanese, born in 1933). Illustrated book. Museum purchase with funds by exchange from the Bequest of Charles W. Millard III. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Kawada Kikuji: Chizu (The Map)

  • Schongauer engraving of a crowded procession with Christ fallen beneath the cross

    Martin Schongauer, Christ Carrying the Cross, 1475–90

    Christ Carrying the Cross, 1475–90. Martin Schongauer (German, c. 1450–1491). Engraving; sheet: 29 x 43.6 cm. The Cleveland Museum of Art, Dudley P. Allen Fund, 1941.389 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: The Renaissance Engraver at Work

  • Christian Schad, Sonja, 1928 — oil painting of a seated woman in a black dress at a café table, from the Frihedens Fald exhibition

    Christian Schad, Sonja, 1928 — oil painting of a seated woman in a black dress at a café table, from the Frihedens Fald exhibition

    Christian Schad, Sonja, 1928. © Neue Nationalgalerie, Stiftung Preußischer Kulturbesitz, Berlin / Photo: Jörg P. Anders

    Appears on: Frihedens Fald Kunsten i Tyskland 1910 – 1945

  • Exhibition image for Superficial Matters: Artists from the Svane Gift and Beyond

    Christiane Lyons, Leonora: Arrangement in Radiant Magenta and Cadmium Red Light (detail), 2021. Oil on canvas, 60 1/8 x 45 in. (152.4 x 114.3 cm). Fine Arts Museums of San Francisco, museum purchase, a gift from The Svane Family Foundation, 2022.26.11. © Christiane Lyons. Photograph by Randy Dodson

    Christiane Lyons, Leonora: Arrangement in Radiant Magenta and Cadmium Red Light (detail), 2021. Oil on canvas, 60 1/8 x 45 in. (152.4 x 114.3 cm). Fine Arts Museums of San Francisco, museum purchase, a gift from The Svane Family Foundation, 2022.26.11. © Christiane Lyons. Photograph by Randy Dodson · License · Source ↗

    Appears on: Superficial Matters: Artists from the Svane Gift and Beyond

  • Exhibition image for The Etruscans: From the Heart of Ancient Italy

    Cinerary urn of the spouses, Etruscan, Caere (modern Cerveteri) (detail), 520–500 BC. Terracotta, 22 x 22 7/8 x 9 7/8 in. (56 x 58 x 25 cm). Musée du Louvre, Paris, Purchase 1861, collection of the Marquis Giovanni Pietro Campana, Cp 5193.1–2

    Cinerary urn of the spouses, Etruscan, Caere (modern Cerveteri) (detail), 520–500 BC. Terracotta, 22 x 22 7/8 x 9 7/8 in. (56 x 58 x 25 cm). Musée du Louvre, Paris, Purchase 1861, collection of the Marquis Giovanni Pietro Campana, Cp 5193.1–2 · License · Source ↗

    Appears on: The Etruscans: From the Heart of Ancient Italy

  • Claude Monet, Eglise de Varengeville, effet matinal: a church on a clifftop above a sunlit cliff face

    Claude Monet, Eglise de Varengeville, effet matinal

    Claude Monet, Eglise de Varengeville, effet matinal, 1882. Oil on canvas. Collection of John and Toni Bloomberg. Promised Gift to SDMA. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Clytie, a Roman marble sculpture of a reclining woman with raised arm, restored in the 17th century, against black

    Clytie, c. 130–150 and c. 1665–80

    Clytie. Roman Workshop / Giulio Cartari. Marble. c. 130-150 (lower part); c. 1665-80 (torso, head, left arm and right hand). Madrid, Museo Nacional del Prado (Origin Royal Collection) · acceso profesionales · Source ↗

    Appears on: Christina of Sweden. A passion for sculpture

  • Three illuminated spherical sculptures made of tangled colored neon-like lines, suspended from the ceiling with a visitor looking up

    Three illuminated spherical sculptures made of tangled colored neon-like lines, suspended from the ceiling with a visitor looking up

    Collection Favourites, ARoS 2026. Photo: Mads Smidstrup © ARoS

    Appears on: Favoritter fra samlingen

  • Ghostlike sculpture of a veiled figure in draped white fabric with a floral wreath, standing on a black crate with an offering bowl

    Ghostlike sculpture of a veiled figure in draped white fabric with a floral wreath, standing on a black crate with an offering bowl

    Collection Favourites, ARoS 2026. Photo: Mads Smidstrup © ARoS

    Appears on: Favoritter fra samlingen

  • Hyperrealistic sculpture of two sunbathers reclining under a striped beach umbrella, installed in the museum's glass entrance hall

    Hyperrealistic sculpture of two sunbathers reclining under a striped beach umbrella, installed in the museum's glass entrance hall

    Collection Favourites, ARoS 2026. Photo: Mads Smidstrup © ARoS

    Appears on: Favoritter fra samlingen

  • Wall of framed line drawings from the ARoS collection, ten works in light wood frames arranged in two rows

    Wall of framed line drawings from the ARoS collection, ten works in light wood frames arranged in two rows

    Collection Favourites, ARoS 2026. Photo: Mads Smidstrup © ARoS

    Appears on: Favoritter fra samlingen

  • Dark video installation gallery with three screens showing glowing blue, red, and teal figures in water, with benches for viewing

    Dark video installation gallery with three screens showing glowing blue, red, and teal figures in water, with benches for viewing

    Collection Favourites, ARoS 2026. Photo: Mads Smidstrup © ARoS

    Appears on: Favoritter fra samlingen

  • Banaan Al-Nasser's Bab al-Hara installation: three satellite dishes mounted on a museum wall beside a wall text panel

    Banaan Al-Nasser's Bab al-Hara installation: three satellite dishes mounted on a museum wall beside a wall text panel

    Collection Favourites, ARoS 2026. Photo: Mads Smidstrup © ARoS

    Appears on: Favoritter fra samlingen

  • Exhibition image for A Statue for Liberty, Bartholdi’s dream, from Paris to New York

    Concept Art ©GEDEON Experiences – BackLight – musée d'Orsay – VIVE Arts

    Concept Art ©GEDEON Experiences – BackLight – musée d'Orsay – VIVE Arts · License · Source ↗

    Appears on: A Statue for Liberty, Bartholdi’s dream, from Paris to New York

  • Exhibition image for A Statue for Liberty, Bartholdi’s dream, from Paris to New York

    Concept Art ©GEDEON Experiences – BackLight – musée d'Orsay – VIVE Arts

    Concept Art ©GEDEON Experiences – BackLight – musée d'Orsay – VIVE Arts · License · Source ↗

    Appears on: A Statue for Liberty, Bartholdi’s dream, from Paris to New York

  • Naoko Matsubara woodcut print: Conducting, 2004

    Naoko Matsubara, Conducting, 2004

    Conducting, 2004. Naoko Matsubara (Canadian, born in Japan, born in 1937). Woodcut. Gift of the artist. © Naoko Matsubara. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Naoko Matsubara’s Woodblock Worlds

  • Constance DeJong sculpture: a mint green vintage Crosley radio on a white plinth

    Constance DeJong, Mint Green Crosley (Series Three), 2016–2017

    Constance DeJong (American, born 1950). Mint Green Crosley (Series Three), 2016-2017. Re-engineered radio with amplitude-sensitive LEDs, audio. Overall: 6 x 9 x 6 inches (15.24 x 22.86 x 15.24 cm); running time: 16 minutes, 49 seconds. Collection Buffalo AKG Art Museum. Gift of Eileen and Michael Cohen, 2024 (2024:65). © Constance DeJong. Photo: Brenda Bieger, Buffalo AKG Art Museum. · shared by Andrew Mayer, 20 Oct 2026 · Source ↗

    Appears on: The Light in the Window

  • Construction of the Fine Arts Gallery façade in 1925, with scaffolding and rubble in front

    Construction of the Fine Arts Gallery façade in 1925, with scaffolding and rubble in front

    Construction of the façade of the Fine Arts Gallery, now The San Diego Museum of Art, 1925. The San Diego Museum of Art Archives. · via 62 Above · Source ↗

    Appears on: SDMA 100 Years

  • Exhibition image for The Edge of Things

    Exhibition image for The Edge of Things

    Courtesy of Art Gallery of New South Wales · License · Source ↗

    Appears on: The Edge of Things

  • Exhibition image for Sunday Best: The Power & The Glory of Black Style

    Exhibition image for Sunday Best: The Power & The Glory of Black Style

    Courtesy of Art Gallery of Ontario · License · Source ↗

    Appears on: Sunday Best: The Power & The Glory of Black Style

  • Exhibition image for Dawoud Bey: Material Histories, Living Landscapes

    Installation view of

    Courtesy of Art Gallery of Ontario · License · Source ↗

    Appears on: Dawoud Bey: Material Histories, Living Landscapes

  • The Impressionist Revolution: Monet to Matisse from the Dallas Museum of Art building

    The Impressionist Revolution: Monet to Matisse from the Dallas Museum of Art building

    Courtesy of Art Gallery of Ontario · License · Source ↗

    Appears on: The Impressionist Revolution: Monet to Matisse from the Dallas Museum of Art

  • Exhibition image for Brian Groombridge: New Models for Measurement

    Brian Groombridge.

    Courtesy of Art Gallery of Ontario · License · Source ↗

    Appears on: Brian Groombridge: New Models for Measurement

  • Exhibition image for Melissa Auf der Maur: My ‘90s Rock Photographs

    Exhibition image for Melissa Auf der Maur: My ‘90s Rock Photographs

    Courtesy of Art Gallery of Ontario · License · Source ↗

    Appears on: Melissa Auf der Maur: My ‘90s Rock Photographs

  • Exhibition image for Utamaro: Elements of Beauty

    Hour of the Ox [2am] (Ushi no koku) from the series The Twelve Hours in Yoshiwara (Seiro juni toki tsuzuki) , about 1794 Kitagawa Utamaro 喜多川 歌麿

    Courtesy of Art Institute of Chicago · License · Source ↗

    Appears on: Utamaro: Elements of Beauty

  • Exhibition image for Art from Contemporary Cambodia

    © 2026 Asian Art Museum – Chong-Moon Lee Center for Asian Art and Culture

    Courtesy of Asian Art Museum of San Francisco · License · Source ↗

    Appears on: Art from Contemporary Cambodia

  • Exhibition image for Al-An deSouza: Table Settings

    © 2026 Asian Art Museum – Chong-Moon Lee Center for Asian Art and Culture

    Courtesy of Asian Art Museum of San Francisco · License · Source ↗

    Appears on: Al-An deSouza: Table Settings

  • Exhibition image for This Asian American Life

    © 2026 Asian Art Museum – Chong-Moon Lee Center for Asian Art and Culture

    Courtesy of Asian Art Museum of San Francisco · License · Source ↗

    Appears on: This Asian American Life

  • Exhibition image for Ha Chong-Hyun: Retrospective

    © 2026 Asian Art Museum – Chong-Moon Lee Center for Asian Art and Culture

    Courtesy of Asian Art Museum of San Francisco · License · Source ↗

    Appears on: Ha Chong-Hyun: Retrospective

  • Exhibition image for Vishnu’s Cosmic Ocean

    © 2026 Asian Art Museum – Chong-Moon Lee Center for Asian Art and Culture

    Courtesy of Asian Art Museum of San Francisco · License · Source ↗

    Appears on: Vishnu’s Cosmic Ocean

  • Exhibition image for Garuda in Bali

    © 2026 Asian Art Museum – Chong-Moon Lee Center for Asian Art and Culture

    Courtesy of Asian Art Museum of San Francisco · License · Source ↗

    Appears on: Garuda in Bali

  • Exhibition image for Garuda in Bali

    Exhibition image for Garuda in Bali

    Courtesy of Asian Art Museum of San Francisco · License · Source ↗

    Appears on: Garuda in Bali

  • Exhibition image for Kim Minwook: On Carving, Bending, and Binding Wood

    © 2026 Asian Art Museum – Chong-Moon Lee Center for Asian Art and Culture

    Courtesy of Asian Art Museum of San Francisco · License · Source ↗

    Appears on: Kim Minwook: On Carving, Bending, and Binding Wood

  • Matisse and Martinique: Portraits and Poetry building

    Matisse and Martinique: Portraits and Poetry (28)

    Courtesy of Baltimore Museum of Art · License · Source ↗

    Appears on: Matisse and Martinique: Portraits and Poetry

  • Exhibition image for Jerrell Gibbs: Come home with me

    Copyright © Baltimore Museum of Art 2026

    Courtesy of Baltimore Museum of Art · License · Source ↗

    Appears on: Jerrell Gibbs: Come home with me

  • Exhibition image for Diedrick Brackens: lights at the end of the world

    Copyright © Baltimore Museum of Art 2026

    Courtesy of Baltimore Museum of Art · License · Source ↗

    Appears on: Diedrick Brackens: lights at the end of the world

  • Exhibition image for Tempting to Touch: Surface and Substance in 20th-Century American Art

    Copyright © Baltimore Museum of Art 2026

    Courtesy of Baltimore Museum of Art · License · Source ↗

    Appears on: Tempting to Touch: Surface and Substance in 20th-Century American Art

  • Exhibition image for Flashback: Two Centuries of Baltimore Photography

    Copyright © Baltimore Museum of Art 2026

    Courtesy of Baltimore Museum of Art · License · Source ↗

    Appears on: Flashback: Two Centuries of Baltimore Photography

  • Exhibition image for Woven Monuments: Tapestry and Identity in Senegal

    Copyright © Baltimore Museum of Art 2026

    Courtesy of Baltimore Museum of Art · License · Source ↗

    Appears on: Woven Monuments: Tapestry and Identity in Senegal

  • Just Us building

    Robert Rigler. Manayunk Train Bridge (detail) , 2025

    Courtesy of Barnes Foundation · License · Source ↗

    Appears on: Just Us

  • Exhibition image for Roll Call: Two Hundred Years of Black American Art

    Exhibition image for Roll Call: Two Hundred Years of Black American Art

    Courtesy of Birmingham Museum of Art · License · Source ↗

    Appears on: Roll Call: Two Hundred Years of Black American Art

  • Exhibition image for Marks of Intention

    Exhibition image for Marks of Intention

    Courtesy of Birmingham Museum of Art · License · Source ↗

    Appears on: Marks of Intention

  • Exhibition image for Wall to Wall: Christopher Myers

    Exhibition image for Wall to Wall: Christopher Myers

    Courtesy of Birmingham Museum of Art · License · Source ↗

    Appears on: Wall to Wall: Christopher Myers

  • Exhibition image for Disruption!

    Exhibition image for Disruption!

    Courtesy of Birmingham Museum of Art · License · Source ↗

    Appears on: Disruption!

  • Exhibition image for Iris van Herpen: Sculpting the Senses

    Exhibition image for Iris van Herpen: Sculpting the Senses

    Courtesy of Brooklyn Museum · License · Source ↗

    Appears on: Iris van Herpen: Sculpting the Senses

  • Exhibition image for Cézanne to Modigliani: Gifts of Modern Art from the Pearlman Collection

    Exhibition image for Cézanne to Modigliani: Gifts of Modern Art from the Pearlman Collection

    Courtesy of Brooklyn Museum · License · Source ↗

    Appears on: Cézanne to Modigliani: Gifts of Modern Art from the Pearlman Collection

  • Exhibition image for Manga Before Manga: Japanese Art from the Collection

    Exhibition image for Manga Before Manga: Japanese Art from the Collection

    Courtesy of Brooklyn Museum · License · Source ↗

    Appears on: Manga Before Manga: Japanese Art from the Collection

  • Exhibition image for Hopi Kachina Dolls: Blessings for a Balanced World

    Exhibition image for Hopi Kachina Dolls: Blessings for a Balanced World

    Courtesy of Brooklyn Museum · License · Source ↗

    Appears on: Hopi Kachina Dolls: Blessings for a Balanced World

  • Adorning Ritual: Jewish Ceremonial Art from the Jewish Museum, New York building

    Adorning Ritual: Jewish Ceremonial Art from the Jewish Museum, New York building

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: Adorning Ritual: Jewish Ceremonial Art from the Jewish Museum, New York

  • Exhibition image for The Renaissance Engraver at Work

    Exhibition image for The Renaissance Engraver at Work

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: The Renaissance Engraver at Work

  • Exhibition image for American Printed Silks, 1927–1947

    Exhibition image for American Printed Silks, 1927–1947

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: American Printed Silks, 1927–1947

  • Exhibition image for The Plum Scenery Studio: Wu Hufan and His Circle in Modern Shanghai

    Exhibition image for The Plum Scenery Studio: Wu Hufan and His Circle in Modern Shanghai

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: The Plum Scenery Studio: Wu Hufan and His Circle in Modern Shanghai

  • Exhibition image for Lake Effect: Artists from Cleveland Now

    Wasteland/Wetland, 2025. Avery Duff (b. 1992)

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: Lake Effect: Artists from Cleveland Now

  • Exhibition image for Art of Pahari India

    Exhibition image for Art of Pahari India

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: Art of Pahari India

  • Exhibition image for Ancient Andean Textiles

    Exhibition image for Ancient Andean Textiles

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: Ancient Andean Textiles

  • Exhibition image for “Bunjin” in Japanese Art

    Exhibition image for “Bunjin” in Japanese Art

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: “Bunjin” in Japanese Art

  • Exhibition image for The Gift: Emma Amos with Friends

    Emma Amos in her studio with The Gift . Still from Emma Amos: Action Lines (1996), created and produced by Linda Freeman

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: The Gift: Emma Amos with Friends

  • Exhibition image for Silver, Gold, and Gems: A Spotlight on Jewelry Across Africa

    Exhibition image for Silver, Gold, and Gems: A Spotlight on Jewelry Across Africa

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: Silver, Gold, and Gems: A Spotlight on Jewelry Across Africa

  • Exhibition image for Provenance: Journeys of Korean Art

    Exhibition image for Provenance: Journeys of Korean Art

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: Provenance: Journeys of Korean Art

  • Exhibition image for Sky Hopinka’s “Visions of an Island”

    Exhibition image for Sky Hopinka’s “Visions of an Island”

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: Sky Hopinka’s “Visions of an Island”

  • Exhibition image for Children’s Armor from the Imperial Habsburg Armory in Vienna

    Exhibition image for Children’s Armor from the Imperial Habsburg Armory in Vienna

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: Children’s Armor from the Imperial Habsburg Armory in Vienna

  • Exhibition image for Native North American Textiles

    Exhibition image for Native North American Textiles

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: Native North American Textiles

  • Exhibition image for Roots of Divinity: Christ’s Family Tree in Northern European Medieval Art

    Exhibition image for Roots of Divinity: Christ’s Family Tree in Northern European Medieval Art

    Courtesy of Cleveland Museum of Art · License · Source ↗

    Appears on: Roots of Divinity: Christ’s Family Tree in Northern European Medieval Art

  • Exhibition image for Miró: Proof Against All

    Exhibition image for Miró: Proof Against All

    Courtesy of de Young Museum · License · Source ↗

    Appears on: Miró: Proof Against All

  • Exhibition image for Your Song

    Concept art for the Your Song installation. Art by Laura Shill.

    Courtesy of Denver Art Museum · License · Source ↗

    Appears on: Your Song

  • Guests of Honor: Frederic Church's Cotopaxi building

    Guests of Honor: Frederic Church's Cotopaxi building

    Courtesy of Detroit Institute of Arts · License · Source ↗

    Appears on: Guests of Honor: Frederic Church's Cotopaxi

  • Exhibition image for Caravaggio's Models: Friends, Lovers, Rivals

    Exhibition image for Caravaggio's Models: Friends, Lovers, Rivals

    Courtesy of Detroit Institute of Arts · License · Source ↗

    Appears on: Caravaggio's Models: Friends, Lovers, Rivals

  • Exhibition image for Velázquez & Olivares: Early Years at Court

    Exhibition image for Velázquez & Olivares: Early Years at Court

    Courtesy of Detroit Institute of Arts · License · Source ↗

    Appears on: Velázquez & Olivares: Early Years at Court

  • Exhibition image for Georgia O’Keeffe: Architecture

    Exhibition image for Georgia O’Keeffe: Architecture

    Courtesy of Detroit Institute of Arts · License · Source ↗

    Appears on: Georgia O’Keeffe: Architecture

  • Exhibition image for Magnifico 1492

    Giorgio Vasari , Ritratto di Lorenzo il Magnifico (1533-1534; olio su tavola, 90 x 72 cm; Firenze, Gallerie degli Uffizi)

    Courtesy of Galleria degli Uffizi · License · Source ↗

    Appears on: Magnifico 1492

  • Exhibition image for Georgia O’Keeffe & Sam Scott

    © Georgia O'Keeffe Museum 2026

    Courtesy of Georgia O'Keeffe Museum · License · Source ↗

    Appears on: Georgia O’Keeffe & Sam Scott

  • Exhibition image for Vital Connections: Art & the Brain

    Exhibition image for Vital Connections: Art & the Brain

    Courtesy of Honolulu Museum of Art · License · Source ↗

    Appears on: Vital Connections: Art & the Brain

  • Quiet Luxury: Subversive Fashion in the Edo Period building

    Quiet Luxury: Subversive Fashion in the Edo Period building

    Courtesy of Honolulu Museum of Art · License · Source ↗

    Appears on: Quiet Luxury: Subversive Fashion in the Edo Period

  • Exhibition image for Honor Thy Mother and Father: Depictions of Filial Piety in Japan

    Exhibition image for Honor Thy Mother and Father: Depictions of Filial Piety in Japan

    Courtesy of Honolulu Museum of Art · License · Source ↗

    Appears on: Honor Thy Mother and Father: Depictions of Filial Piety in Japan

  • Exhibition image for The Book of Esther in the Age of Rembrandt

    Give to the Museum to help preserve our collection and engage audiences with dynamic exhibitions and innovative programs.

    Courtesy of Isabella Stewart Gardner Museum · License · Source ↗

    Appears on: The Book of Esther in the Age of Rembrandt

  • Exhibition image for How do you throw a brick through the window…

    Exhibition image for How do you throw a brick through the window…

    Courtesy of John Michael Kohler Arts Center · License · Source ↗

    Appears on: How do you throw a brick through the window…

  • Exhibition image for Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

    Exhibition image for Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

    Courtesy of John Michael Kohler Arts Center · License · Source ↗

    Appears on: Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

  • Exhibition image for When Threads Meet, They Speak

    Exhibition image for When Threads Meet, They Speak

    Courtesy of John Michael Kohler Arts Center · License · Source ↗

    Appears on: When Threads Meet, They Speak

  • Exhibition image for Robert Blackstone: Crystal City

    Exhibition image for Robert Blackstone: Crystal City

    Courtesy of John Michael Kohler Arts Center · License · Source ↗

    Appears on: Robert Blackstone: Crystal City

  • Exhibition image for Greater Than the Sum: Practices of Gathering, Reuse, and Assemblage

    Exhibition image for Greater Than the Sum: Practices of Gathering, Reuse, and Assemblage

    Courtesy of John Michael Kohler Arts Center · License · Source ↗

    Appears on: Greater Than the Sum: Practices of Gathering, Reuse, and Assemblage

  • Exhibition image for Ann Agee: AGEE MFG

    Exhibition image for Ann Agee: AGEE MFG

    Courtesy of John Michael Kohler Arts Center · License · Source ↗

    Appears on: Ann Agee: AGEE MFG

  • Exhibition image for Good to See You: Ilana Harris-Babou and Yoshie Sakai

    Exhibition image for Good to See You: Ilana Harris-Babou and Yoshie Sakai

    Courtesy of John Michael Kohler Arts Center · License · Source ↗

    Appears on: Good to See You: Ilana Harris-Babou and Yoshie Sakai

  • Exhibition image for Thomas Haneman: Synapses

    Exhibition image for Thomas Haneman: Synapses

    Courtesy of John Michael Kohler Arts Center · License · Source ↗

    Appears on: Thomas Haneman: Synapses

  • Exhibition image for Frying Pans and Metal Chains: Rethinking the Body in Contemporary Art

    David Hammons (b. 1943), Untitled, 1988, rubber tube, frying pans, and metal chains, 48 x 18 x 7 in. Art Bridges. Photography by Brad Flowers.

    Courtesy of Jordan Schnitzer Museum of Art · License · Source ↗

    Appears on: Frying Pans and Metal Chains: Rethinking the Body in Contemporary Art

  • Exhibition image for Préraphaélisme—Itinéraires féminins

    Exhibition image for Préraphaélisme—Itinéraires féminins

    Courtesy of La Piscine · License · Source ↗

    Appears on: Préraphaélisme—Itinéraires féminins

  • Exhibition image for Ni Dieu ni maître ! Arts et anarchie de Courbet à Banksy

    Exhibition image for Ni Dieu ni maître ! Arts et anarchie de Courbet à Banksy

    Courtesy of La Piscine · License · Source ↗

    Appears on: Ni Dieu ni maître ! Arts et anarchie de Courbet à Banksy

  • Exhibition image for Révolution denim

    Exhibition image for Révolution denim

    Courtesy of La Piscine · License · Source ↗

    Appears on: Révolution denim

  • Exhibition image for Thomas Devaux à La Piscine

    Exhibition image for Thomas Devaux à La Piscine

    Courtesy of La Piscine · License · Source ↗

    Appears on: Thomas Devaux à La Piscine

  • Exhibition image for Foyer Installation: Mel Bochner, Chryssa, and Dorothy Hood

    Exhibition image for Foyer Installation: Mel Bochner, Chryssa, and Dorothy Hood

    Courtesy of Menil Collection · License · Source ↗

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  • Exhibition image for Terry Winters: Vitalized Geometry

    Exhibition image for Terry Winters: Vitalized Geometry

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  • Exhibition image for Terry Winters: Vitalized Geometry

    Exhibition image for Terry Winters: Vitalized Geometry

    Courtesy of Menil Collection · License · Source ↗

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  • Exhibition image for Corey Pemberton: Living Well

    Exhibition image for Corey Pemberton: Living Well

    Courtesy of Mint Museum · License · Source ↗

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  • Exhibition image for Grace Stott: The Artifacts of Being Human

    Exhibition image for Grace Stott: The Artifacts of Being Human

    Courtesy of Mint Museum · License · Source ↗

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  • Exhibition image for Corey Pemberton: Living Well

    Exhibition image for Corey Pemberton: Living Well

    Courtesy of Mint Museum · License · Source ↗

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  • Exhibition image for Auguste Bartholdi Liberty Enlightening the World

    Albert Fernique (1841-1898) La Statue de la Liberté montée dans les ateliers Gaget, Gauthier & Cie , 1884 Donation de Jeanne Émilie Bartholdi, 1907, 2P14/117 © Musée Bartholdi / C. Kempf

    Courtesy of Musée d'Orsay · License · Source ↗

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  • Exhibition image for Vertigo Richard Peduzzi at Orsay

    Charles Garnier, Gianni Gianese, Richard Peduzzi Opéra de Paris, maquette de la coupe longitudinale , entre 1984 et 1986 Musée d'Orsay Don E.P.M.O., 1989 © Musée d’Orsay, Dist. RMN-Grand Palais / Alexis Brandt See the notice of the artwork

    Courtesy of Musée d'Orsay · License · Source ↗

    Appears on: Vertigo Richard Peduzzi at Orsay

  • Exhibition image for Maurice Denis Illustrating Christian mysticism

    Maurice Denis Le Christ vert , mai 1890 Musée d'Orsay Achat, 2020 © Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt See the notice of the artwork

    Courtesy of Musée d'Orsay · License · Source ↗

    Appears on: Maurice Denis Illustrating Christian mysticism

  • Exhibition image for What a Wonderful World Masterpieces from the Musée d'Orsay

    Vincent van Gogh La nuit étoilée , 1888 Musée d'Orsay Donation sous réserve d'usufruit M. et Mme Robert Kahn-Sriber, en souvenir de M. et Mme Fernand Moch, 1975 © RMN-Grand Palais (Musée d’Orsay) / Hervé Lewandowski See the notice of the artwork

    Courtesy of Musée d'Orsay · License · Source ↗

    Appears on: What a Wonderful World Masterpieces from the Musée d'Orsay

  • Exhibition image for Vuillard Intimate Theaters

    Edouard Vuillard La Visite chez Madame Hessel , vers 1905 Musée d'Orsay Donation sous réserve d'usufruit Zeineb et Jean-Pierre Marcie-Rivière, 2011 © RMN-Grand Palais (Musée d'Orsay) / Mathieu Rabeau See the notice of the artwork

    Courtesy of Musée d'Orsay · License · Source ↗

    Appears on: Vuillard Intimate Theaters

  • Exhibition image for Family Histories

    Paul Delance Grève à Saint-Ouen , 1908 Musée d'Orsay Legs Mlle Alice Delance, 1973 © GrandPalaisRmn (musée d'Orsay) See the notice of the artwork

    Courtesy of Musée d'Orsay · License · Source ↗

    Appears on: Family Histories

  • Exhibition image for Marie Bracquemond

    Marie Bracquemond Les muses des arts , sans date Musée d'Orsay Don Armel et Nicolas Jundt, 2024 © Musée d’Orsay, dist. GrandPalaisRmn See the notice of the artwork

    Courtesy of Musée d'Orsay · License · Source ↗

    Appears on: Marie Bracquemond

  • Exhibition image for Édouard Vuillard

    Edouard Vuillard Les Jardins publics, dessus-de-porte I , 1894 Musée d'Orsay Don Françoise Marquet-Zao, 2025 © Musée d'Orsay, dist. GrandPalaisRmn / Laetitia Striffling-Marcu See the notice of the artwork

    Courtesy of Musée d'Orsay · License · Source ↗

    Appears on: Édouard Vuillard

  • Exhibition image for A Statue for Liberty, Bartholdi’s dream, from Paris to New York

    Exhibition image for A Statue for Liberty, Bartholdi’s dream, from Paris to New York

    Courtesy of Musée d'Orsay · License · Source ↗

    Appears on: A Statue for Liberty, Bartholdi’s dream, from Paris to New York

  • Exhibition image for A Statue for Liberty, Bartholdi’s dream, from Paris to New York

    © GEDEON Experiences BackLight musée d’Orsay VIVE Arts

    Courtesy of Musée d'Orsay · License · Source ↗

    Appears on: A Statue for Liberty, Bartholdi’s dream, from Paris to New York

  • Exhibition image for Affinités. Les merveilles des arts de l'Islam aux Objets d'art

    Exhibition image for Affinités. Les merveilles des arts de l'Islam aux Objets d'art

    Courtesy of Musée du Louvre · License · Source ↗

    Appears on: Affinités. Les merveilles des arts de l'Islam aux Objets d'art

  • Exhibition image for Guillermo Kuitca, Chapelle

    Exhibition image for Guillermo Kuitca, Chapelle

    Courtesy of Musée Picasso · License · Source ↗

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  • Exhibition image for Andrea Canepa

    © Some rights reserved. Museo Nacional Centro de Arte Reina Sofía, 2026

    Courtesy of Museo Reina Sofía · License · Source ↗

    Appears on: Andrea Canepa

  • Milk, Snow, Tear, Hand building

    © Some rights reserved. Museo Nacional Centro de Arte Reina Sofía, 2026

    Courtesy of Museo Reina Sofía · License · Source ↗

    Appears on: Milk, Snow, Tear, Hand

  • Exhibition image for Community Arts Initiative: Can You Hear the City?

    Exhibition image for Community Arts Initiative: Can You Hear the City?

    Courtesy of Museum of Fine Arts, Boston · License · Source ↗

    Appears on: Community Arts Initiative: Can You Hear the City?

  • Exhibition image for Belkis Ayón Mito y desobediencia

    Exhibition image for Belkis Ayón Mito y desobediencia

    Courtesy of Museum of Latin American Art of Buenos Aires · License · Source ↗

    Appears on: Belkis Ayón Mito y desobediencia

  • Exhibition image for Peggy Weil: Core Memory

    © 2026 The Museum of Modern Art

    Courtesy of Museum of Modern Art · License · Source ↗

    Appears on: Peggy Weil: Core Memory

  • Exhibition image for Gwen John: Strange Beauties

    A Corner of the Artist's Room in Paris Gwen John

    Courtesy of National Galleries Scotland · License · Source ↗

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  • Exhibition image for Peter Doig: Morning, Paramin

    Carnival Lion (Fredrick Street) Peter Doig

    Courtesy of National Galleries Scotland · License · Source ↗

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  • Exhibition image for Stanley Cursiter: Artist & Curator

    Hanging Plans for Rooms in the National Gallery of Scotland (detail) Stanley Cursiter

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  • Exhibition image for Broken

    © 2026 National Gallery of Art

    Courtesy of National Gallery of Art · License · Source ↗

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  • Art in Motion: Kinetic Sculpture with Ivan Iler building

    © National Museum of Wildlife Art • Site by TMBR

    Courtesy of National Museum of Wildlife Art · License · Source ↗

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  • Exhibition image for Western Visions® 2026

    © National Museum of Wildlife Art • Site by TMBR

    Courtesy of National Museum of Wildlife Art · License · Source ↗

    Appears on: Western Visions® 2026

  • Exhibition image for Birds in Art

    © National Museum of Wildlife Art • Site by TMBR

    Courtesy of National Museum of Wildlife Art · License · Source ↗

    Appears on: Birds in Art

  • Exhibition image for 25th Anniversary Exhibition

    © Neue Galerie New York

    Courtesy of Neue Galerie · License · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Exhibition image for Nancy Baker Cahill: Ecologies of Scale

    © 1999–2026 North Carolina Museum of Art Foundation, Inc.

    Courtesy of North Carolina Museum of Art · License · Source ↗

    Appears on: Nancy Baker Cahill: Ecologies of Scale

  • Exhibition image for The Art of Kandy: Sri Lanka’s Last Kingdom

    Exhibition image for The Art of Kandy: Sri Lanka’s Last Kingdom

    Courtesy of Norton Simon Museum · License · Source ↗

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  • Exhibition image for Treasures of the Viking Age

    TOP IMAGE Anglo-Saxon metalwork from inside the lidded vessel from the Galloway Hoard. © National Museums Scotland.

    Courtesy of Peabody Essex Museum · License · Source ↗

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  • Van Gogh’s Sunflowers: A Symphony in Blue and Yellow building

    Van Gogh’s Sunflowers: A Symphony in Blue and Yellow building

    Courtesy of Philadelphia Museum of Art · License · Source ↗

    Appears on: Van Gogh’s Sunflowers: A Symphony in Blue and Yellow

  • Exhibition image for Americana: Photographs 1850-1950

    Exhibition image for Americana: Photographs 1850-1950

    Courtesy of Philadelphia Museum of Art · License · Source ↗

    Appears on: Americana: Photographs 1850-1950

  • Exhibition image for Rodin’s Hands

    Exhibition image for Rodin’s Hands

    Courtesy of Philadelphia Museum of Art · License · Source ↗

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  • Exhibition image for Document Netherlands: New Energy

    Exhibition image for Document Netherlands: New Energy

    Courtesy of Rijksmuseum · License · Source ↗

    Appears on: Document Netherlands: New Energy

  • Exhibition image for Peggy Guggenheim in London

    Rita Kernn-Larsen image Self-portrait (Know Thyself), 1937

    Courtesy of Royal Academy of Arts · License · Source ↗

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  • Exhibition image for In Provence and Southern France

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    Courtesy of Royal Academy of Arts · License · Source ↗

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  • Exhibition image for Emmanuel Awuni

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    Courtesy of Royal Academy of Arts · License · Source ↗

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  • Exhibition image for Meghann Riepenhoff: Waters of the Americas

    Future Exhibition

    Courtesy of San Diego Museum of Art · License · Source ↗

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  • Exhibition image for Icons of Imperial Russia

    Exhibition image for Icons of Imperial Russia

    Courtesy of San Diego Museum of Art · License · Source ↗

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  • Exhibition image for Early American Painting

    Exhibition image for Early American Painting

    Courtesy of San Diego Museum of Art · License · Source ↗

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  • Exhibition image for Dutch Painting: Special Loans from the Museum of Fine Arts, Boston

    Exhibition image for Dutch Painting: Special Loans from the Museum of Fine Arts, Boston

    Courtesy of San Diego Museum of Art · License · Source ↗

    Appears on: Dutch Painting: Special Loans from the Museum of Fine Arts, Boston

  • Exhibition image for Ragamala Paintings from the Binney Collection

    Exhibition image for Ragamala Paintings from the Binney Collection

    Courtesy of San Diego Museum of Art · License · Source ↗

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  • Exhibition image for Cecil Beaton’s Fashionable World

    Exhibition image for Cecil Beaton’s Fashionable World

    Courtesy of San Diego Museum of Art · License · Source ↗

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  • Exhibition image for SDMA 100 Years

    Exhibition image for SDMA 100 Years

    Courtesy of San Diego Museum of Art · License · Source ↗

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  • Exhibition image for Dior to McQueen: Fashioning Form

    © 2026 San Francisco Museum of Modern Art

    Courtesy of San Francisco Museum of Modern Art · License · Source ↗

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  • Exhibition image for Jacob Hashimoto

    Exhibition image for Jacob Hashimoto

    Courtesy of San Francisco Museum of Modern Art · License · Source ↗

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  • Exhibition image for Open Spaces: Fiber Arts Addressing the Landscape

    Exhibition image for Open Spaces: Fiber Arts Addressing the Landscape

    Courtesy of Scottsdale Museum of Contemporary Art · License · Source ↗

    Appears on: Open Spaces: Fiber Arts Addressing the Landscape

  • Exhibition image for ArtSpark #1

    Exhibition image for ArtSpark #1

    Courtesy of Scottsdale Museum of Contemporary Art · License · Source ↗

    Appears on: ArtSpark #1

  • Exhibition image for Herman Kruyder. Expressionist van de ziel

    Meisje met maan, ca. 1928, gouache op karton, Museum Boijmans Van Beuningen, Rotterdam. Aankoop met steun van VriendenLoterij en de Vrienden van Museum Boijmans Van Beuningen, 2017

    Courtesy of Singer Laren · License · Source ↗

    Appears on: Herman Kruyder. Expressionist van de ziel

  • Singer Highlights building

    Singer Highlights building

    Courtesy of Singer Laren · License · Source ↗

    Appears on: Singer Highlights

  • Etha Fles & Medardo Rosso. Voor de kunst building

    Etha Fles, Zonnebloemen, circa 1909-1910, olieverf op doek, 45 x 35 cm, aankoop met steun van de BankGiro Loterij 2020. Collectie Centraal Museum Utrecht. Foto: Ernst Moritz.

    Courtesy of Singer Laren · License · Source ↗

    Appears on: Etha Fles & Medardo Rosso. Voor de kunst

  • All Around Us: The Art of Carson Ellis building

    Related Events Guided Exhibition Tour by Carson Ellis Aug 15, 2026 • 4:30pm – 5:30pm This tour is at capacity

    Courtesy of Society of Illustrators · License · Source ↗

    Appears on: All Around Us: The Art of Carson Ellis

  • Exhibition image for RIBBIT: The Art of the Amphibian & Reptile

    Opening Reception October 22 • 5:00pm – 9:00 PM

    Courtesy of Society of Illustrators · License · Source ↗

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  • Exhibition image for The Original Art • 46th Annual Exhibition

    Exhibition image for The Original Art • 46th Annual Exhibition

    Courtesy of Society of Illustrators · License · Source ↗

    Appears on: The Original Art • 46th Annual Exhibition

  • Exhibition image for The 130 th Anniversary of the Birth of Togo Seiji：A Retrospective

    © Sompo Museum of Art

    Courtesy of Sompo Museum of Art · License · Source ↗

    Appears on: The 130 th Anniversary of the Birth of Togo Seiji：A Retrospective

  • Exhibition image for The Tudors

    Unknown artist, A Young Lady Aged 21, Possibly Helena Snakenborg, Later Marchioness of Northampton , 1569. Tate

    Courtesy of Tate Britain · License · Source ↗

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  • Exhibition image for David Hockney

    David Hockney, My Parents , 1977. Tate. Purchased 1981

    Courtesy of Tate Britain · License · Source ↗

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  • Exhibition image for Thomas Gainsborough

    Thomas Gainsborough Giovanna Baccelli exhibited 1782 Tate Purchased with assistance from the Friends of the Tate Gallery 1975

    Courtesy of Tate Britain · License · Source ↗

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  • Exhibition image for Vanessa Bell & Duncan Grant: Inside Bloomsbury

    © The Board of Trustees of the Tate Gallery, 2026

    Courtesy of Tate Britain · License · Source ↗

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  • Exhibition image for Edvard Munch

    © The Board of Trustees of the Tate Gallery, 2026

    Courtesy of Tate Modern · License · Source ↗

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  • Exhibition image for Lynda Benglis

    Lynda Benglis, Self 1970–6, printed 2010. Tate. © Lynda Benglis.

    Courtesy of Tate Modern · License · Source ↗

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  • Teylu Visiting Artist Exhibition: Tyreis Holder building

    © The Board of Trustees of the Tate Gallery, 2026

    Courtesy of Tate St Ives · License · Source ↗

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  • Blue Prints for the Loggia building

    © The Board of Trustees of the Tate Gallery, 2026

    Courtesy of Tate St Ives · License · Source ↗

    Appears on: Blue Prints for the Loggia

  • Exhibition image for Gözde İlkin: Those Who Remember Their Births

    Gözde İlkin, Those Who Remember Their Births, 2026 © Gözde İlkin

    Courtesy of Tate St Ives · License · Source ↗

    Appears on: Gözde İlkin: Those Who Remember Their Births

  • A museum educator speaking in front of a colorful mixed-media work in "An Indigenous Present" at the Frist Art Museum

    A museum educator speaking in front of a colorful mixed-media work in "An Indigenous Present" at the Frist Art Museum

    Courtesy of the Frist Art Museum

    Appears on: An Indigenous Present

  • Visitors viewing framed works in the "An Indigenous Present" exhibition at the Frist Art Museum

    Visitors viewing framed works in the "An Indigenous Present" exhibition at the Frist Art Museum

    Courtesy of the Frist Art Museum

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  • Visitors and a docent viewing textile and sculptural works in "An Indigenous Present" at the Frist Art Museum

    Visitors and a docent viewing textile and sculptural works in "An Indigenous Present" at the Frist Art Museum

    Courtesy of the Frist Art Museum

    Appears on: An Indigenous Present

  • Gallery entrance to "An Indigenous Present" at the Frist Art Museum

    Gallery entrance to "An Indigenous Present" at the Frist Art Museum

    Courtesy of the Frist Art Museum

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  • Gallery view of red textile works and framed paintings in "An Indigenous Present" at the Frist Art Museum

    Gallery view of red textile works and framed paintings in "An Indigenous Present" at the Frist Art Museum

    Courtesy of the Frist Art Museum

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  • Visitors viewing framed paintings in "An Indigenous Present" at the Frist Art Museum

    Visitors viewing framed paintings in "An Indigenous Present" at the Frist Art Museum

    Courtesy of the Frist Art Museum

    Appears on: An Indigenous Present

  • A docent speaking with visitors in front of framed paintings in "An Indigenous Present" at the Frist Art Museum

    A docent speaking with visitors in front of framed paintings in "An Indigenous Present" at the Frist Art Museum

    Courtesy of the Frist Art Museum

    Appears on: An Indigenous Present

  • Gallery view of red textile installation with visitors in "An Indigenous Present" at the Frist Art Museum

    Gallery view of red textile installation with visitors in "An Indigenous Present" at the Frist Art Museum

    Courtesy of the Frist Art Museum

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  • Visitors viewing a red textile installation in "An Indigenous Present" at the Frist Art Museum

    Visitors viewing a red textile installation in "An Indigenous Present" at the Frist Art Museum

    Courtesy of the Frist Art Museum

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  • Visitors viewing a sculptural column and paintings in "An Indigenous Present" at the Frist Art Museum

    Visitors viewing a sculptural column and paintings in "An Indigenous Present" at the Frist Art Museum

    Courtesy of the Frist Art Museum

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  • Gallery entrance graphics for "An Indigenous Present" at the Frist Art Museum

    Gallery entrance graphics for "An Indigenous Present" at the Frist Art Museum

    Courtesy of the Frist Art Museum

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  • Visitors viewing paintings and a sculptural column in "An Indigenous Present" at the Frist Art Museum

    Visitors viewing paintings and a sculptural column in "An Indigenous Present" at the Frist Art Museum

    Courtesy of the Frist Art Museum

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  • Family creating art together in the Martin ArtQuest gallery at the Frist Art Museum

    Family creating art together in the Martin ArtQuest gallery at the Frist Art Museum

    Courtesy of the Frist Art Museum

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  • Street view of the Frist Art Museum building with passing traffic

    Street view of the Frist Art Museum building with passing traffic

    Courtesy of the Frist Art Museum

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  • Aerial night view of the Frist Art Museum illuminated in downtown Nashville

    Aerial night view of the Frist Art Museum illuminated in downtown Nashville

    Courtesy of the Frist Art Museum

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  • Exterior of the Frist Art Museum, a former art deco post office building in downtown Nashville

    Exterior of the Frist Art Museum, a former art deco post office building in downtown Nashville

    Courtesy of the Frist Art Museum

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  • Exhibition image for Reggie Burrows Hodges

    Exhibition image for Reggie Burrows Hodges

    Courtesy of The J. Paul Getty Museum · License · Source ↗

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  • Exhibition image for Paul R. Williams

    Exhibition image for Paul R. Williams

    Courtesy of The J. Paul Getty Museum · License · Source ↗

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  • Exhibition image for Every Minute Is History: Five Views of Los Angeles

    Exhibition image for Every Minute Is History: Five Views of Los Angeles

    Courtesy of The J. Paul Getty Museum · License · Source ↗

    Appears on: Every Minute Is History: Five Views of Los Angeles

  • Exhibition image for The Holy Family at Home

    Exhibition image for The Holy Family at Home

    Courtesy of The J. Paul Getty Museum · License · Source ↗

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  • Exhibition image for Instante/revelación: Moments in Mexican Photograph

    Exhibition image for Instante/revelación: Moments in Mexican Photograph

    Courtesy of The J. Paul Getty Museum · License · Source ↗

    Appears on: Instante/revelación: Moments in Mexican Photograph

  • Exhibition image for Personal Best

    Exhibition image for Personal Best

    Courtesy of The Nelson-Atkins Museum of Art · License · Source ↗

    Appears on: Personal Best

  • Exhibition image for Glorious Glass: Selections from the Collections

    Exhibition image for Glorious Glass: Selections from the Collections

    Courtesy of The Nelson-Atkins Museum of Art · License · Source ↗

    Appears on: Glorious Glass: Selections from the Collections

  • Collage of images of Black artists

    Collage of images of Black artists

    Courtesy of the Portland Art Museum · License · Source ↗

    Appears on: Black Arts PDX at the CREATE SPACE

  • Gallery installation photo with various artworks in view.

    Gallery installation photo with various artworks in view.

    Courtesy of the Portland Art Museum · License · Source ↗

    Appears on: Forming Nature, Nature Formed

  • A bronze sculpture of a Black man's face and neck. His eyes are closed.

    A bronze sculpture of a Black man's face and neck. His eyes are closed.

    Courtesy of the Portland Art Museum · License · Source ↗

    Appears on: Todd McGrain: Debut of York

  • The museum’s façade lit for an evening event, with a crowd in the plaza

    The museum’s façade lit for an evening event, with a crowd in the plaza

    Courtesy of The San Diego Museum of Art. · via 62 Above · Source ↗

    Appears on: San Diego Museum of Art

  • A red-walled gallery hung with European paintings

    A red-walled gallery hung with European paintings

    Courtesy of The San Diego Museum of Art. · via 62 Above · Source ↗

    Appears on: San Diego Museum of Art

  • Two visitors looking at a large altarpiece in a red-walled gallery

    Two visitors looking at a large altarpiece in a red-walled gallery

    Courtesy of The San Diego Museum of Art. · via 62 Above · Source ↗

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  • A group of visitors in the garden with the California Tower behind them

    A group of visitors in the garden with the California Tower behind them

    Courtesy of The San Diego Museum of Art. · via 62 Above · Source ↗

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  • The San Diego Museum of Art’s ornate Plateresque façade and front steps in Balboa Park

    The San Diego Museum of Art’s ornate Plateresque façade and front steps in Balboa Park

    Courtesy of The San Diego Museum of Art. · via 62 Above · Source ↗

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  • Visitors in the Impressionism galleries

    Visitors in the Impressionism galleries

    Courtesy of The San Diego Museum of Art. · via 62 Above · Source ↗

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  • Exhibition image for The Long Goodbye, Carrie Mae Weems

    Header image: David Parry

    Courtesy of Victoria and Albert Museum · License · Source ↗

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  • Exhibition image for Olalekan Jeyifous: Hydricosmic Litanies

    Exhibition image for Olalekan Jeyifous: Hydricosmic Litanies

    Courtesy of Walker Art Center · License · Source ↗

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  • Andy Warhol Family Album building

    © 2026 Whitney Museum of American Art

    Courtesy of Whitney Museum of American Art · License · Source ↗

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  • I Saw the Future and It Smiled Back building

    © 2026 Whitney Museum of American Art

    Courtesy of Whitney Museum of American Art · License · Source ↗

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  • Exhibition image for Coumba Samba: Stars and Stripes

    Exhibition image for Coumba Samba: Stars and Stripes

    Courtesy of Whitney Museum of American Art · License · Source ↗

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  • Exhibition image for Charles Burchfield: Elemental

    Exhibition image for Charles Burchfield: Elemental

    Courtesy of Whitney Museum of American Art · License · Source ↗

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  • Exhibition image for Roy Lichtenstein: Like New

    © 2026 Whitney Museum of American Art

    Courtesy of Whitney Museum of American Art · License · Source ↗

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  • Rococo silver tureen on a stand, its swirling shell-like body covered with cast vegetables, a fish and game

    Juste-Aurèle Meissonnier et al., Covered Tureen on Stand (Pot-à-oille), 1735–38

    Covered Tureen on Stand (Pot-à-oille), 1735–38. Juste-Aurèle Meissonnier (French, b. Italy, 1695–1750), Pierre-François Bonnestrenne (French, 1682–after 1740), Henry-Guillaume Adnet (French, 1683–1745). Silver; 36.9 x 38.4 x 31.8 cm. The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1977.182 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Juste-Aurèle Meissonnier: Rococo Goldsmith in Focus

  • Exhibition image for Maverick Kings

    Credit Unknown artist, relief of Amenhotep III and Sekhmet, Egyptian, New Kingdom, Dynasty 18, reign of Amenhotep III, 1390–1352 BCE. Quartzite. Gift of British School of Archaeology in Egypt.

    Credit Unknown artist, relief of Amenhotep III and Sekhmet, Egyptian, New Kingdom, Dynasty 18, reign of Amenhotep III, 1390–1352 BCE. Quartzite. Gift of British School of Archaeology in Egypt. · License · Source ↗

    Appears on: Maverick Kings

  • Cristina Mittermeier, Big Shot, 2015: a husky sled-dog team on snow in Greenland, black and white

    Cristina Mittermeier, Big Shot, 2015

    Cristina Mittermeier (Mexico, b. 1966), Big Shot, 2015. Archival Pigment Print. Collection of the Artist. © Cristina Mittermeier. · Madison Webb Stanko, 26 Oct 2026 · Source ↗

    Appears on: Cristina Mittermeier: A Greater Wisdom

  • Cristina Mittermeier, Lady with the Goose, 2008: a woman in a red hat and coat with a goose resting on her head

    Cristina Mittermeier, Lady with the Goose, 2008

    Cristina Mittermeier (Mexico, b. 1966), Lady with the Goose, 2008. Archival Pigment Print. Collection of the Artist. © Cristina Mittermeier. · Madison Webb Stanko, 26 Oct 2026 · Source ↗

    Appears on: Cristina Mittermeier: A Greater Wisdom

  • Exhibition image for Cristina Mittermeier: A Greater Wisdom

    Cristina Mittermeier, Red Curtain, 2021

    Cristina Mittermeier (Mexico, b. 1966), Red Curtain, 2021. Archival Pigment Print. Collection of the Artist. © Cristina Mittermeier. · License · Source ↗

    Appears on: Cristina Mittermeier: A Greater Wisdom

  • Cristina Mittermeier, Strike a Pose, 2017: a polar bear standing on sea ice near the North Pole

    Cristina Mittermeier, Strike a Pose, 2017

    Cristina Mittermeier (Mexico, b. 1966), Strike a Pose, 2017. Archival Pigment Print. Collection of the Artist. © Cristina Mittermeier. · Madison Webb Stanko, 26 Oct 2026 · Source ↗

    Appears on: Cristina Mittermeier: A Greater Wisdom

  • Cristina Mittermeier, Violet Sunset, 2022: a flat-topped iceberg reflected in still water under a violet sky, Antarctica

    Cristina Mittermeier, Violet Sunset, 2022

    Cristina Mittermeier (Mexico, b. 1966), Violet Sunset, 2022. Archival Pigment Print. Collection of the Artist. © Cristina Mittermeier. · Madison Webb Stanko, 26 Oct 2026 · Source ↗

    Appears on: Cristina Mittermeier: A Greater Wisdom

  • Suzanne Jackson, Crossing Ebenezer, 2017, a hanging acrylic work with netting and peanut shells

    Suzanne Jackson, Crossing Ebenezer, 2017

    Crossing Ebenezer, 2017. Suzanne Jackson (American, born in 1944). Acrylic wash, acrylic gel medium, acrylic detritus, firewood bag netting, peanut shells, wood, and D‑rings. Collection of Beth Rudin DeWoody. © Suzanne Jackson, courtesy Ortuzar, New York; photo: Timothy Doyon. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Suzanne Jackson: What Is Love

  • A young person working at a table.

    Curator Z'maya working on designing the exhibit layout in the PAM Haber Study Room. Photo by Laura Glazer.

    Curator Z'maya working on designing the exhibit layout in the PAM Haber Study Room. Photo by Laura Glazer. · License · Source ↗

    Appears on: Harriet Tubman Center Museum

  • Dagobert Peche, gilt-brass chandelier, 1920

    Dagobert Peche, Chandelier, model no. M 3192, 1920

    Dagobert Peche (Austrian, 1887–1923). Chandelier, model no. M 3192, 1920. Execution: Wiener Werkstätte, Vienna. Gilt-brass. Neue Galerie New York. Gift of Robert and Donna Goodman. Photo: Hulya Kolabas · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Pierre-Auguste Renoir, Dance at Bougival, 1883, a couple dancing outdoors, the woman in a red bonnet

    Pierre‑Auguste Renoir, Dance at Bougival, 1883

    Dance at Bougival, 1883. Pierre‑Auguste Renoir (French, 1841–1919). Oil on canvas. Picture Fund. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Renoir and Love

  • Pierre-Auguste Renoir, Dance at the Moulin de la Galette, 1876, crowds dancing under trees in dappled light

    Pierre‑Auguste Renoir, Dance at the Moulin de la Galette, 1876

    Dance at the Moulin de la Galette, 1876. Pierre‑Auguste Renoir (French, 1841–1919). Oil on canvas. Collection Musée d'Orsay. Bequest of Gustave Caillebotte, 1896. Photo: © GrandPalaisRmn (Musée d’Orsay) / Mathieu Rabeau. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Renoir and Love

  • Naoko Matsubara woodcut print: Dancer, 1974

    Naoko Matsubara, Dancer, 1974

    Dancer, 1974. Naoko Matsubara (Canadian, born in Japan, born in 1937). Woodcut. Francis Welch Fund, Towles Contemporary Art Fund, and Edward S. Morse Memorial Fund. © Naoko Matsubara. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Naoko Matsubara’s Woodblock Worlds

  • Exhibition image for David Lamelas: The Machine

    David Lamelas, Untitled (Falling Wall) , 1993/2026. David Lamelas: The Machine , installation view, Dia Chelsea, New York, 2026–27. © David Lamelas. Photo: Bill Jacobson Studio, New York. Courtesy Dia Art Foundation

    David Lamelas, Untitled (Falling Wall) , 1993/2026. David Lamelas: The Machine , installation view, Dia Chelsea, New York, 2026–27. © David Lamelas. Photo: Bill Jacobson Studio, New York. Courtesy Dia Art Foundation · License · Source ↗

    Appears on: David Lamelas: The Machine

  • Exhibition image for American Society of Botanical Artists 29th Annual International Exhibition

    Deborah Friedman, CA • Rooted Memory (Lilium henryi) • Watercolor on paper

    Deborah Friedman, CA • Rooted Memory (Lilium henryi) • Watercolor on paper · License · Source ↗

    Appears on: American Society of Botanical Artists 29th Annual International Exhibition

  • Exhibition image for Mucha’s Muses: Sarah Bernhardt and the Spirit of Art Nouveau

    Designed by Nikolaus Kannhäuser (Czech, born 1871; active late 1800s–early 1900s); Made by Riessner, Stellmacher & Kessel (Teplice, Czech Republic, founded 1892). “Allegory of Russia” Amphora Vase, designed 1894–1895; made 1899–1900. Porcelain with enamels and gilding, 9 × 3 1/2 inches. Gift of Mr. and Mrs. George C. Dillon, 62-10

    Designed by Nikolaus Kannhäuser (Czech, born 1871; active late 1800s–early 1900s); Made by Riessner, Stellmacher & Kessel (Teplice, Czech Republic, founded 1892). “Allegory of Russia” Amphora Vase, designed 1894–1895; made 1899–1900. Porcelain with enamels and gilding, 9 × 3 1/2 inches. Gift of Mr. and Mrs. George C. Dillon, 62-10 · License · Source ↗

    Appears on: Mucha’s Muses: Sarah Bernhardt and the Spirit of Art Nouveau

  • Exhibition image for Wall Drawing Series: Jitish Kallat

    Detail view of Wall Drawing Redux 119, 2026 at the Menil Drawing Institute, Houston. Photo Sarah Hobson

    Detail view of Wall Drawing Redux 119, 2026 at the Menil Drawing Institute, Houston. Photo Sarah Hobson · License · Source ↗

    Appears on: Wall Drawing Series: Jitish Kallat

  • Ricardo de Madrazo, Granada sketchbook open to studies and a copy of a cherub from Velázquez’s Coronation of the Virgin

    Ricardo de Madrazo, Granada sketchbook, 1870–71

    Diferentes estudios y copia de un querubín de Coronación de la Virgen de Velázquez en Cuaderno de Granada. Ricardo de Madrazo (1852-1917). Lápiz y aguada sobre papel. 1870-71. Madrid, Museo Nacional del Prado. Adquirido en 2025 · acceso profesionales · Source ↗

    Appears on: Ricardo de Madrazo (1852-1917): dibujos y acuarelas

  • Do Ho Suh sculpture of a full-size room corner and doorways made of translucent pink fabric on steel frames

    Do Ho Suh, Hub-2, Breakfast Corner, 2018

    Do Ho Suh (South Korean, born 1962). Hub-2, Breakfast Corner, 260-7, Sungbook-Dong, Sungboo-Ku, Seoul, Korea, 2018. Polyester fabric and stainless steel. Overall: 106 11/16 x 128 5/16 x 140 1/2 inches (270.99 x 325.91 x 356.79 cm). Collection Buffalo AKG Art Museum. George B. and Jenny R. Mathews Fund, by exchange and Bequest of Arthur B. Michael, by exchange, 2019 (2019:3). © Do Ho Suh, Courtesy the artist and Lehmann Maupin, New York, Hong Kong, and Seoul · shared by Andrew Mayer, 20 Oct 2026 · Source ↗

    Appears on: The Light in the Window

  • A docent leading a tour group at the Family Days Festival

    A docent leading a tour group at the Family Days Festival

    Docent Tour at Family Days Festival, 1995. The San Diego Museum of Art Archives. · via 62 Above · Source ↗

    Appears on: SDMA 100 Years

  • A large bronze tomb slab showing a bishop lying in state in full vestments, hands crossed, seen from above.

    Donatello (Italian, ca. 1386–1466), Tomb Slab of Giovanni di Bartolomeo Pecci, Bishop of Grosseto and Istia d’Ombrone, ca. 1452. Medium-tin bronze with patinated copper and traces of polychrome enamels or resins, 98 1/4 × 42 1/16 × approx. 1 in. (249.5 × 106.8 cm). Cathedral of Santa Maria Assunta, Siena.

    Donatello (Italian, ca. 1386–1466), Tomb Slab of Giovanni di Bartolomeo Pecci, Bishop of Grosseto and Istia d’Ombrone, ca. 1452. Medium-tin bronze with patinated copper and traces of polychrome enamels or resins, 98 1/4 × 42 1/16 × approx. 1 in. (249.5 × 106.8 cm). Cathedral of Santa Maria Assunta, Siena. · License · Source ↗

    Appears on: Siena: The Art of Bronze, 1450-1500

  • Donna Dennis sculpture of a small lit tourist cabin porch glowing in a dark gallery

    Donna Dennis, Tourist Cabin Porch (Maine), 1976

    Donna Dennis (American, born 1942). Tourist Cabin Porch (Maine), 1976. Acrylic and enamel on wood and Masonite, glass, metal screen, fabric, incandescent light, sound. 78 x 82 x 26 inches (198.12 x 208.28 x 66.04 cm). Collection Buffalo AKG Art Museum. George B. and Jenny R. Mathews Fund, 2024 (2024:47). © 1976 Donna Dennis. Image courtesy of O'Flaherty's Gallery. Photo: Dylan Obser · shared by Andrew Mayer, 20 Oct 2026 · Source ↗

    Appears on: The Light in the Window

  • Ricardo de Madrazo, Two Studies of a Figure Dressed as a Moor, 1871, watercolour

    Ricardo de Madrazo, Two Studies of a Figure Dressed as a Moor, 1871

    Dos estudios de una figura vestida de moro. Ricardo de Madrazo y Garreta. Acuarela sobre papel avitelado. 1871. Firmado y fechado. Madrid, Museo Nacional del Prado. Adquirido en 2012 · acceso profesionales · Source ↗

    Appears on: Ricardo de Madrazo (1852-1917): dibujos y acuarelas

  • Exhibition image for Douglas R. Ewart: Sound Seeker

    Douglas R. Ewart, George E. Lewis, and Douglas Repetto, Rio Negro II , 1992/2005/2015. Installation view, The Freedom Principle: Experiments in Art and Music, 1965 to Now , Institute of Contemporary Art, Philadelphia. Courtesy Institute of Contemporary Art, Philadelphia, photo: Constance Mensh.

    Douglas R. Ewart, George E. Lewis, and Douglas Repetto, Rio Negro II , 1992/2005/2015. Installation view, The Freedom Principle: Experiments in Art and Music, 1965 to Now , Institute of Contemporary Art, Philadelphia. Courtesy Institute of Contemporary Art, Philadelphia, photo: Constance Mensh. · License · Source ↗

    Appears on: Douglas R. Ewart: Sound Seeker

  • Portrait of a young woman in a blue and white top with hands pressed together against a blue ground

    Ajha Dean-Phillips, Duality: Vibration, The Frequency of Life, 2025

    Duality: Vibration, The Frequency of Life, 2025. Ajha Dean-Phillips (b. 1997). Oil on canvas. Courtesy of the artist. © Ajha Dean-Phillips · supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Lake Effect: Artists from Cleveland Now

  • Boxwood figure of a dwarf holding a jar, 1349–1336 B.C.

    Dwarf holding a jar, 1349–1336 B.C.

    Dwarf holding a jar, 1349–1336 B.C. Boxwood. Helen and Alice Colburn Fund. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Maverick Kings

  • Eastman Johnson, Wounded Drummer Boy: a wounded boy carried on a soldier’s shoulders keeps beating his drum

    Eastman Johnson, Wounded Drummer Boy

    Eastman Johnson, Wounded Drummer Boy, ca. 1864-71. Oil on board. Gift of Mrs. Herbert S. Darlington, 1940.79. · via 62 Above · Source ↗

    Appears on: Early American Painting

  • Exhibition image for Tinker Tinker

    Edvard Munch, Two Women on the Shore, 1898 / c. 1907, color woodcut and linoleum cut on Japanese paper, National Gallery of Art

    Edvard Munch, Two Women on the Shore, 1898 / c. 1907, color woodcut and linoleum cut on Japanese paper, National Gallery of Art · License · Source ↗

    Appears on: Tinker Tinker

  • Edward Hopper, The Lee Shore: two sailboats heeling in a stiff wind off a grassy shore beside a shingled seaside house with a turret

    Edward Hopper, The Lee Shore

    Edward Hopper (1882 – 1967), The Lee Shore, 1941, Oil on canvas, 28 1/4 x 43 in, The Middleton Family Collection · press.philamuseum.org · Source ↗

    Appears on: A Nation of Artists

  • Egon Schiele, Town among Greenery (The Old City III), 1917

    Egon Schiele, Town among Greenery (The Old City III), 1917

    Egon Schiele (Austrian, 1890–1918). Town among Greenery (The Old City III), 1917. Oil on canvas. Neue Galerie New York. In memory of Otto and Marguerite Manley, given as a bequest from the Estate of Marguerite Manley. Photo: Shawn Digney-Peer · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Suzanne Jackson, El Paradiso, 1981–84, acrylic wash and gesso on canvas

    Suzanne Jackson, El Paradiso, 1981–84

    El Paradiso, 1981–84. Suzanne Jackson (American, born in 1944). Acrylic wash and gesso on canvas. San Francisco Museum of Modern Art, Accessions Committee Fund purchase, by exchange, through a gift of Michael D. Abrams. © Suzanne Jackson, courtesy Ortuzar, New York; photo: Katherine Du Tiel. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Suzanne Jackson: What Is Love

  • Ricardo de Madrazo, The Painter Meissonier in St Mark’s, Venice, 1882, pencil and watercolour

    Ricardo de Madrazo, The Painter Meissonier in St Mark’s, Venice, 1882

    El pintor Meissonier en San Marcos de Venecia. Ricardo de Madrazo y Garreta. Lápiz y acuarela sobre papel avitelado. 1882. Firmado y fechado. Madrid, Museo Nacional del Prado. Adquirido en 2012 · acceso profesionales · Source ↗

    Appears on: Ricardo de Madrazo (1852-1917): dibujos y acuarelas

  • Dense canopy of Emery Blagdon wire and foil Healing Machine components hanging in blue light

    Emery Blagdon, "The Healing Machine" (components), c. 1955–1986

    Emery Blagdon, "The Healing Machine" (untitled individual components), c. 1955–1986; metal and mixed media. John Michael Kohler Arts Center Collection, gift of Kohler Foundation Inc. Photo courtesy of John Michael Kohler Arts Center. · media use only, credits required; press list confirmed by Emily Shedal 20 Oct 2026 · Source ↗

    Appears on: Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

  • Emery Blagdon painted panels with radiating geometric patterns mounted on a weathered wood wall

    Emery Blagdon, "The Healing Machine" (components), c. 1955–1986

    Emery Blagdon, "The Healing Machine" (untitled individual components), c. 1955–1986. John Michael Kohler Arts Center Collection, gift of Kohler Foundation Inc. Photo courtesy of John Michael Kohler Arts Center. · media use only, credits required; press list confirmed by Emily Shedal 20 Oct 2026 · Source ↗

    Appears on: Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

  • Emily Hermant seated in her Vancouver studio among coils of cable

    Emily Hermant in her Vancouver studio, July 2026

    Emily Hermant in her Vancouver studio, July 2026, Photo: Vancouver Art Gallery · contact sheet terms · Source ↗

    Appears on: Vancouver Now! Emily Hermant

  • Emily Hermant’s Billow, a tall column of layered stripped telecommunications cables

    Emily Hermant, Billow, 2020–21

    Emily Hermant, Billow, 2020–21, collected and stripped telecommunications cables, interior steel armature, interior gypsum coating, Collection of Creo Stone Inc., Photo: Vancouver Art Gallery · contact sheet terms · Source ↗

    Appears on: Vancouver Now! Emily Hermant

  • Emily Hermant’s Farther From, a canvas covered in multicoloured stripped cables

    Emily Hermant, Farther From, 2026

    Emily Hermant, Farther From, 2026, collected and stripped telecommunications cables on canvas, Courtesy of the Artist, Photo: Vancouver Art Gallery · contact sheet terms · Source ↗

    Appears on: Vancouver Now! Emily Hermant

  • Detail of Emily Hermant’s Pile It On, showing blue and white ethernet jackets

    Emily Hermant, Pile It On (detail), 2025

    Emily Hermant, Pile It On, 2025 (detail), collected and folded empty ethernet jackets in mesh, heat shrink plastic caps, metal bar, Collection of Creo Stone Inc., Photo: Vancouver Art Gallery · contact sheet terms · Source ↗

    Appears on: Vancouver Now! Emily Hermant

  • Emily Hermant’s Pile It On, a hanging of blue and white folded ethernet jackets

    Emily Hermant, Pile It On, 2025

    Emily Hermant, Pile It On, 2025, collected and folded empty ethernet jackets in mesh, heat shrink plastic caps, metal bar, Collection of Creo Stone Inc., Photo: Vancouver Art Gallery · contact sheet terms · Source ↗

    Appears on: Vancouver Now! Emily Hermant

  • Abstract Aboriginal painting of white lines on a black background

    Emily Kam Kngwarray Anmatyerr c. 1910–96 Anwerlarr Anganenty (Big Yam Dreaming) (detail) 1995 synthetic polymer paint on canvas 291.1 x 801.8 cm National Gallery of Victoria, Melbourne Presented through The Art Foundation of Victoria by Donald and Janet Holt and family, Governors, 1995. © The Estate of Emily Kam Kngwarray / Copyright Agency, Australia 2023

    Emily Kam Kngwarray Anmatyerr c. 1910–96 Anwerlarr Anganenty (Big Yam Dreaming) (detail) 1995 synthetic polymer paint on canvas 291.1 x 801.8 cm National Gallery of Victoria, Melbourne Presented through The Art Foundation of Victoria by Donald and Janet Holt and family, Governors, 1995. © The Estate of Emily Kam Kngwarray / Copyright Agency, Australia 2023 · License · Source ↗

    Appears on: The Stars We Do Not See: Australian Indigenous Art

  • A black shadow-puppet creature on a stick from Erin Kaczkowski’s Of Mound and Myth Shadow Theater

    Erin Kaczkowski, Of Mound and Myth Shadow Theater (detail), 2026

    Erin Kaczkowski, Of Mound and Myth Shadow Theater (detail), 2026; paint on wood. Courtesy of the artist. Photo courtesy of John Michael Kohler Arts Center. · Emily Shedal, WeTransfer 21 Oct 2026 · Source ↗

    Appears on: Forever Play

  • Ernst Ludwig Kirchner, The Russian Dancer Mela, 1911

    Ernst Ludwig Kirchner, The Russian Dancer Mela, 1911

    Ernst Ludwig Kirchner (German, 1880–1938). The Russian Dancer Mela, 1911. Oil on canvas. Private Collection · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Ernst Ludwig Kirchner, Self Portrait with a Girl, 1914–1915 — expressionist double portrait in green and red tones, from the Frihedens Fald exhibition

    Ernst Ludwig Kirchner, Self Portrait with a Girl, 1914–1915 — expressionist double portrait in green and red tones, from the Frihedens Fald exhibition

    Ernst Ludwig Kirchner, Self Portrait with a Girl, 1914–1915. © Neue Nationalgalerie, Stiftung Preußischer Kulturbesitz, Berlin / Photo: André van Linn

    Appears on: Frihedens Fald Kunsten i Tyskland 1910 – 1945

  • Bust of an Ethiopian Man, 17th-century Italian sculpture in black and coloured marble, against black

    Ethiopian Man, 17th century

    Ethiopian Man. Italian Anonymous. Coloured marble. 17th century. Madrid, Museo Nacional del Prado (Origin Royal Collection) · acceso profesionales · Source ↗

    Appears on: Christina of Sweden. A passion for sculpture

  • Exhibition image for Tewa Nangeh/Tewa Country

    Exhibition Installation. Photograph by Brad Trone, 2025

    Exhibition Installation. Photograph by Brad Trone, 2025 · License · Source ↗

    Appears on: Tewa Nangeh/Tewa Country

  • A giant Fabergé egg balloon in front of the museum in 1989

    A giant Fabergé egg balloon in front of the museum in 1989

    Faberge Egg Balloon in front of The San Diego Museum of Art in promotion of special exhibition Fabergé: The Imperial Eggs, 1989. The San Diego Museum of Art Archives. · via 62 Above · Source ↗

    Appears on: SDMA 100 Years

  • Domed circular gallery with deep blue alcoves, illuminated glass display cases on wooden plinths ringing the room, and benches between them

    The Fabergé Galleries, Virginia Museum of Fine Arts

    Fabergé Galleries, Travis Fullerton © Virginia Museum of Fine Arts 2016 · Source ↗

    Appears on: Virginia Museum of Fine Arts

  • Gouache of a nuclear cooling tower with stacked white clouds above a lakeside town

    Timothy Callaghan, Fall Guy, 2025

    Fall Guy, 2025. Timothy Callaghan (American, b. 1976). Gouache on paper. Courtesy of the artist. © Timothy Callaghan · supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Lake Effect: Artists from Cleveland Now

  • Exhibition image for Farhad Ostovani: Goldberg Variations

    Farhad Ostovani, Iranian (born 1950). Variation n°25 , 1998. Watercolor and ink drawings on Nepal paper marouflé on canvas (2 panels), 11 15/16 × 118 1/8 × 1 inches (30.32 × 300 × 2.54 cm). Purchase: William Rockhill Nelson Trust through the George H. and Elizabeth O. Davis Fund, 2024.69.2,1.

    Farhad Ostovani, Iranian (born 1950). Variation n°25 , 1998. Watercolor and ink drawings on Nepal paper marouflé on canvas (2 panels), 11 15/16 × 118 1/8 × 1 inches (30.32 × 300 × 2.54 cm). Purchase: William Rockhill Nelson Trust through the George H. and Elizabeth O. Davis Fund, 2024.69.2,1. · License · Source ↗

    Appears on: Farhad Ostovani: Goldberg Variations

  • Ferdinando Brandani Diego Velázquez Oil on canvas 1650 Acquired by the Museo Nacional del Prado with an extraordinary State budget, 2003

    Ferdinando Brandani Diego Velázquez Oil on canvas 1650 Acquired by the Museo Nacional del Prado with an extraordinary State budget, 2003

    Ferdinando Brandani Diego Velázquez Oil on canvas 1650 Acquired by the Museo Nacional del Prado with an extraordinary State budget, 2003 · License · Source ↗

    Appears on: Prado. 21st Century

  • Exhibition image for Bruxelles 1900

    Fernand Khnopff, Des Caresses , 1896. Huile sur toile, 50,5 x 150 cm. Musées royaux des Beaux-Arts de Belgique. © Musées royaux des Beaux-Arts de Belgique, Bruxelles / photo J. Van Seghbroeck

    Fernand Khnopff, Des Caresses , 1896. Huile sur toile, 50,5 x 150 cm. Musées royaux des Beaux-Arts de Belgique. © Musées royaux des Beaux-Arts de Belgique, Bruxelles / photo J. Van Seghbroeck · License · Source ↗

    Appears on: Bruxelles 1900

  • The Fine Arts Gallery and Plaza de Panama with the Arch of the Future during the 1935 Exposition

    The Fine Arts Gallery and Plaza de Panama with the Arch of the Future during the 1935 Exposition

    Fine Arts Gallery and Plaza de Panama with the Arch of the Future during the California Pacific International Exposition, 1935. © San Diego History Center. · via 62 Above · Source ↗

    Appears on: SDMA 100 Years

  • Naoko Matsubara woodcut print: Flute, 1974

    Naoko Matsubara, Flute, 1974

    Flute, 1974. Naoko Matsubara (Canadian, born in Japan, born in 1937). Woodcut. Francis Welch Fund, Towles Contemporary Art Fund, and Edward S. Morse Memorial Fund. © Naoko Matsubara. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Naoko Matsubara’s Woodblock Worlds

  • Claire Ashley’s large inflatable painted sculptures in rainbow colours filling a gallery in Forever Play

    Claire Ashley, Cosmic Clowns: Viridian Mischief, 2026

    Forever Play installation view, 2026. Claire Ashley, Cosmic Clowns: Viridian Mischief, 2026; spray paint and acrylic on ripstop nylon. Courtesy of the artist. Photo courtesy of John Michael Kohler Arts Center. · Emily Shedal, WeTransfer 21 Oct 2026 · Source ↗

    Appears on: Forever Play

  • Forever Play gallery wall with the words Imagine and Play and a blue wave-shaped cutout

    Erin Kaczkowski, Of Mound and Myth Shadow Theater, 2026

    Forever Play installation view, 2026. Erin Kaczkowski, Of Mound and Myth Shadow Theater, 2026; paint on wood. Courtesy of the artist. Photo courtesy of John Michael Kohler Arts Center. · Emily Shedal, WeTransfer 21 Oct 2026 · Source ↗

    Appears on: Forever Play

  • Limestone boundary stele fragment with Nefertiti and two princesses, 1349–1336 B.C.

    Fragment of a boundary stele with Nefertiti and two princesses, 1349–1336 B.C.

    Fragment of a boundary stele with Nefertiti and two princesses, 1349–1336 B.C. Limestone. Marilyn M. Simpson Fund. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Maverick Kings

  • Exhibition image for FRANZ WEST

    Franz West | Sisyphos, 2002 | The ALBERTINA Museum, Vienna – The ESSL Collection | 2026 © Archiv Franz West, © Archiv Franz West © Estate Franz West, Photo: Lisa Rastl

    Franz West | Sisyphos, 2002 | The ALBERTINA Museum, Vienna – The ESSL Collection | 2026 © Archiv Franz West, © Archiv Franz West © Estate Franz West, Photo: Lisa Rastl · License · Source ↗

    Appears on: FRANZ WEST

  • Frederic Edwin Church, Pichincha: the sun low over a green Andean valley, with palm trees in the foreground and a mountain in haze

    Frederic Edwin Church, Pichincha

    Frederic Edwin Church Pichincha, 1867 Oil on canvas 31 × 48 3/16 inches (78.7 × 122.4 cm); Framed: 63 × 46 × 6 inches (160 × 116.8 × 15.2 cm) 125th Anniversary Acquisition. Gift of the McNeil Americana Collection, 2004. Philadelphia Museum of Art. · press.philamuseum.org · Source ↗

    Appears on: A Nation of Artists

  • Marcel Duchamp, Box in a Valise: a leather case opened to show miniature replicas and reproductions of his works

    Marcel Duchamp, Box in a Valise

    From or by Marcel Duchamp or Rrose Sélavy (Box in a Valise), 1935-1941 (contents); 1938 (collotype); deluxe edition, Series A, 1943, Marcel Duchamp, Brown leather valise with handle containing sixty-nine miniature replicas and printed reproductions and one original, Virgin (No. 2), 1938, hand-colored collotype, The Louise and Walter Arensberg Collection, 1950, 1950-134-934 · press.philamuseum.org · Source ↗

    Appears on: Marcel Duchamp

  • Frontal of the Passion Geri Lapi Linen cloth embroidered with coloured silks and gold and silver threads, 90 × 331 cm c. 1346–50 Manresa, Basilica de Santa Maria de la Seu de Manresa–Bisbat de Vic

    Frontal of the Passion Geri Lapi Linen cloth embroidered with coloured silks and gold and silver threads, 90 × 331 cm c. 1346–50 Manresa, Basilica de Santa Maria de la Seu de Manresa–Bisbat de Vic

    Frontal of the Passion Geri Lapi Linen cloth embroidered with coloured silks and gold and silver threads, 90 × 331 cm c. 1346–50 Manresa, Basilica de Santa Maria de la Seu de Manresa–Bisbat de Vic · License · Source ↗

    Appears on: In the Italian Manner. Spain and the Mediterranean Gothic, 1320-1420

  • Naoko Matsubara woodcut print: Fruit, 1974

    Naoko Matsubara, Fruit, 1974

    Fruit, 1974. Naoko Matsubara (Canadian, born in Japan, born in 1937). Woodcut. Gift of the artist. © Naoko Matsubara. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Naoko Matsubara’s Woodblock Worlds

  • Gabriele Münter, In the Garden in Murnau, 1911

    Gabriele Münter, In the Garden in Murnau, 1911

    Gabriele Münter (German, 1877–1962). In the Garden in Murnau, 1911. Oil on board. Neue Galerie New York. This work is part of the collection of Estée Lauder and was made available through the generosity of Estée Lauder. Photo: Hulya Kolabas. © 2026 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, for Gabriele Münter · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Gabriele Münter, Wooden Doll: a still life of a wooden doll, fruit and a jug on a red tablecloth

    Gabriele Münter, Wooden Doll

    Gabriele Münter, Wooden Doll, 1909. Oil on canvas board. Gift from the Estate of Vance E. Kondon and Liesbeth Giesberger, 2011.121. © 2026 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Painting the French Riviera at the Royal Academy of Arts, London: a Coco Chanel costume for the ballet Le Train bleu in a display case

    Installation view with Coco Chanel’s costume for Le Train bleu, 1924

    Gallery view of 'Painting the French Riviera' at the Royal Academy of Arts, London (2 October 2026 - 31 January 2027), showing Costume designed by Gabrielle 'Coco' Chanel for Lydia Sokolova as La Perlouse in Nijinska's ballet Le Train bleu for Sergei Diaghilev's Ballets Russes, 1924. On loan from Victoria and Albert Museum, London. Photo: © Royal Academy of Arts, London / David Parry. Exhibition organised by the Royal Academy of Arts, London in collaboration with the Cleveland Museum of Art. · Jess Roye, 21 Oct 2026 · Source ↗

    Appears on: Painting the French Riviera

  • Painting the French Riviera at the Royal Academy of Arts, London: a pale seascape painting displayed in a wall niche

    Installation view with Les Iles d'Or (The Golden Isles), c. 1891–92

    Gallery view of 'Painting the French Riviera' at the Royal Academy of Arts, London (2 October 2026 - 31 January 2027), showing Les Iles d'Or (The Golden Isles), c. 1891–92. Musée d'Orsay, Paris. Photo: © Royal Academy of Arts, London / David Parry. Exhibition organised by the Royal Academy of Arts, London in collaboration with the Cleveland Museum of Art. · Jess Roye, 21 Oct 2026 · Source ↗

    Appears on: Painting the French Riviera

  • Painting the French Riviera at the Royal Academy of Arts, London: a visitor looks at Paul Cézanne’s Bathers in the gallery

    Installation view with Paul Cézanne, Bathers, 1890–92

    Gallery view of 'Painting the French Riviera' at the Royal Academy of Arts, London (2 October 2026 - 31 January 2027), showing Paul Cezanne, Bathers, 1890–92. On loan from Saint Louis Art Museum. Photo: © Royal Academy of Arts, London / David Parry. Exhibition organised by the Royal Academy of Arts, London in collaboration with the Cleveland Museum of Art. · Jess Roye, 21 Oct 2026 · Source ↗

    Appears on: Painting the French Riviera

  • Painting the French Riviera at the Royal Academy of Arts, London: Pierre Bonnard’s The Palm on a gallery wall

    Installation view with Pierre Bonnard, The Palm, 1926

    Gallery view of 'Painting the French Riviera' at the Royal Academy of Arts, London (2 October 2026 - 31 January 2027), showing Pierre Bonnard, The Palm, 1926. On loan from The Phillips Collection, Washington. Photo: © Royal Academy of Arts, London / David Parry. Exhibition organised by the Royal Academy of Arts, London in collaboration with the Cleveland Museum of Art. · Jess Roye, 21 Oct 2026 · Source ↗

    Appears on: Painting the French Riviera

  • Painting the French Riviera at the Royal Academy of Arts, London: a wall of vintage Riviera travel posters

    Installation view with vintage Riviera travel posters

    Gallery view of 'Painting the French Riviera' at the Royal Academy of Arts, London (2 October 2026 - 31 January 2027), showing vintage travel posters. On loan from AntikBar, London. Photo: © Royal Academy of Arts, London / David Parry. Exhibition organised by the Royal Academy of Arts, London in collaboration with the Cleveland Museum of Art. · Jess Roye, 21 Oct 2026 · Source ↗

    Appears on: Painting the French Riviera

  • Painting the French Riviera at the Royal Academy of Arts, London: a bronze reclining nude sculpture in the gallery

    Installation view, Painting the French Riviera

    Gallery view of 'Painting the French Riviera' at the Royal Academy of Arts, London (2 October 2026 - 31 January 2027). Photo: © Royal Academy of Arts, London / David Parry. Exhibition organised by the Royal Academy of Arts, London in collaboration with the Cleveland Museum of Art. · Jess Roye, 21 Oct 2026 · Source ↗

    Appears on: Painting the French Riviera

  • Painting the French Riviera at the Royal Academy of Arts, London: two landscape paintings with a visitor in red

    Installation view, Painting the French Riviera

    Gallery view of 'Painting the French Riviera' at the Royal Academy of Arts, London (2 October 2026 - 31 January 2027). Photo: © Royal Academy of Arts, London / David Parry. Exhibition organised by the Royal Academy of Arts, London in collaboration with the Cleveland Museum of Art. · Jess Roye, 21 Oct 2026 · Source ↗

    Appears on: Painting the French Riviera

  • Painting the French Riviera at the Royal Academy of Arts, London: a bronze reclining figure framed by an archway

    Installation view, Painting the French Riviera

    Gallery view of 'Painting the French Riviera' at the Royal Academy of Arts, London (2 October 2026 - 31 January 2027). Photo: © Royal Academy of Arts, London / David Parry. Exhibition organised by the Royal Academy of Arts, London in collaboration with the Cleveland Museum of Art. · Jess Roye, 21 Oct 2026 · Source ↗

    Appears on: Painting the French Riviera

  • Painting the French Riviera at the Royal Academy of Arts, London: a visitor standing between two Riviera landscape paintings

    Installation view, Painting the French Riviera

    Gallery view of 'Painting the French Riviera' at the Royal Academy of Arts, London (2 October 2026 - 31 January 2027). Photo: © Royal Academy of Arts, London / David Parry. Exhibition organised by the Royal Academy of Arts, London in collaboration with the Cleveland Museum of Art. · Jess Roye, 21 Oct 2026 · Source ↗

    Appears on: Painting the French Riviera

  • Painting the French Riviera at the Royal Academy of Arts, London: two pale coastal paintings on a gallery wall

    Installation view, Painting the French Riviera

    Gallery view of 'Painting the French Riviera' at the Royal Academy of Arts, London (2 October 2026 - 31 January 2027). Photo: © Royal Academy of Arts, London / David Parry. Exhibition organised by the Royal Academy of Arts, London in collaboration with the Cleveland Museum of Art. · Jess Roye, 21 Oct 2026 · Source ↗

    Appears on: Painting the French Riviera

  • Painting the French Riviera at the Royal Academy of Arts, London: two brightly coloured paintings on a gallery wall

    Installation view, Painting the French Riviera

    Gallery view of 'Painting the French Riviera' at the Royal Academy of Arts, London (2 October 2026 - 31 January 2027). Photo: © Royal Academy of Arts, London / David Parry. Exhibition organised by the Royal Academy of Arts, London in collaboration with the Cleveland Museum of Art. · Jess Roye, 21 Oct 2026 · Source ↗

    Appears on: Painting the French Riviera

  • Exhibition image for Hammer Projects: Gê Viana

    Gê Viana, Radiola de promessa , 2025 (still) Single-channel video, color, sound. 13:07 min. Courtesy of the artist and Mitre Galeria

    Gê Viana, Radiola de promessa , 2025 (still) Single-channel video, color, sound. 13:07 min. Courtesy of the artist and Mitre Galeria · License · Source ↗

    Appears on: Hammer Projects: Gê Viana

  • George Grosz, Pillars of Society, 1926 — satirical painting of grotesque political and business figures at a rally, from the Frihedens Fald exhibition

    George Grosz, Pillars of Society, 1926 — satirical painting of grotesque political and business figures at a rally, from the Frihedens Fald exhibition

    George Grosz, Pillars of Society, 1926. © Neue Nationalgalerie, Stiftung Preußischer Kulturbesitz, Berlin / Photo: Kai Anette Becker

    Appears on: Frihedens Fald Kunsten i Tyskland 1910 – 1945

  • A painted portrait of a young person wearing a brown coat.

    George Luks (American, 1867-1933), Mike the Bite, 1928, oil on canvas, image: 19 9/16 in x 15 11/16 in; frame: 25 1/4 in x 21 3/8 in x 1 7/16 in, Gift of Mr. and Mrs. Lesley G. Shaefer, public domain, 55.266

    George Luks (American, 1867-1933), Mike the Bite, 1928, oil on canvas, image: 19 9/16 in x 15 11/16 in; frame: 25 1/4 in x 21 3/8 in x 1 7/16 in, Gift of Mr. and Mrs. Lesley G. Shaefer, public domain, 55.266 · License · Source ↗

    Appears on: Facing Ourselves

  • George Minne, Kneeling Youth, ca. 1898, a marble figure

    George Minne, Kneeling Youth, ca. 1898

    George Minne (Belgian, 1866–1941). Kneeling Youth, ca. 1898. Marble. Neue Galerie New York. This gift made available through the generosity of the heirs of the Estates of Ferdinand and Adele Bloch-Bauer. Photo: Hulya Kolabas · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Charles Willson Peale, George Washington at Princeton: Washington in a blue and buff uniform leaning on a cannon, with a flag and troops behind him

    Charles Willson Peale, George Washington at Princeton

    George Washington at Princeton, 1779, American, 1741-1827, Oil on canvas, The Middleton Family Collection · press.philamuseum.org · Source ↗

    Appears on: A Nation of Artists

  • Exhibition image for Spaces of Becoming

    Georgia O’Keeffe. Black Rock with White Background, 1963-1971. Oil on canvas, 20 3/16 x 16 1/4 inches. Georgia O’Keeffe Museum. Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum. [2006.5.380] Photo: Tim Nighswander/IMAGING4ART

    Georgia O’Keeffe. Black Rock with White Background, 1963-1971. Oil on canvas, 20 3/16 x 16 1/4 inches. Georgia O’Keeffe Museum. Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum. [2006.5.380] Photo: Tim Nighswander/IMAGING4ART · License · Source ↗

    Appears on: Spaces of Becoming

  • Exhibition image for Routed West: Twentieth-Century African American Quilts in California

    Gerstine Scott, Untitled (Necktie quilt) , 1989; Polyester, rayon, silk, wool, and other synthetic fabrics; hand-pieced and hand-quilted; 94 x 85 in.; Bequest of the Eli Leon Living Trust, BAMPFA; Courtesy of the Gerstine Scott Family

    Gerstine Scott, Untitled (Necktie quilt) , 1989; Polyester, rayon, silk, wool, and other synthetic fabrics; hand-pieced and hand-quilted; 94 x 85 in.; Bequest of the Eli Leon Living Trust, BAMPFA; Courtesy of the Gerstine Scott Family · License · Source ↗

    Appears on: Routed West: Twentieth-Century African American Quilts in California

  • Giampietrino (Italian, active ca

    Giampietrino (Italian, active ca. 1520-1540), Saint Mary Magdalene, ca. 1521, tempera on wood. Gift of The Samuel H. Kress Foundation. Portland Art Museum, Portland, Oregon, 61.38

    Giampietrino (Italian, active ca. 1520-1540), Saint Mary Magdalene, ca. 1521, tempera on wood. Gift of The Samuel H. Kress Foundation. Portland Art Museum, Portland, Oregon, 61.38 · License · Source ↗

    Appears on: For the Enjoyment of All: Celebrating the Kress Gift

  • Gisèle Freund photograph of Herbert Read and Peggy Guggenheim, 1939

    Gisèle Freund, Herbert Read and Peggy Guggenheim, 1939

    Gisèle Freund (1908-2000), Herbert Read and Peggy Guggenheim, 1939 (printed 1977). Dyetransfer, 46 x 35 cm. Peggy Guggenheim Collection Archives, Venice, Purchase courtesy Ikona Photo Gallery, Venice, 1988 · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Peggy Guggenheim in London

  • Small gold snuffbox with a lobed lid set with blue lapis lazuli panels and chased gold ornament

    Juste-Aurèle Meissonnier, Gold Box, 1728–29

    Gold Box, 1728–29. Juste-Aurèle Meissonnier (French, 1695–1750). Gold and lapis lazuli; overall: 5.8 x 8.3 x 2.9 cm. The Cleveland Museum of Art, Purchase from the John L. Severance Fund, the Dudley P. Allen Fund, by exchange, and the Sundry Art–Miscellaneous Fund, 2026.12 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Juste-Aurèle Meissonnier: Rococo Goldsmith in Focus

  • Suzanne Jackson, Grandparents, 1970, acrylic wash, gesso and graphite on canvas

    Suzanne Jackson, Grandparents, 1970

    Grandparents, 1970. Suzanne Jackson (American, born in 1944). Acrylic wash, gesso, and graphite on canvas. Collection of Tina and Larry Jones, New York. © Suzanne Jackson, courtesy Ortuzar, New York; photo: David Kaminsky. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Suzanne Jackson: What Is Love

  • Neoclassical gallery with a white marble statue on a plinth at its centre, old master paintings hung in two tiers on pale walls, and arched lunette windows above

    The Great Hall, Virginia Museum of Fine Arts

    Great Hall, Sandra Sellars © Virginia Museum of Fine Arts 2022 · Source ↗

    Appears on: Virginia Museum of Fine Arts

  • Art Preserve view with a zigzag lightning sculpture before a wood wall of small Blagdon panels

    Installation view, Art Preserve, 2026

    Guadalupe Maravilla with Emery Blagdon: The star exploding in the body installation view at the Art Preserve, 2026. Photo courtesy of John Michael Kohler Arts Center. · media use only, credits required; press list confirmed by Emily Shedal 20 Oct 2026 · Source ↗

    Appears on: Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

  • Emery Blagdon’s Healing Machine, many hanging metal components suspended in a dark blue gallery

    Emery Blagdon, "The Healing Machine", c. 1955–1986

    Guadalupe Maravilla with Emery Blagdon: The star exploding in the body installation view at the John Michael Kohler Arts Center, 2026. Emery Blagdon, "The Healing Machine" (untitled individual components), c. 1955–1986; metal and mixed media. John Michael Kohler Arts Center Collection, gift of Kohler Foundation Inc. Photo courtesy of John Michael Kohler Arts Center. · Emily Shedal, WeTransfer 21 Oct 2026 · Source ↗

    Appears on: Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

  • Wide installation view with Maravilla altar at left and a long metal wall of hanging objects and horse figures

    Installation view, John Michael Kohler Arts Center, 2026

    Guadalupe Maravilla with Emery Blagdon: The star exploding in the body installation view at the John Michael Kohler Arts Center, 2026. Photo courtesy of John Michael Kohler Arts Center. · media use only, credits required; press list confirmed by Emily Shedal 20 Oct 2026 · Source ↗

    Appears on: Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

  • Steel frame installation hung with gongs, horse figures and wire objects above a wooden floor

    Installation view, John Michael Kohler Arts Center, 2026

    Guadalupe Maravilla with Emery Blagdon: The star exploding in the body installation view at the John Michael Kohler Arts Center, 2026. Photo courtesy of John Michael Kohler Arts Center. · media use only, credits required; press list confirmed by Emily Shedal 20 Oct 2026 · Source ↗

    Appears on: Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

  • Guadalupe Maravilla’s sculptural altar and Emery Blagdon’s hanging metal components in a dark blue gallery

    Installation view, The star exploding in the body, 2026

    Guadalupe Maravilla with Emery Blagdon: The star exploding in the body installation view at the John Michael Kohler Arts Center, 2026. Photo courtesy of John Michael Kohler Arts Center. · Emily Shedal, WeTransfer 21 Oct 2026 · Source ↗

    Appears on: Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

  • Emery Blagdon’s Healing Machine metal components hung on a grid around a gong in the gallery

    Installation view, The star exploding in the body, 2026

    Guadalupe Maravilla with Emery Blagdon: The star exploding in the body installation view at the John Michael Kohler Arts Center, 2026. Photo courtesy of John Michael Kohler Arts Center. · Emily Shedal, WeTransfer 21 Oct 2026 · Source ↗

    Appears on: Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

  • Guadalupe Maravilla’s illuminated sculptural instrument with a butterfly wing in a dark blue gallery

    Installation view, The star exploding in the body, 2026

    Guadalupe Maravilla with Emery Blagdon: The star exploding in the body installation view at the John Michael Kohler Arts Center, 2026. Photo courtesy of John Michael Kohler Arts Center. · Emily Shedal, WeTransfer 21 Oct 2026 · Source ↗

    Appears on: Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

  • Detail of a pale sculpted figure on a tall carved column lit by stage lights

    Guadalupe Maravilla, Mariposa Relámpago (detail), 2023–26

    Guadalupe Maravilla, Mariposa Relámpago (detail), 2023–26; objects collected from a ritual retracing of the artist's original migration route. Courtesy of the artist and P·P·O·W. Photo courtesy of John Michael Kohler Arts Center. · media use only, credits required; press list confirmed by Emily Shedal 20 Oct 2026 · Source ↗

    Appears on: Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

  • Detail of a large metal flower sculpture before a row of hanging spoons against a blue-lit wall

    Guadalupe Maravilla, Mariposa Relámpago (detail), 2023–26

    Guadalupe Maravilla, Mariposa Relámpago (detail), 2023–26; objects collected from a ritual retracing of the artist's original migration route. Courtesy of the artist and P·P·O·W. Photo courtesy of John Michael Kohler Arts Center. · media use only, credits required; press list confirmed by Emily Shedal 20 Oct 2026 · Source ↗

    Appears on: Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

  • Guadalupe Maravilla sculptural sound altar crowned with figures and lights in a dark gallery with a wood floor

    Guadalupe Maravilla, Mariposa Relámpago, 2023–26

    Guadalupe Maravilla, Mariposa Relámpago, 2023–26; objects collected from a ritual retracing of the artist's original migration route. Courtesy of the artist and P·P·O·W. Photo courtesy of John Michael Kohler Arts Center. · media use only, credits required; press list confirmed by Emily Shedal 20 Oct 2026 · Source ↗

    Appears on: Guadalupe Maravilla with Emery Blagdon: The star exploding in the body

  • Exhibition image for Gulnur Mukazhanova

    Gulnur Mukazhanova, Bosağa – Transition. The Weave of Ancestral Memory . BARSAKELMES exhibition. Tselinny Center of Contemporary Culture, September 2025. Photo: Saparlas.

    Gulnur Mukazhanova, Bosağa – Transition. The Weave of Ancestral Memory . BARSAKELMES exhibition. Tselinny Center of Contemporary Culture, September 2025. Photo: Saparlas. · License · Source ↗

    Appears on: Gulnur Mukazhanova

  • Gustav Klimt, Portrait of Adele Bloch-Bauer I, 1907, a woman in a gold patterned gown against a gold ground

    Gustav Klimt, Portrait of Adele Bloch-Bauer I, 1907

    Gustav Klimt (Austrian, 1862–1918). Portrait of Adele Bloch-Bauer I, 1907. Oil, gold, and silver on canvas. Neue Galerie New York. Acquired through the generosity of Ronald S. Lauder, the Heirs of the Estates of Ferdinand and Adele Bloch-Bauer, and the Estée Lauder Fund · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Brown quartzite head of Amenhotep III in a round wig, 1390–1352 B.C.

    Head of Amenhotep III in a round wig, 1390–1352 B.C.E.

    Head of Amenhotep III in a round wig, 1390–1352 B.C.E. Brown quartzite. The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1961.417. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Maverick Kings

  • Quartzite head of the Egyptian king Amenhotep III, 1390–1352 B.C.

    Head of Amenhotep III, 1390–1352 B.C.

    Head of Amenhotep III, 1390–1352 B.C. Quartzite. Museum purchase with funds donated by Miss Anna D. Slocum. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Maverick Kings

  • Quartzite head of Hatshepsut as a sphinx, 1473–1458 B.C.

    Head of Hatshepsut as sphinx, 1473–1458 B.C.

    Head of Hatshepsut as sphinx, 1473–1458 B.C. Quartzite. Gift of Mrs. Joseph Lindon Smith in memory of Joseph Lindon Smith. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Maverick Kings

  • Sandstone head of King Tutankhamen, 1336–1327 B.C.

    Head of King Tutankhamen, 1336–1327 B.C.

    Head of King Tutankhamen, 1336–1327 B.C. Sandstone. Museum purchase with funds donated by Miss Mary S. Ames. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Maverick Kings

  • Henry van de Velde, pair of silver and enamel candlesticks, 1902

    Henry van de Velde, Pair of candlesticks, 1902

    Henry van de Velde (Belgian, 1863–1957). Pair of candlesticks, 1902. Silver; enamel. Neue Galerie New York · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Queen Elizabeth II greeting a small child during her 1983 visit to the museum

    Queen Elizabeth II greeting a small child during her 1983 visit to the museum

    Her Majesty Elizabeth II, Queen of the United Kingdom of Great Britain and Northern Ireland visiting The San Diego Museum of Art in 1983. The San Diego Museum of Art Archives. · via 62 Above · Source ↗

    Appears on: SDMA 100 Years

  • Exhibition image for Hidden Insights: Looking at the Backs of Portrait Miniatures

    Hidden Insights: Looking at the Backs of Portrait Miniatures : February 20, 2026, to February 14, 2027. The Cleveland Museum of Art. Photo courtesy the Cleveland Museum of Art

    Hidden Insights: Looking at the Backs of Portrait Miniatures : February 20, 2026, to February 14, 2027. The Cleveland Museum of Art. Photo courtesy the Cleveland Museum of Art · License · Source ↗

    Appears on: Hidden Insights: Looking at the Backs of Portrait Miniatures

  • Suzanne Jackson, High Frost, 1982, acrylic wash on canvas

    Suzanne Jackson, High Frost, 1982

    High Frost, 1982. Suzanne Jackson (American, born in 1944). Acrylic wash on gessoed canvas. The Joyner/Giuffrida Collection. © Suzanne Jackson, courtesy Ortuzar, New York; photo: Swann Galleries. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Suzanne Jackson: What Is Love

  • Hossein Amanat’s Shahyad Tower (now Azadi Tower), Tehran, 1971

    Hossein Amanat, Shahyad Tower (now Azadi Tower), 1971

    Hossein Amanat, Shahyad Tower (now Azadi Tower), Tehran, Iran, 1971, Photo: Courtesy of Hossein Amanat · Sarah Osborne, 21 Oct 2026 · Source ↗

    Appears on: Modern Iran and the Avant-Gardes, 1948–78

  • Hot water kettle on stand by Ball, Tompkins & Black: an engraved silver kettle with a scrolled handle on a pierced stand

    Hot water kettle on stand by Ball, Tompkins & Black

    Hot Water Kettle on Stand, 1839-1851, William Forbes, Ball, Tompkins & Black, New York, Silver, Philadelphia Museum of Art, Purchased with the Richardson Fund, funds contributed in memory of Sophie E. Pennebaker, the Center for American Art Fund, and with funds contributed by the Levitties Family, 2011, 2011-99-1a,b · press.philamuseum.org · Source ↗

    Appears on: A Nation of Artists

  • Hugo Crosthwaite, La Linea: a crowded scene of figures painted in blues, reds and black

    Hugo Crosthwaite, La Linea

    Hugo Crosthwaite, La Linea, 2024. Acrylic and color pencil on canvas. 2025.43. © Hugo Crosthwaite · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado.

    Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado.

    Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado. · License · Source ↗

    Appears on: Prado. 21st Century

  • Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado.

    Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado.

    Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado. · License · Source ↗

    Appears on: Prado. 21st Century

  • Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado.

    Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado.

    Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado. · License · Source ↗

    Appears on: Prado. 21st Century

  • Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado.

    Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado.

    Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado. · License · Source ↗

    Appears on: Prado. 21st Century

  • Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado.

    Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado.

    Image of the exhibition galleries “Prado. 21st Century”. Photo © Museo Nacional del Prado. · License · Source ↗

    Appears on: Prado. 21st Century

  • Exhibition image for Park Billboards: Jalen Jackson

    Image: Jalen Jackson, Middlesex , 2024; ©️ 2024 Jalen Jackson, Courtesy of the artist

    Image: Jalen Jackson, Middlesex , 2024; ©️ 2024 Jalen Jackson, Courtesy of the artist · License · Source ↗

    Appears on: Park Billboards: Jalen Jackson

  • Gallery view of Ricardo de Madrazo (1852–1917): dibujos y acuarelas at the Museo del Prado, with the exhibition title on a blue wall

    Gallery view, Ricardo de Madrazo (1852–1917): dibujos y acuarelas

    Imagen de la sala de exposición “Ricardo de Madrazo (1852-1917): dibujos y acuarelas”. Foto © Museo Nacional del Prado. · acceso profesionales · Source ↗

    Appears on: Ricardo de Madrazo (1852-1917): dibujos y acuarelas

  • Gallery view of Ricardo de Madrazo (1852–1917): dibujos y acuarelas at the Museo del Prado, with framed drawings along blue walls

    Gallery view, Ricardo de Madrazo (1852–1917): dibujos y acuarelas

    Imagen de la sala de exposición “Ricardo de Madrazo (1852-1917): dibujos y acuarelas”. Foto © Museo Nacional del Prado. · acceso profesionales · Source ↗

    Appears on: Ricardo de Madrazo (1852-1917): dibujos y acuarelas

  • Exhibition image for Sarah Sze

    Images courtesy the artist

    Images courtesy the artist · License · Source ↗

    Appears on: Sarah Sze

  • Exhibition image for Nalini Malani

    In Search of Vanished Blood 2012–20 Artwork © Nalini Malani; Photo Johan Pijnappel

    In Search of Vanished Blood 2012–20 Artwork © Nalini Malani; Photo Johan Pijnappel · License · Source ↗

    Appears on: Nalini Malani

  • A terracotta amphora with several figures.

    in the style of Exekias (Greek, active 540-520 BCE), Amphora - Side A: Herakles Wrestling the Nemean Lion, Side B: Departure Scene, 540/530 BCE, terracotta, 19 1/4 in x 12 1/8 in x 12 1/8 in, Gift of Mary Forbush Failing and Henry Failing Cabell in memory of Henry Failing, public domain, 32.829

    in the style of Exekias (Greek, active 540-520 BCE), Amphora - Side A: Herakles Wrestling the Nemean Lion, Side B: Departure Scene, 540/530 BCE, terracotta, 19 1/4 in x 12 1/8 in x 12 1/8 in, Gift of Mary Forbush Failing and Henry Failing Cabell in memory of Henry Failing, public domain, 32.829 · License · Source ↗

    Appears on: Myth and Memory: Mediterranean Antiquity and its Revivals

  • Naoko Matsubara woodcut print: Inner Strength, 1960s, black woodcut

    Naoko Matsubara, Inner Strength, 1960s

    Inner Strength, 1960s. Naoko Matsubara (Canadian, born in Japan, born in 1937). Black woodcut print; single block. Asiatic Curator's Fund, Gift of the Felix and Helen Juda Foundation. © Naoko Matsubara. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Naoko Matsubara’s Woodblock Worlds

  • Installation view of Alfonso Gonzalez Jr.: In Between Stops at the Los Angeles County Museum of Art (1)

    Installation view

    Installation photo, Alfonso Gonzalez Jr.: In Between Stops, at the Los Angeles County Museum of Art, Feb 22–Dec 1, 2026, © Alfonso Gonzalez Jr., photo © Museum Associates/LACMA, by Charlie Powers · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Alfonso Gonzalez Jr.: In Between Stops

  • Installation view of Alfonso Gonzalez Jr.: In Between Stops at the Los Angeles County Museum of Art (3)

    Installation view

    Installation photo, Alfonso Gonzalez Jr.: In Between Stops, at the Los Angeles County Museum of Art, Feb 22–Dec 1, 2026, © Alfonso Gonzalez Jr., photo © Museum Associates/LACMA, by Charlie Powers · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Alfonso Gonzalez Jr.: In Between Stops

  • Installation view of Alfonso Gonzalez Jr.: In Between Stops at the Los Angeles County Museum of Art (5)

    Installation view

    Installation photo, Alfonso Gonzalez Jr.: In Between Stops, at the Los Angeles County Museum of Art, Feb 22–Dec 1, 2026, © Alfonso Gonzalez Jr., photo © Museum Associates/LACMA, by Charlie Powers · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Alfonso Gonzalez Jr.: In Between Stops

  • Installation view of Alfonso Gonzalez Jr.: In Between Stops at the Los Angeles County Museum of Art (7)

    Installation view

    Installation photo, Alfonso Gonzalez Jr.: In Between Stops, at the Los Angeles County Museum of Art, Feb 22–Dec 1, 2026, © Alfonso Gonzalez Jr., photo © Museum Associates/LACMA, by Charlie Powers · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Alfonso Gonzalez Jr.: In Between Stops

  • Installation view of Collecting Impressionism at LACMA at the Los Angeles County Museum of Art (1)

    Installation view

    Installation photo, Collecting Impressionism at LACMA, at the Los Angeles County Museum of Art, Dec 21, 2025–Jan 3, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Collecting Impressionism at LACMA

  • Installation view of Collecting Impressionism at LACMA at the Los Angeles County Museum of Art (3)

    Installation view

    Installation photo, Collecting Impressionism at LACMA, at the Los Angeles County Museum of Art, Dec 21, 2025–Jan 3, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Collecting Impressionism at LACMA

  • Installation view of Collecting Impressionism at LACMA at the Los Angeles County Museum of Art (4)

    Installation view

    Installation photo, Collecting Impressionism at LACMA, at the Los Angeles County Museum of Art, Dec 21, 2025–Jan 3, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Collecting Impressionism at LACMA

  • Installation view of Collecting Impressionism at LACMA at the Los Angeles County Museum of Art (5)

    Installation view

    Installation photo, Collecting Impressionism at LACMA, at the Los Angeles County Museum of Art, Dec 21, 2025–Jan 3, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Collecting Impressionism at LACMA

  • Installation view of Collecting Impressionism at LACMA at the Los Angeles County Museum of Art (6)

    Installation view

    Installation photo, Collecting Impressionism at LACMA, at the Los Angeles County Museum of Art, Dec 21, 2025–Jan 3, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Collecting Impressionism at LACMA

  • Installation view of Collecting Impressionism at LACMA at the Los Angeles County Museum of Art (2)

    Installation view

    Installation photo, Collecting Impressionism at LACMA, at the Los Angeles County Museum of Art, Dec 21, 2025–Jan 3, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Collecting Impressionism at LACMA

  • Installation view of Eileen Cowin: Between Panic and Paradise at the Los Angeles County Museum of Art (1)

    Installation view

    Installation photo, Eileen Cowin: Between Panic and Paradise at the Los Angeles County Museum of Art, Aug 23, 2026–Jan 3, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Eileen Cowin: Between Panic and Paradise

  • Installation view of Eileen Cowin: Between Panic and Paradise at the Los Angeles County Museum of Art (2)

    Installation view

    Installation photo, Eileen Cowin: Between Panic and Paradise at the Los Angeles County Museum of Art, Aug 23, 2026–Jan 3, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Eileen Cowin: Between Panic and Paradise

  • Installation view of Eileen Cowin: Between Panic and Paradise at the Los Angeles County Museum of Art (4)

    Installation view

    Installation photo, Eileen Cowin: Between Panic and Paradise at the Los Angeles County Museum of Art, Aug 23, 2026–Jan 3, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Eileen Cowin: Between Panic and Paradise

  • Installation view of Eileen Cowin: Between Panic and Paradise at the Los Angeles County Museum of Art (5)

    Installation view

    Installation photo, Eileen Cowin: Between Panic and Paradise at the Los Angeles County Museum of Art, Aug 23, 2026–Jan 3, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Eileen Cowin: Between Panic and Paradise

  • Installation view of Eileen Cowin: Between Panic and Paradise at the Los Angeles County Museum of Art (3)

    Installation view

    Installation photo, Eileen Cowin: Between Panic and Paradise at the Los Angeles County Museum of Art, Aug 23, 2026–Jan 3, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Eileen Cowin: Between Panic and Paradise

  • Installation view of Alfonso Gonzalez Jr.: In Between Stops at the Los Angeles County Museum of Art (4)

    Get Faded (bench), 2025

    Installation photo, Get Faded (bench) (2025) in the exhibition Alfonso Gonzalez Jr.: In Between Stops, at the Los Angeles County Museum of Art, Feb 22–Dec 1, 2026, © Alfonso Gonzalez Jr., photo © Museum Associates/LACMA, by Charlie Powers · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Alfonso Gonzalez Jr.: In Between Stops

  • Installation view of Home of the Future, 1925–1985: Designing Domestic Utopias at the Los Angeles County Museum of Art (3)

    Installation view

    Installation photo, Home of the Future, 1925–1985: Designing Domestic Utopias, at the Los Angeles County Museum of Art, Sep 27, 2026–Mar 14, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Home of the Future, 1925–1985: Designing Domestic Utopias

  • Installation view of Home of the Future, 1925–1985: Designing Domestic Utopias at the Los Angeles County Museum of Art (4)

    Installation view

    Installation photo, Home of the Future, 1925–1985: Designing Domestic Utopias, at the Los Angeles County Museum of Art, Sep 27, 2026–Mar 14, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Home of the Future, 1925–1985: Designing Domestic Utopias

  • Installation view of Home of the Future, 1925–1985: Designing Domestic Utopias at the Los Angeles County Museum of Art (5)

    Installation view

    Installation photo, Home of the Future, 1925–1985: Designing Domestic Utopias, at the Los Angeles County Museum of Art, Sep 27, 2026–Mar 14, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Home of the Future, 1925–1985: Designing Domestic Utopias

  • Installation view of Home of the Future, 1925–1985: Designing Domestic Utopias at the Los Angeles County Museum of Art (2)

    Installation view

    Installation photo, Home of the Future, 1925–1985: Designing Domestic Utopias, at the Los Angeles County Museum of Art, Sep 27, 2026–Mar 14, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Home of the Future, 1925–1985: Designing Domestic Utopias

  • Installation view of Home of the Future, 1925–1985: Designing Domestic Utopias at the Los Angeles County Museum of Art (1)

    Installation view

    Installation photo, Home of the Future, 1925–1985: Designing Domestic Utopias, at the Los Angeles County Museum of Art, Sep 27, 2026–Mar 14, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Home of the Future, 1925–1985: Designing Domestic Utopias

  • Installation view of Alfonso Gonzalez Jr.: In Between Stops at the Los Angeles County Museum of Art (2)

    Injured (bench), 2026

    Installation photo, Injured (bench) (2026) in the exhibition Alfonso Gonzalez Jr.: In Between Stops, at the Los Angeles County Museum of Art, Feb 22–Dec 1, 2026, © Alfonso Gonzalez Jr., photo © Museum Associates/LACMA, by Charlie Powers · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Alfonso Gonzalez Jr.: In Between Stops

  • Installation view of Alfonso Gonzalez Jr.: In Between Stops at the Los Angeles County Museum of Art (6)

    Marketing Queen (bench), 2026

    Installation photo, Marketing Queen (bench) (2026) in the exhibition Alfonso Gonzalez Jr.: In Between Stops, at the Los Angeles County Museum of Art, Feb 22–Dec 1, 2026, © Alfonso Gonzalez Jr., photo © Museum Associates/LACMA, by Charlie Powers · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Alfonso Gonzalez Jr.: In Between Stops

  • Installation view of Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art (4)

    Installation view

    Installation photo, Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art, Sep 20, 2026–Mar 7, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Textile Alchemy: The Art of Reiko Sudō & NUNO

  • Installation view of Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art (5)

    Installation view

    Installation photo, Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art, Sep 20, 2026–Mar 7, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Textile Alchemy: The Art of Reiko Sudō & NUNO

  • Installation view of Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art (6)

    Installation view

    Installation photo, Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art, Sep 20, 2026–Mar 7, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Textile Alchemy: The Art of Reiko Sudō & NUNO

  • Installation view of Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art (7)

    Installation view

    Installation photo, Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art, Sep 20, 2026–Mar 7, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Textile Alchemy: The Art of Reiko Sudō & NUNO

  • Installation view of Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art (8)

    Installation view

    Installation photo, Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art, Sep 20, 2026–Mar 7, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Textile Alchemy: The Art of Reiko Sudō & NUNO

  • Installation view of Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art (1)

    Installation view

    Installation photo, Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art, Sep 20, 2026–Mar 7, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Textile Alchemy: The Art of Reiko Sudō & NUNO

  • Installation view of Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art (3)

    Installation view

    Installation photo, Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art, Sep 20, 2026–Mar 7, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Textile Alchemy: The Art of Reiko Sudō & NUNO

  • Installation view of Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art (2)

    Installation view

    Installation photo, Textile Alchemy: The Art of Reiko Sudō & NUNO at the Los Angeles County Museum of Art, Sep 20, 2026–Mar 7, 2027, photo © Museum Associates/LACMA, by Jonathan Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Textile Alchemy: The Art of Reiko Sudō & NUNO

  • Installation view of The Kitchen and Its Discontents at the Los Angeles County Museum of Art (1)

    Installation view

    Installation photo, The Kitchen and Its Discontents, at the Los Angeles County Museum of Art, Sep 27, 2026–Mar 14, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: The Kitchen and Its Discontents

  • Installation view of The Kitchen and Its Discontents at the Los Angeles County Museum of Art (2)

    Installation view

    Installation photo, The Kitchen and Its Discontents, at the Los Angeles County Museum of Art, Sep 27, 2026–Mar 14, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: The Kitchen and Its Discontents

  • Installation view of The Kitchen and Its Discontents at the Los Angeles County Museum of Art (3)

    Installation view

    Installation photo, The Kitchen and Its Discontents, at the Los Angeles County Museum of Art, Sep 27, 2026–Mar 14, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: The Kitchen and Its Discontents

  • Installation view of Alfonso Gonzalez Jr.: In Between Stops at the Los Angeles County Museum of Art (8)

    Your Ad Here (bench), 2026

    Installation photo, Your Ad Here (bench) (2026) in the exhibition Alfonso Gonzalez Jr.: In Between Stops, at the Los Angeles County Museum of Art, Feb 22–Dec 1, 2026, © Alfonso Gonzalez Jr., photo © Museum Associates/LACMA, by Charlie Powers · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: Alfonso Gonzalez Jr.: In Between Stops

  • Installation view of The Brockman Gallery: Los Angeles, 1967–1990 at the Los Angeles County Museum of Art (7)

    Installation view

    Installation photograph, The Brockman Gallery: Los Angeles 1967–1990, Los Angeles County Museum of Art, Oct 18, 2026–Jan 24, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: The Brockman Gallery: Los Angeles, 1967–1990

  • Installation view of The Brockman Gallery: Los Angeles, 1967–1990 at the Los Angeles County Museum of Art (2)

    Installation view

    Installation photograph, The Brockman Gallery: Los Angeles 1967–1990, Los Angeles County Museum of Art, Oct 18, 2026–Jan 24, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: The Brockman Gallery: Los Angeles, 1967–1990

  • Installation view of The Brockman Gallery: Los Angeles, 1967–1990 at the Los Angeles County Museum of Art (3)

    Installation view

    Installation photograph, The Brockman Gallery: Los Angeles 1967–1990, Los Angeles County Museum of Art, Oct 18, 2026–Jan 24, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: The Brockman Gallery: Los Angeles, 1967–1990

  • Installation view of The Brockman Gallery: Los Angeles, 1967–1990 at the Los Angeles County Museum of Art (5)

    Installation view

    Installation photograph, The Brockman Gallery: Los Angeles 1967–1990, Los Angeles County Museum of Art, Oct 18, 2026–Jan 24, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: The Brockman Gallery: Los Angeles, 1967–1990

  • Installation view of The Brockman Gallery: Los Angeles, 1967–1990 at the Los Angeles County Museum of Art (4)

    Installation view

    Installation photograph, The Brockman Gallery: Los Angeles 1967–1990, Los Angeles County Museum of Art, Oct 18, 2026–Jan 24, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: The Brockman Gallery: Los Angeles, 1967–1990

  • Installation view of The Brockman Gallery: Los Angeles, 1967–1990 at the Los Angeles County Museum of Art (6)

    Installation view

    Installation photograph, The Brockman Gallery: Los Angeles 1967–1990, Los Angeles County Museum of Art, Oct 18, 2026–Jan 24, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: The Brockman Gallery: Los Angeles, 1967–1990

  • Installation view of The Brockman Gallery: Los Angeles, 1967–1990 at the Los Angeles County Museum of Art (1)

    Installation view

    Installation photograph, The Brockman Gallery: Los Angeles 1967–1990, Los Angeles County Museum of Art, Oct 18, 2026–Jan 24, 2027, photo © Museum Associates/LACMA, by Jonathan J. Urban · LACMA Communications, 23 Oct 2026 · Source ↗

    Appears on: The Brockman Gallery: Los Angeles, 1967–1990

  • Exhibition image for Nick Cave: Mammoth

    Installation photography of Nick Cave: Mammoth, Smithsonian American Art Museum, 2026, ©Nick Cave; Photo by RON BLUNT STUDIO

    Installation photography of Nick Cave: Mammoth, Smithsonian American Art Museum, 2026, ©Nick Cave; Photo by RON BLUNT STUDIO · License · Source ↗

    Appears on: Nick Cave: Mammoth

  • Exhibition image for Chiharu Shiota: The Soul Trembles

    Installation view of Chiharu Shiota’s Uncertain Journey (2016/2019), in the exhibition Shiota Chiharu: The Soul Trembles , Mori Art Museum, Tokyo, 2019. Metal frame, red wool, variable dimensions). Collection of the artist © Chiharu Shiota / VG Bild-Kunst, Bonn / CARCC Ottawa 2026. Photo Sunhi Mang. Photo courtesy Mori Art Museum, Tokyo

    Installation view of Chiharu Shiota’s Uncertain Journey (2016/2019), in the exhibition Shiota Chiharu: The Soul Trembles , Mori Art Museum, Tokyo, 2019. Metal frame, red wool, variable dimensions). Collection of the artist © Chiharu Shiota / VG Bild-Kunst, Bonn / CARCC Ottawa 2026. Photo Sunhi Mang. Photo courtesy Mori Art Museum, Tokyo · License · Source ↗

    Appears on: Chiharu Shiota: The Soul Trembles

  • Emily Hermant’s Talk Through Me, a hanging work of stripped cables in bands of yellow, white, green and blue

    Emily Hermant, Talk Through Me, 2024

    Installation view of Emily Hermant, Talk Through Me, 2024, in Vancouver Now! Emily Hermant, exhibition at the Vancouver Art Gallery, August 7 to November 22, 2026, Photo: Vancouver Art Gallery · contact sheet terms · Source ↗

    Appears on: Vancouver Now! Emily Hermant

  • Flowers for you building

    Installation view of Flowers for you, 2026

    Installation view of Flowers for you, 2026 · License · Source ↗

    Appears on: Flowers for you

  • Exhibition image for It's Alive! A Century of Animation from the Collection

    Installation view of It's Alive! A Century of Animation from the Collection, The Museum of Modern Art, New York. Photo by Jonathan Dorado © The Museum of Modern Art, New York

    Installation view of It's Alive! A Century of Animation from the Collection, The Museum of Modern Art, New York. Photo by Jonathan Dorado © The Museum of Modern Art, New York · License · Source ↗

    Appears on: It's Alive! A Century of Animation from the Collection

  • Exhibition image for It's Alive! A Century of Animation from the Collection

    Installation view of It's Alive! A Century of Animation from the Collection, The Museum of Modern Art, New York. Photo by Jonathan Dorado © The Museum of Modern Art, New York

    Installation view of It's Alive! A Century of Animation from the Collection, The Museum of Modern Art, New York. Photo by Jonathan Dorado © The Museum of Modern Art, New York · License · Source ↗

    Appears on: It's Alive! A Century of Animation from the Collection

  • Exhibition image for Odili Donald Odita: Songs from Life

    Installation view of Odili Donald Odita: Songs from Life , on view at The Museum of Modern Art from April 8, 2025, through Spring 2026. The Museum of Modern Art, New York. Digital Image © 2025 The Museum of Modern Art, New York. Photo by Jonathan Dorado.

    Installation view of Odili Donald Odita: Songs from Life , on view at The Museum of Modern Art from April 8, 2025, through Spring 2026. The Museum of Modern Art, New York. Digital Image © 2025 The Museum of Modern Art, New York. Photo by Jonathan Dorado. · License · Source ↗

    Appears on: Odili Donald Odita: Songs from Life

  • Exhibition image for Odili Donald Odita: Songs from Life

    Installation view of Odili Donald Odita: Songs from Life , on view at The Museum of Modern Art from April 8, 2025, through Spring 2026. The Museum of Modern Art, New York. Digital Image © 2025 The Museum of Modern Art, New York. Photo by Jonathan Dorado.

    Installation view of Odili Donald Odita: Songs from Life , on view at The Museum of Modern Art from April 8, 2025, through Spring 2026. The Museum of Modern Art, New York. Digital Image © 2025 The Museum of Modern Art, New York. Photo by Jonathan Dorado. · License · Source ↗

    Appears on: Odili Donald Odita: Songs from Life

  • Exhibition image for Odili Donald Odita: Songs from Life

    Installation view of Odili Donald Odita: Songs from Life , on view at The Museum of Modern Art from April 8, 2025, through Spring 2026. The Museum of Modern Art, New York. Digital Image © 2025 The Museum of Modern Art, New York. Photo by Jonathan Dorado.

    Installation view of Odili Donald Odita: Songs from Life , on view at The Museum of Modern Art from April 8, 2025, through Spring 2026. The Museum of Modern Art, New York. Digital Image © 2025 The Museum of Modern Art, New York. Photo by Jonathan Dorado. · License · Source ↗

    Appears on: Odili Donald Odita: Songs from Life

  • Exhibition image for Sky Hopinka: Red Metal Dust

    Installation view of Sky Hopinka: Red Metal Dust , 2026. Photo © Barnes Foundation

    Installation view of Sky Hopinka: Red Metal Dust , 2026. Photo © Barnes Foundation · License · Source ↗

    Appears on: Sky Hopinka: Red Metal Dust

  • Exhibition image for Southern Outsider Artists

    Installation view of Thornton Dial, Tiger on the Run, 1992. Oil, rope, and rubber on canvas, 56 × 78 in. (142.2 × 198.1 cm). The Menil Collection, Houston, Gift of Stephanie and John Smither. © Estate of Thornton Dial / Artists Rights Society (ARS), New York. Photo: Caroline Philippone

    Installation view of Thornton Dial, Tiger on the Run, 1992. Oil, rope, and rubber on canvas, 56 × 78 in. (142.2 × 198.1 cm). The Menil Collection, Houston, Gift of Stephanie and John Smither. © Estate of Thornton Dial / Artists Rights Society (ARS), New York. Photo: Caroline Philippone · License · Source ↗

    Appears on: Southern Outsider Artists

  • Installation view of Vancouver Now! Emily Hermant, with a hanging cable work in yellow, white, green and blue and a tall cable column

    Installation view, Vancouver Now! Emily Hermant

    Installation view of Vancouver Now! Emily Hermant, exhibition at the Vancouver Art Gallery, August 7 to November 22, 2026, Photo: Vancouver Art Gallery · contact sheet terms · Source ↗

    Appears on: Vancouver Now! Emily Hermant

  • Installation view of Vancouver Now! Emily Hermant, with a blue and white cable hanging and a tall cable column

    Installation view, Vancouver Now! Emily Hermant

    Installation view of Vancouver Now! Emily Hermant, exhibition at the Vancouver Art Gallery, August 7 to November 22, 2026, Photo: Vancouver Art Gallery · contact sheet terms · Source ↗

    Appears on: Vancouver Now! Emily Hermant

  • Installation view of Ways of Looking on view 03-22-2026 through 02-28-2027 at the RISD Museum.

    Installation view of Ways of Looking on view 03-22-2026 through 02-28-2027 at the RISD Museum.

    Installation view of Ways of Looking on view 03-22-2026 through 02-28-2027 at the RISD Museum. · License · Source ↗

    Appears on: Ways of Looking

  • Installation View, Marco Brambilla, Heaven's Gate, 2025, Portland Art Museum.

    Installation View, Marco Brambilla, Heaven's Gate, 2025, Portland Art Museum.

    Installation View, Marco Brambilla, Heaven's Gate, 2025, Portland Art Museum. · License · Source ↗

    Appears on: Marco Brambilla: Maximalist Dreamscapes

  • Exhibition image for Olalekan Jeyifous: Hydricosmic Litanies

    Installation view, Olalekan Jeyifous: Hydricosmic Litanies . Courtesy Walker Art Center. Photo: Eric Mueller.

    Installation view, Olalekan Jeyifous: Hydricosmic Litanies . Courtesy Walker Art Center. Photo: Eric Mueller. · License · Source ↗

    Appears on: Olalekan Jeyifous: Hydricosmic Litanies

  • Installation view of Sculpture in Glass, Museum of Modern Art, New York, 1965

    Sculpture in Glass, MoMA, New York, 1965

    Installation view, Sculpture in Glass, Museum of Modern Art, New York, November 1965 © Archivio Fucina degli Angeli, Venezia, by SIAE 2026 · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Fucina degli Angeli: Peggy Guggenheim and 20th-Century Artistic Glass

  • Iran Darroudi, Untitled, c. 1960, oil on burlap

    Iran Darroudi, Untitled, c. 1960

    Iran Darroudi, Untitled, c. 1960, oil on burlap, Collection of Houman M. Sarshar, Photo: Courtesy of Houman M. Sarshar · Sarah Osborne, 21 Oct 2026 · Source ↗

    Appears on: Modern Iran and the Avant-Gardes, 1948–78

  • Isaak Koedijk, The Barber-Surgeon: a barber-surgeon tending a patient in a tall room with a spiral staircase

    Isaak Koedijk, The Barber-Surgeon

    Isaak Koedijk, The Barber-Surgeon, ca. 1649-1650. Oil on panel. Museum of Fine Arts, Boston, Gift of Rose-Marie and Eijk van Otterloo, in support of the Center for Netherlandish Art, 2019.2080. · via 62 Above · Source ↗

    Appears on: Dutch Painting: Special Loans from the Museum of Fine Arts, Boston

  • Exhibition image for Nguni: Migrant Nations of Southeast Africa

    Jabulani Dhlamini (South African, born 1983), Amakhosazane (royal women) performing a sacred dance ceremony at Thambalethu Temple, De Deur, Johannesburg, November 2, 2025. Pigmented inkjet print. Courtesy the artist Toggle credit

    Jabulani Dhlamini (South African, born 1983), Amakhosazane (royal women) performing a sacred dance ceremony at Thambalethu Temple, De Deur, Johannesburg, November 2, 2025. Pigmented inkjet print. Courtesy the artist Toggle credit · License · Source ↗

    Appears on: Nguni: Migrant Nations of Southeast Africa

  • Cover of The Fighting Rooster Association magazine, 1948

    The Fighting Rooster Association, 1948

    Jalil Ziapour with Gholam Hossein Gharib and Hassan Shirvani, The Fighting Rooster Association, 1948, magazine, Collection of Ali Bakhtiari, Photo: Vancouver Art Gallery · Sarah Osborne, 21 Oct 2026 · Source ↗

    Appears on: Modern Iran and the Avant-Gardes, 1948–78

  • Oil painting of an elderly woman in a black dress and white lace cap seated in profile against a grey wall, a framed print and a dark patterned curtain behind her

    James Abbott McNeill Whistler, Arrangement in Grey and Black No.1, 1871

    James Abbott McNeill Whistler Arrangement in Grey and Black No.1 1871 Musée d’Orsay, Paris, France · License · Source ↗

    Appears on: James McNeill Whistler

  • The James W. and Frances G. McGlothlin Wing lit from within at dusk, its glass and stone façade above a terrace of diners, with lawn in the foreground and a violet twilight sky

    The McGlothlin Wing, Virginia Museum of Fine Arts

    James W. and Frances G. McGlothlin Wing I, Travis Fullerton © Virginia Museum of Fine Arts 2014 · Source ↗

    Appears on: Virginia Museum of Fine Arts

  • Van Staveren painting of Esther kneeling before King Ahasuerus beneath a red canopy

    Jan Adriaensz van Staveren, Esther before Ahasuerus, about 1640–1645

    Jan Adriaensz van Staveren (Dutch, 1613/14–1669), Esther before Ahasuerus, about 1640–1645. Oil on panel. The Leiden Collection, New York · sent by Cassandra Martinez, 21 Oct 2026 · Source ↗

    Appears on: The Book of Esther in the Age of Rembrandt

  • Jan Lievens painting of Esther, Ahasuerus and Haman at a banquet table, close-up figures

    Jan Lievens, The Feast of Esther, about 1625

    Jan Lievens (Dutch, 1607–1674), The Feast of Esther, about 1625. Oil on canvas. North Carolina Museum of Art, Raleigh. Purchased with funds from the State of North Carolina, 1952 · sent by Cassandra Martinez, 21 Oct 2026 · Source ↗

    Appears on: The Book of Esther in the Age of Rembrandt

  • Jan Steen painting of Esther, Ahasuerus and Haman at a crowded feast

    Jan Steen, Esther, Ahasuerus, and Haman, about 1668

    Jan Steen (Dutch, 1626–1679) Esther, Ahasuerus, and Haman, about 1668. Oil on canvas. Cleveland Museum of Art, John L. Severance Fund · sent by Cassandra Martinez, 21 Oct 2026 · Source ↗

    Appears on: The Book of Esther in the Age of Rembrandt

  • Jean (Hans) Arp, Family (or Three Dolls), 1966, three blown-glass forms in blue, orange and red

    Jean (Hans) Arp, Family (or Three Dolls), 1966

    Jean (Hans) Arp (1886-1966), Family (or Three Dolls) (La famiglia [o Tre pupi]), 1966, hot-modeled polychrome blown glass, three parts: blue (diameter: 13 cm, height: 64 cm), orange (diameter: 11 cm, height: 59 cm), red: (diameter: 8 cm, height: 41 cm). Kunstmuseum Walter, Augsburg © Hans Arp, by SIAE 2026 · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Fucina degli Angeli: Peggy Guggenheim and 20th-Century Artistic Glass

  • Jean Cocteau, Billy Goat (or Lucifer), 1962, amethyst blown glass with black details

    Jean Cocteau, Billy Goat (or Lucifer), 1962

    Jean Cocteau (1889-1963), Billy Goat (or Lucifer), 1962, hot-modeled amethyst blown glass, details in black glass; metal support, 56 x 33 cm; diameter: 19 cm. Mudac, collection de la Ville de Lausanne © Jean Clement Eugene Mar Cocteau, by SIAE 2026 · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Fucina degli Angeli: Peggy Guggenheim and 20th-Century Artistic Glass

  • Jean Cocteau with glass master Ermanno Nason in Murano, about 1957

    Jean Cocteau with glass master Ermanno Nason, Murano, ca. 1957

    Jean Cocteau with glass master Ermanno Nason, Murano, ca. 1957 © Archivio Fucina degli Angeli, Venezia, by SIAE 2026 · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Fucina degli Angeli: Peggy Guggenheim and 20th-Century Artistic Glass

  • Exhibition image for Jeffrey Gibson: They Teach Love, from the Collections of Jordan D. Schnitzer and His Family Foundation

    Jeffrey Gibson (American, b. 1972). WHEREAS IT IS ESSENTIAL TO JUST GOVERNMENT WE RECOGNIZE THE EQUALITY OF ALL PEOPLE BEFORE THE LAW, 2024. Acrylic on canvas, glass beads, plastic beads, inset in custom wood frame, 88 3/8 x 108 3/8 x 2 5/8 in. Collection of the Jordan Schnitzer Family Foundation.

    Jeffrey Gibson (American, b. 1972). WHEREAS IT IS ESSENTIAL TO JUST GOVERNMENT WE RECOGNIZE THE EQUALITY OF ALL PEOPLE BEFORE THE LAW, 2024. Acrylic on canvas, glass beads, plastic beads, inset in custom wood frame, 88 3/8 x 108 3/8 x 2 5/8 in. Collection of the Jordan Schnitzer Family Foundation. · License · Source ↗

    Appears on: Jeffrey Gibson: They Teach Love, from the Collections of Jordan D. Schnitzer and His Family Foundation

  • A garment displayed on a wooden pole, with bright woven geometric patterns, dangling gourds, and repeated pink text reading "STAND YOUR GROUND" woven into the textile.

    Jeffrey Gibson, American: Mississippi Band of Choctaw/Cherokee (b. 1972), The Anthropophagic Effect, Garment no. 1, 2019. Helen M. Danforth Acquisition Fund. RISD Museum, Providence, RI.

    Jeffrey Gibson, American: Mississippi Band of Choctaw/Cherokee (b. 1972), The Anthropophagic Effect, Garment no. 1, 2019. Helen M. Danforth Acquisition Fund. RISD Museum, Providence, RI. · License · Source ↗

    Appears on: Art & Design from 1900 to Now

  • Jennifer Packer painting in reds of figures at a table beside a dark window with flowers

    Jennifer Packer, A.D.I.P.T.A. after Jay Electronica, 2025

    Jennifer Packer (America, born 1984). A.D.I.P.T.A. after Jay Electronica, 2025. Oil on canvas. Overall: 96 x 144 inches (243.84 x 365.76 cm). Courtesy of the artist and Sikkema Malloy Jenkins, New York. © Jennifer Packer. Photo: Jason Wyche · shared by Andrew Mayer, 20 Oct 2026 · Source ↗

    Appears on: The Light in the Window

  • John Akomfrah: The Hour Of The Dog building

    John Akomfrah, The Hour Of The Dog (still), 2025. Six-channel color video, sound, 50:37 min. Baltimore Museum of Art: Commissioned by the Baltimore Museum of Art and the Menil Collection, Houston. © John Akomfrah, Courtesy Smoking Dogs Films and Lisson Gallery

    John Akomfrah, The Hour Of The Dog (still), 2025. Six-channel color video, sound, 50:37 min. Baltimore Museum of Art: Commissioned by the Baltimore Museum of Art and the Menil Collection, Houston. © John Akomfrah, Courtesy Smoking Dogs Films and Lisson Gallery · License · Source ↗

    Appears on: John Akomfrah: The Hour Of The Dog

  • John Singer Sargent, John Alfred Parsons Millet: a young boy leaning on a draped chair

    John Singer Sargent, John Alfred Parsons Millet

    John Singer Sargent, John Alfred Parsons Millet, 1892. Oil on canvas. Museum purchase with funds from The Jack Thomas Family Charitable Fund in memory of Patricia B. Thomas; Toni Bloomberg; Gene and Taffin Ray; Sheryl and Harvey White; and Mrs. John Burnham, by exchange, 2017.261. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Frank A. Rinehart, John Williams – Tonkawa: a seated portrait of a Tonkawa man with hair ornaments, holding a feather fan

    Frank A. Rinehart, John Williams – Tonkawa

    John Williams - Tonkawa, 1898, Frank A. Rinehart. Gift of Harvey S. Shipley Miller, 2014-199-160. · press.philamuseum.org · Source ↗

    Appears on: Americana: Photographs 1850-1950

  • Exhibition image for The Banner Project: Joiri Minaya

    Joiri Minaya, from “The Banner Project: Joiri Minaya,” 2026. Inkjet print. Courtesy of the artist. © Joiri Minaya.

    Joiri Minaya, from “The Banner Project: Joiri Minaya,” 2026. Inkjet print. Courtesy of the artist. © Joiri Minaya. · License · Source ↗

    Appears on: The Banner Project: Joiri Minaya

  • Josef Hoffmann, jewelled gold tobacco case acquired by Otto Primavesi, 1912

    Josef Hoffmann, Tobacco case acquired by Otto Primavesi, 1912

    Josef Hoffmann (Austrian, 1870–1956). Tobacco case acquired by Otto Primavesi, 1912. Execution: Wiener Werkstätte. Gold; amber, coral, garnet, lapis lazuli, mother-of-pearl, opal, quartz, rhodochrosite, tourmaline, and turquoise. Private Collection. Photo: Hulya Kolabas · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Joseph Maria Olbrich, mocha spoon, sugar tongs and sugar sifter from the Olbrich cutlery service, ca. 1900–01

    Joseph Maria Olbrich, Mocha spoon, sugar tongs, and sugar sifter from the "Olbrich" cutlery service, ca. 1900–01

    Joseph Maria Olbrich (Austrian, 1867–1908). Mocha spoon, sugar tongs, and sugar sifter from the "Olbrich" cutlery service, ca. 1900-01. Silvered alpaca. Neue Galerie New York. Gift of Harry C. Sigman. Photo: Hulya Kolabas · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Exhibition image for Leading the Camino: Latinx Art by Juan de Dios Mora and Consuelo Jimenez Underwood

    Juan de Dios Mora, Con todo y tiliches se aventura a la tierra prometida (On Board and Headed to the Promised Land with Everything and Junk) , 2009. Linocut, 30 x 22 3.8 inches. Museum purchase with fund sprovided by Isaac and Elanor Ayala, Elizabeth D. Moyer, PhD., and Michael C. Powanda, PhD. 2017: 16.3

    Juan de Dios Mora, Con todo y tiliches se aventura a la tierra prometida (On Board and Headed to the Promised Land with Everything and Junk) , 2009. Linocut, 30 x 22 3.8 inches. Museum purchase with fund sprovided by Isaac and Elanor Ayala, Elizabeth D. Moyer, PhD., and Michael C. Powanda, PhD. 2017: 16.3 · License · Source ↗

    Appears on: Leading the Camino: Latinx Art by Juan de Dios Mora and Consuelo Jimenez Underwood

  • Colour photograph of a young woman with bright pink hair lying on her front in white bedding, looking up at the camera

    Juergen Teller, Young Pink Kate, London 1998

    Juergen Teller, Young Pink Kate, London 1998 © Juergen Teller, All Rights Reserved · License · Source ↗

    Appears on: The 90 s : Art and Fashion, The 90s: Art and Fashion

  • Poster advertising La Loïe Fuller at the Folies-Bergère, Paris, 1893, on view in DIVA at the Denver Art Museum

    Poster advertising La Loïe Fuller at the Folies-Bergère, Paris, 1893, on view in DIVA at the Denver Art Museum

    Jules Chéret, poster advertising La Loïe Fuller at the Folies-Bergère, Paris, 1893. Chromolithograph. Victoria and Albert Museum, London, no. E.112-1921.

    Appears on: DIVA

  • Julie Buffalohead (Ponca Tribe of Oklahoma and American, born 1972), The Nourished, 2019, Diptych with acrylic

    Julie Buffalohead (Ponca Tribe of Oklahoma and American, born 1972), The Nourished, 2019, Diptych with acrylic, graphite and collage on Lokta paper, Gift of Greg and Cathy Tibbles, 2023.1.1a,b © Julie Buffalohead

    Julie Buffalohead (Ponca Tribe of Oklahoma and American, born 1972), The Nourished, 2019, Diptych with acrylic, graphite and collage on Lokta paper, Gift of Greg and Cathy Tibbles, 2023.1.1a,b © Julie Buffalohead · License · Source ↗

    Appears on: Shifting the Narrative: 21st Century Acquisitions

  • Five Centuries of Works on Paper: The Grunwald Center at 70, Part II building

    Julie Mehretu, Entropia (review) , 2004 Published by Highpoint Editions. Printed by Cole Rogers. Screenprint and lithograph. Image: 29 × 39 1/2 in. (73.7 × 100.3 cm), sheet: 33 1/4 × 43 3/4 in. (84.5 × 111.1 cm). UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Purchased with funds provided by the Lloyd E. Rigler-Lawrence E. Deutsch Acquisition Endowment Fund, 2005. © 2004 Julie Mehretu. Courtesy of the artist.

    Julie Mehretu, Entropia (review) , 2004 Published by Highpoint Editions. Printed by Cole Rogers. Screenprint and lithograph. Image: 29 × 39 1/2 in. (73.7 × 100.3 cm), sheet: 33 1/4 × 43 3/4 in. (84.5 × 111.1 cm). UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Purchased with funds provided by the Lloyd E. Rigler-Lawrence E. Deutsch Acquisition Endowment Fund, 2005. © 2004 Julie Mehretu. Courtesy of the artist. · License · Source ↗

    Appears on: Five Centuries of Works on Paper: The Grunwald Center at 70, Part II

  • Suspended sphere made of blue acrylic rods hanging above a mirrored floor, its reflected light scattered across the ceiling

    Julio Le Parc, Blue Sphere, 2013

    Julio Le Parc, Blue Sphere 2013. Tate. Lent by the Tate Americas Foundation, courtesy of the Latin American Acquisitions Committee 2023. © ADAGP, Paris and DACS, London 2025. Photo © Museum of Art Pudong · License · Source ↗

    Appears on: Julio Le Parc: Light. Colour. Action.

  • Jusepe De Ribera, Susanna and the Elders: Susanna, partly draped in blue, startled by two older men in the shadows

    Jusepe De Ribera, Susanna and the Elders

    Jusepe De Ribera, Susanna and the Elders, ca. 1615. Oil painting. Museum Purchase, 2021.51. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Kamran Diba’s Tehran Museum of Contemporary Art, exterior, 1977

    Kamran Diba, Tehran Museum of Contemporary Art, 1977

    Kamran Diba, Tehran Museum of Contemporary Art (exterior), Tehran, Iran, 1977, Photo: Historic Collection/Alamy Stock Photo · Sarah Osborne, 21 Oct 2026 · Source ↗

    Appears on: Modern Iran and the Avant-Gardes, 1948–78

  • Exhibition image for Sleeping in the 22nd Century

    Kaori Endo Sleeping in the 22nd Century (detail) © Kaori Endo

    Kaori Endo Sleeping in the 22nd Century (detail) © Kaori Endo · License · Source ↗

    Appears on: Sleeping in the 22nd Century

  • Do Ho Suh drawing of a red-pink cloud of tiny figures balanced on a pair of legs

    Do Ho Suh, Karma Juggler, 2007

    Karma Juggler, 2007. Do Ho Suh (South Korean, b. 1962). Colored pencil on paper; 154 x 209.2 cm. Museum of Fine Arts, Houston, Museum purchase funded by Dr. Kun Chee Casey Youn and Chan Ju Julianne Youn and the Caroline Wiess Law Accessions Endowment Fund, 2008.36. Photo © Museum of Fine Arts, Houston. © Do Ho Suh / Lemann Maupin, New York/Seoul/London · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Ten Kings of Hell: The Afterlife in Medieval Korea

  • Exhibition image for Nine Women Artists

    Katherine Ace (American 1953–2023), 9 Portraits , 2019; oil, alkyd on canvas. From left: Artists Laura Ross-Paul, Katherine Ace (seated), Mary Josephson, Judy Cooke, Phyllis Yes, Sharon Bronzan (seated), Shu-Ju Wang, Lucinda Parker, Sherrie Wolf. Photo by Jim Lommasson, Courtesy of Froelick Gallery.

    Katherine Ace (American 1953–2023), 9 Portraits , 2019; oil, alkyd on canvas. From left: Artists Laura Ross-Paul, Katherine Ace (seated), Mary Josephson, Judy Cooke, Phyllis Yes, Sharon Bronzan (seated), Shu-Ju Wang, Lucinda Parker, Sherrie Wolf. Photo by Jim Lommasson, Courtesy of Froelick Gallery. · License · Source ↗

    Appears on: Nine Women Artists

  • Painting of a figure in a wolf costume standing by an open refrigerator in a dark red room

    Matthew Holland, Keep Your Mind From Wandering Too Much, 2025

    Keep Your Mind From Wandering Too Much, 2025. Matthew Holland (b. 1998). Acrylic painting. Courtesy of the artist. © Matthew Holland · supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Lake Effect: Artists from Cleveland Now

  • Kent Monkman in his studio in 2022, preparing work for his Royal Ontario Museum exhibition Being Legendary.

    Kent Monkman in 2022 preparing for his Royal Ontario Museum exhibition Being Legendary, courtesy of Kent Monkman Studio

    Kent Monkman in 2022 preparing for his Royal Ontario Museum exhibition Being Legendary, courtesy of Kent Monkman Studio · License · Source ↗

    Appears on: Kent Monkman: Officer and Laughing Girl

  • Exhibition image for Kenzi Shiokava

    Kenzi Shiokava, Untitled , n.d. Wood shelf, toy figurines, seashell, faux grapes, and leaves; 13 1/2 × 17 1/2 × 5 1/2 in. (34.3 × 44.5 × 14 cm). Courtesy the Estate of Kenzi Shiokava and Nonaka-Hill, Los Angeles & Kyoto. Photo: Taka Nonaka-Hill

    Kenzi Shiokava, Untitled , n.d. Wood shelf, toy figurines, seashell, faux grapes, and leaves; 13 1/2 × 17 1/2 × 5 1/2 in. (34.3 × 44.5 × 14 cm). Courtesy the Estate of Kenzi Shiokava and Nonaka-Hill, Los Angeles & Kyoto. Photo: Taka Nonaka-Hill · License · Source ↗

    Appears on: Kenzi Shiokava

  • Abstract painting

    Kikuo Saito (American, born Japan, 1939-2016), Kitchen Opera, 1985, acrylic on canvas, image: 65 in x 68 1/2 in; frame: 66 in x 69 13/16 in x 2 1/8 in, The Clement Greenberg Collection; Museum Purchase: Funds provided by Tom and Gretchen Holce, © 1985 Kikuo Saito/Courtesy of Salander-O-Reilly Galleries, N.Y., 2001.1.135

    Kikuo Saito (American, born Japan, 1939-2016), Kitchen Opera, 1985, acrylic on canvas, image: 65 in x 68 1/2 in; frame: 66 in x 69 13/16 in x 2 1/8 in, The Clement Greenberg Collection; Museum Purchase: Funds provided by Tom and Gretchen Holce, © 1985 Kikuo Saito/Courtesy of Salander-O-Reilly Galleries, N.Y., 2001.1.135 · License · Source ↗

    Appears on: Abstraction Since Mark Rothko

  • Exhibition image for Critical Views: Recent Acquisitions by the Department of Arts of Global Africa & the Diaspora

    Kimani Beckford, Untitled , 2025. Oil on canvas, Overall: 142.6 × 104.5cm. Art Gallery of Ontario. Purchase, with funds from Stephen Brown and Brenda Woods, 2025. © Kimani Beckford. 2025/201

    Kimani Beckford, Untitled , 2025. Oil on canvas, Overall: 142.6 × 104.5cm. Art Gallery of Ontario. Purchase, with funds from Stephen Brown and Brenda Woods, 2025. © Kimani Beckford. 2025/201 · License · Source ↗

    Appears on: Critical Views: Recent Acquisitions by the Department of Arts of Global Africa & the Diaspora

  • Naoko Matsubara woodcut print: Kneading and Throwing a Pot, 2011

    Naoko Matsubara, Kneading and Throwing a Pot, 2011

    Kneading and Throwing a Pot, 2011. Naoko Matsubara (Canadian, born in Japan, born in 1937). Woodcut. Francis Welch Fund, Towles Contemporary Art Fund, and Edward S. Morse Memorial Fund. © Naoko Matsubara. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Naoko Matsubara’s Woodblock Worlds

  • Gilt silver knife sheath with raised scrolling decoration, lying on its side

    Knife Sheath, 1100s

    Knife Sheath (장도집), 1100s. Korea, Goryeo dynasty (918–1392). Gilt silver (body) and brass (trefoil-shaped ring); 21.7 cm. The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2022.38 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Ten Kings of Hell: The Afterlife in Medieval Korea

  • Goryeo painting of Kshitigarbha seated among crowds of guardian deities

    Kshitigarbha Bodhisattva and Guardian Deities, 1300s

    Kshitigarbha Bodhisattva and Guardian Deities (지장보살도), 1300s. Korea, Goryeo dynasty (918–1392). Hanging scroll; ink, color, and gold on silk; 104 x 55.3 cm. Leeum Museum of Art, Treasure. Photo © Leeum Museum of Art · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Ten Kings of Hell: The Afterlife in Medieval Korea

  • Kurt Günther, Portrait of a Boy, 1928 — portrait of a young boy in a patterned sweater with arms crossed, from the Frihedens Fald exhibition

    Kurt Günther, Portrait of a Boy, 1928 — portrait of a young boy in a patterned sweater with arms crossed, from the Frihedens Fald exhibition

    Kurt Günther, Portrait of a Boy, 1928. © Neue Nationalgalerie, Stiftung Preußischer Kulturbesitz, Berlin / Photo: André van Linn

    Appears on: Frihedens Fald Kunsten i Tyskland 1910 – 1945

  • La boulonnaise Marie Blanchard Oil on canvas 1922. 1923 Acquired by the Museo del Prado, with funds from the Carmen Sánchez García Bequest, 2021

    La boulonnaise Marie Blanchard Oil on canvas 1922. 1923 Acquired by the Museo del Prado, with funds from the Carmen Sánchez García Bequest, 2021

    La boulonnaise Marie Blanchard Oil on canvas 1922. 1923 Acquired by the Museo del Prado, with funds from the Carmen Sánchez García Bequest, 2021 · License · Source ↗

    Appears on: Prado. 21st Century

  • Lalla Essaydi, Harem #14C: a woman reclining in a tiled archway of a Moroccan interior

    Lalla Essaydi, Harem #14C

    Lalla Essaydi, Harem #14C, 2009. Chromogenic print on Mounted to aluminum and protected with Mactac luster laminat. Museum purchase with Art Acquisitions Fund, 2015, 2015.5. © Courtesy of Lalla Essaydi and Edwynn Houk Gallery. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Exhibition image for Navigating Through Centuries: From Ancient to Global Contemporary in Korean Art

    LEE Jae Won 이재원 | Korean, 2017 | Blooming Elsewhere | Porcelain, colored porcelain, mono filament, porcelain & glass beads, metal hooks | Variable: H. 40 x W. 25 x D. 4 inches including wooden backing board; H. 32-3/4 x W. 8-3/4 x D. 7- 1/4 inches ceramic elements only | Gift of Lee Jae Won

    LEE Jae Won 이재원 | Korean, 2017 | Blooming Elsewhere | Porcelain, colored porcelain, mono filament, porcelain & glass beads, metal hooks | Variable: H. 40 x W. 25 x D. 4 inches including wooden backing board; H. 32-3/4 x W. 8-3/4 x D. 7- 1/4 inches ceramic elements only | Gift of Lee Jae Won · License · Source ↗

    Appears on: Navigating Through Centuries: From Ancient to Global Contemporary in Korean Art

  • Exhibition image for Noguchi to Asawa: Designing Postwar America

    Leo Amino. In-Between (detail), 1962. © Leo Amino Estate. Courtesy of the estate and David Zwirner

    Leo Amino. In-Between (detail), 1962. © Leo Amino Estate. Courtesy of the estate and David Zwirner · License · Source ↗

    Appears on: Noguchi to Asawa: Designing Postwar America

  • Leyly Matine-Daftary, Untitled, 1974, oil on canvas

    Leyly Matine-Daftary, Untitled, 1974

    Leyly Matine-Daftary, Untitled, 1974, oil on canvas, Courtesy of the Estate of Leyly Matine-Daftary, Photo: Annik Wetter, © Estate of Leyly Matine-Daftary · Sarah Osborne, 21 Oct 2026 · Source ↗

    Appears on: Modern Iran and the Avant-Gardes, 1948–78

  • Painting of a woman in a patterned robe holding a seal, with a circular halo behind her head and icy mountains in the background.

    Linda Infante Lyons (b. 1959), lsuwiq, Guardian of the Sea, 2025. Alaska Native Museum Sovereignty Collection. RISD Museum, Providence, RI. Linda Infante Lyons (Alutiiq, b. 1959), Isuwiq, Guardian of the Sea, 2025. Alaska Native Museum Sovereignty Collection. ©️ Linda Infante Lyons. Image courtesy of the artist.

    Linda Infante Lyons (b. 1959), lsuwiq, Guardian of the Sea, 2025. Alaska Native Museum Sovereignty Collection. RISD Museum, Providence, RI. Linda Infante Lyons (Alutiiq, b. 1959), Isuwiq, Guardian of the Sea, 2025. Alaska Native Museum Sovereignty Collection. ©️ Linda Infante Lyons. Image courtesy of the artist. · License · Source ↗

    Appears on: Natchiq | Onkeehq | Isuwiq

  • Burnished: Pueblo Pottery at NMWA building

    Lisa Holt and Harlan Reano, Jar, 2025; Natural clay with acrylic paint, 16 x 14 in. diameter; National Museum of Women in the Arts, Bequest of Sandra A. Kruzman; © Lisa Holt (Cochiti), Harlan Reano (Santo Domingo)

    Lisa Holt and Harlan Reano, Jar, 2025; Natural clay with acrylic paint, 16 x 14 in. diameter; National Museum of Women in the Arts, Bequest of Sandra A. Kruzman; © Lisa Holt (Cochiti), Harlan Reano (Santo Domingo) · License · Source ↗

    Appears on: Burnished: Pueblo Pottery at NMWA

  • Lisa Jarrett, American, born 1977, Migration Studies, Beauty Supply (No

    Lisa Jarrett, American, born 1977, Migration Studies, Beauty Supply (No. 95, Grandma), 2023, mixed media, pink kanekalon hair woven into pigment print with pink foam rollers and lace, Museum Purchase: Funds provided by The Northwest Art Purchase Fund, 2024.24.1 © Lisa Jarrett

    Lisa Jarrett, American, born 1977, Migration Studies, Beauty Supply (No. 95, Grandma), 2023, mixed media, pink kanekalon hair woven into pigment print with pink foam rollers and lace, Museum Purchase: Funds provided by The Northwest Art Purchase Fund, 2024.24.1 © Lisa Jarrett · License · Source ↗

    Appears on: Lisa Jarrett: Tenderhead

  • Exhibition image for Eternal Paris: Photographing the City of Light

    Louis-Gabriel Loppé (French, 1825–1913), Vue de la Tour Eiffel et de la Grande Roue (View of the Eiffel Tower and the Great Wheel) (detail), ca. 1900. Gelatin silver print, 5 1/8 x 7 in. (13 x 17.8 cm). Fine Arts Museums of San Francisco, museum purchase, Achenbach Foundation for Graphic Arts Endowment Fund, 1996.106.1. Photograph by Randy Dodson

    Louis-Gabriel Loppé (French, 1825–1913), Vue de la Tour Eiffel et de la Grande Roue (View of the Eiffel Tower and the Great Wheel) (detail), ca. 1900. Gelatin silver print, 5 1/8 x 7 in. (13 x 17.8 cm). Fine Arts Museums of San Francisco, museum purchase, Achenbach Foundation for Graphic Arts Endowment Fund, 1996.106.1. Photograph by Randy Dodson · License · Source ↗

    Appears on: Eternal Paris: Photographing the City of Light

  • Exhibition image for Isamu Noguchi: "I am not a designer"

    Louise Dahl-Wolfe, Isamu Noguchi, 1955, gelatin silver print. © 2025 Center for Creative Photography, Arizona Board of Regents/Artists Rights Society (ARS), New York. © 2025 The Isamu Noguchi Foundation and Garden Museum, New York/Artists Rights Society (ARS), New York.

    Louise Dahl-Wolfe, Isamu Noguchi, 1955, gelatin silver print. © 2025 Center for Creative Photography, Arizona Board of Regents/Artists Rights Society (ARS), New York. © 2025 The Isamu Noguchi Foundation and Garden Museum, New York/Artists Rights Society (ARS), New York. · License · Source ↗

    Appears on: Isamu Noguchi: "I am not a designer"

  • Naoko Matsubara woodcut print: Lovers, 1974

    Naoko Matsubara, Lovers, 1974

    Lovers, 1974. Naoko Matsubara (Canadian, born in Japan, born in 1937). Woodcut. Francis Welch Fund, Towles Contemporary Art Fund, and Edward S. Morse Memorial Fund. © Naoko Matsubara. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Naoko Matsubara’s Woodblock Worlds

  • Lucas Cranach the Younger, Nymph of the Spring: a nude nymph reclining beside a spring in a wooded landscape

    Lucas Cranach the Younger, Nymph of the Spring

    Lucas Cranach the Younger, Nymph of the Spring, ca. 1540. Oil on panel. Purchased with funds provided by Toni Bloomberg; Gene and Taffin Ray; an anonymous donor and the Museum’s Acquisition Fund, 2018.1. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Lucio Fontana, Concetto spaziale – Construction, 1964, blue blown glass and aluminum

    Lucio Fontana, Concetto spaziale – Construction, 1964

    Lucio Fontana (1899-1968), Concetto spaziale – Construction, 1964, hot-modeled blue blown glass and aluminum on plywood, thirteen parts, 28.3 x 61.9 x 66 cm overall. Museum of Fine Arts, Boston, Gift of Peggy Guggenheim © Fondazione Lucio Fontana, Milano, by SIAE 2026 · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Fucina degli Angeli: Peggy Guggenheim and 20th-Century Artistic Glass

  • Kawada Kikuji, from the series Chizu / The Map, gelatin silver print: Lucky Strike

    Kawada Kikuji, LUCKY STRIKE, from the series Chizu / The Map, 1959‑65, printed 1989

    LUCKY STRIKE, from the series Chizu / The Map, 1959‑65, printed 1989. Kawada Kikuji (Japanese, born in 1933). Photograph, gelatin silver print. Museum purchase with funds by exchange from the Bequest of Charles W. Millard III. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Kawada Kikuji: Chizu (The Map)

  • Exhibition image for Jill Mulleady: The Passenger

    Maldoror , 2025 Jill Mulleady Private collection. © Jill Mulleady. Courtesy of the artist and Gladstone. Photography by Nicolas Brasseur

    Maldoror , 2025 Jill Mulleady Private collection. © Jill Mulleady. Courtesy of the artist and Gladstone. Photography by Nicolas Brasseur · License · Source ↗

    Appears on: Jill Mulleady: The Passenger

  • Painting of an empty concrete lot bounded by plain buildings with yellow curb lines

    Allison Polgar, Mall, 2023

    Mall, 2023. Allison Polgar (b. 1989). Oil on canvas. Courtesy of the artist. © Allison Polgar · supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Lake Effect: Artists from Cleveland Now

  • Manoucher Yektai, Untitled, 1962, oil on linen

    Manoucher Yektai, Untitled, 1962

    Manoucher Yektai, Untitled, 1962, oil on linen, Collection of Karma Gallery, Photo: Courtesy the Estate and Karma Gallery, © The Estate of Manoucher Yektai · Sarah Osborne, 21 Oct 2026 · Source ↗

    Appears on: Modern Iran and the Avant-Gardes, 1948–78

  • Mansour Ghandriz, Simurg, c. 1961–64, oil on burlap

    Mansour Ghandriz, Simurg, c. 1961–64

    Mansour Ghandriz, Simurg, c. 1961–64, oil on burlap, Grey Art Museum, New York University Art Collection, Gift of Abby Weed Grey, G1975.94, Photo: David Brunetti Photography · Sarah Osborne, 21 Oct 2026 · Source ↗

    Appears on: Modern Iran and the Avant-Gardes, 1948–78

  • Telas Amaral, Manta Guajira: a model in a long striped woven dress with blue tassels

    Telas Amaral, Manta Guajira

    Manta Guajira. © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Telas Amaral, Manta Guajira: a model in a green woven tunic with long dark fringes and a round pendant

    Telas Amaral, Mantas Guajira

    Mantas Guajira. © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Telas Amaral, Manta Guajira: a woman in a red woven tunic with arms outstretched on a lawn

    Telas Amaral, Mantas Guajira

    Mantas Guajira. © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Telas Amaral, Manta Guajira: a woman in a blue and teal woven tunic with arms outstretched in a garden

    Telas Amaral, Mantas Guajira

    Mantas Guajira. © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Manuel Bartolomé Cossío Joaquín Sorolla Oil on canvas 1908 Acquired by the Museo Nacional del Prado with its own funds, 2022

    Manuel Bartolomé Cossío Joaquín Sorolla Oil on canvas 1908 Acquired by the Museo Nacional del Prado with its own funds, 2022

    Manuel Bartolomé Cossío Joaquín Sorolla Oil on canvas 1908 Acquired by the Museo Nacional del Prado with its own funds, 2022 · License · Source ↗

    Appears on: Prado. 21st Century

  • Two works by Marcel Duchamp side by side: The Large Glass, a tall pair of glass panels in a metal frame, and the Box in a Valise, a leather case opened to show miniature replicas of his works

    Marcel Duchamp, The Large Glass and Box in a Valise

    Marcel Duchamp (1887–1968), The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915–1923, Philadelphia Museum of Art, Bequest of Katherine S. Dreier, 1952, 1952-98-1; and From or by Marcel Duchamp or Rrose Sélavy (Box in a Valise), 1935–1941, deluxe edition, Series A, 1943, Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950, 1950-134-934. © Artists Rights Society (ARS), New York / ADAGP, Paris / Association Marcel Duchamp · press.philamuseum.org · Source ↗

    Appears on: Marcel Duchamp

  • Marcel Duchamp, Étant donnés: a weathered wooden door set in a brick arch in a plaster wall

    Marcel Duchamp, Étant donnés

    Marcel Duchamp, Étant donnés: 1° la chute d'eau, 2° le gaz d'éclairage . . . (Given: 1. The Waterfall, 2. The Illuminating Gas . . . ), 1946–1966. Mixed-media assemblage. Philadelphia Art Museum, Gift of the Cassandra Foundation, 1969, 1969-41-1 · press.philamuseum.org · Source ↗

    Appears on: Marcel Duchamp

  • Marianne Brandt, Bauhaus tea infuser, Model No. MT 49, 1927

    Marianne Brandt, Tea infuser, Model No. MT 49, 1927

    Marianne Brandt (German, 1893–1983). Tea infuser, Model No. MT 49, 1927. Execution: Metallwerkstätte Bauhaus, Dessau. Tombac, ebony, silver. Neue Galerie New York. © 2026 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, for Marianne Brandt · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Exhibition image for Taking Back Our Space: Photographic Perspectives

    Marianne Wex. Panels from Let’s Take Back Our Space: “Female” and “Male” Body Language as a Result of Patriarchal Structures . 1977. Gelatin silver prints, paper, and ink, mounted on 277 boards; top 19 3/4 × 29 7/16″ (50.2 × 74.8 cm), bottom 19 5/8 × 32 15/16″ (49.8 × 83.7 cm). The Museum of Modern

    Marianne Wex. Panels from Let’s Take Back Our Space: “Female” and “Male” Body Language as a Result of Patriarchal Structures . 1977. Gelatin silver prints, paper, and ink, mounted on 277 boards; top 19 3/4 × 29 7/16″ (50.2 × 74.8 cm), bottom 19 5/8 × 32 15/16″ (49.8 × 83.7 cm). The Museum of Modern · License · Source ↗

    Appears on: Taking Back Our Space: Photographic Perspectives

  • Exhibition image for Taking Back Our Space: Photographic Perspectives

    Marianne Wex. Panels from Let’s Take Back Our Space: “Female” and “Male” Body Language as a Result of Patriarchal Structures . 1977. Gelatin silver prints, paper, and ink, mounted on 277 boards; top 19 5/8 × 59″ (49.8 × 149.8 cm), bottom 19 5/8 × 59 1/8″ (49.8 × 150.1 cm). The Museum of Modern Art,

    Marianne Wex. Panels from Let’s Take Back Our Space: “Female” and “Male” Body Language as a Result of Patriarchal Structures . 1977. Gelatin silver prints, paper, and ink, mounted on 277 boards; top 19 5/8 × 59″ (49.8 × 149.8 cm), bottom 19 5/8 × 59 1/8″ (49.8 × 150.1 cm). The Museum of Modern Art, · License · Source ↗

    Appears on: Taking Back Our Space: Photographic Perspectives

  • Exhibition image for Marisol

    Marisol, The Car, 1964, Museum Boijmans Van Beuningen, Rotterdam. Collection presentation marking the opening of the Bodon Wing in 1972. Photo: Dick Wolters

    Marisol, The Car, 1964, Museum Boijmans Van Beuningen, Rotterdam. Collection presentation marking the opening of the Bodon Wing in 1972. Photo: Dick Wolters · License · Source ↗

    Appears on: Marisol

  • Exhibition image for Marlo Pascual: Making Something Out of Something

    Marlo Pascual, Untitled, 2011; Digital C-print with Plexiglas mount, 42 x 60 x 44 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Estate of Marlo Pascual; Image courtesy of the artist and Casey Kaplan, New York

    Marlo Pascual, Untitled, 2011; Digital C-print with Plexiglas mount, 42 x 60 x 44 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Estate of Marlo Pascual; Image courtesy of the artist and Casey Kaplan, New York · License · Source ↗

    Appears on: Marlo Pascual: Making Something Out of Something

  • Exhibition image for Marlo Pascual: Making Something Out of Something

    Marlo Pascual, Untitled, 2014; Laser-cut digital C-print on Plexiglas, 55 x 40 in.; National Museum of Women in the Arts, Gift of Tony Podesta Collection, Washington, D.C.; Image courtesy of the artist and Casey Kaplan, New York

    Marlo Pascual, Untitled, 2014; Laser-cut digital C-print on Plexiglas, 55 x 40 in.; National Museum of Women in the Arts, Gift of Tony Podesta Collection, Washington, D.C.; Image courtesy of the artist and Casey Kaplan, New York · License · Source ↗

    Appears on: Marlo Pascual: Making Something Out of Something

  • Exhibition image for Mary Henry: A Long Unbroken Line

    Mary Henry (American, 1913-2009), La Vida Breve , ca. 1985, acrylic on canvas, 72 1/4 in x 96 11/16 in x 2 1/16 in, Gift of the Bill Rhoades Collection in memory of Murna and Vay Rhoades, © Mary Henry Estate, 2014.43.2a,b

    Mary Henry (American, 1913-2009), La Vida Breve , ca. 1985, acrylic on canvas, 72 1/4 in x 96 11/16 in x 2 1/16 in, Gift of the Bill Rhoades Collection in memory of Murna and Vay Rhoades, © Mary Henry Estate, 2014.43.2a,b · License · Source ↗

    Appears on: Mary Henry: A Long Unbroken Line

  • Massoumeh Seyhoun, Composition #13, 1967, enamel and lacquer on canvas

    Massoumeh Seyhoun, Composition #13, 1967

    Massoumeh Seyhoun, Composition #13, 1967, enamel and lacquer on canvas, Grey Art Museum, New York University Art Collection, Gift of Abby Weed Grey, G1975.113, Photo: Courtesy of the Grey Art Museum, New York University · Sarah Osborne, 21 Oct 2026 · Source ↗

    Appears on: Modern Iran and the Avant-Gardes, 1948–78

  • Max Beckmann, Self-Portrait in front of Red Curtain, 1923

    Max Beckmann, Self-Portrait in front of Red Curtain, 1923

    Max Beckmann (German, 1884–1950). Self-Portrait in front of Red Curtain, 1923. Oil on canvas. Neue Galerie New York. Photo: Juan Trujillo · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Max Ernst, Archaic, 1968, polychrome mold-shaped glass elements on metal

    Max Ernst, Archaic (Arcaico), 1968

    Max Ernst (1891-1976), Archaic (Arcaico), 1968, polychrome mold-shaped glass and metal, multiple elements, width: 47 cm each; 173.5 x 81. 9 cm overall. Egidia Costantini Collection, Venice © Max Ernst, by SIAE 2026 · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Fucina degli Angeli: Peggy Guggenheim and 20th-Century Artistic Glass

  • Max Ernst’s glass sculptures King and Queen, 1964, a green-and-black figure and a red blown-glass figure

    Max Ernst, King and Queen, 1964

    Max Ernst (1891-1976), King (Re), 1964, hot-modeled cristallo glass, green sommerso layer, and black ground glass, diameter: 20 cm, height: 54 cm. Mudac, Collection de la Ville de Lausanne © Max Ernst, by SIAE 2026. Max Ernst (1891-1976), Queen (Regina), 1964, hot-modeled red blown glass, diameter: 18 cm, height: 48 cm. Mudac, Collection de la Ville de Lausanne © Max Ernst, by SIAE 2026 · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Fucina degli Angeli: Peggy Guggenheim and 20th-Century Artistic Glass

  • Max Pechstein, Seated Girl, 1910 — expressionist painting of a seated nude woman against a bold red and blue background, from the Frihedens Fald exhibition

    Max Pechstein, Seated Girl, 1910 — expressionist painting of a seated nude woman against a bold red and blue background, from the Frihedens Fald exhibition

    Max Pechstein, Seated Girl, 1910. © Neue Nationalgalerie, Stiftung Preußischer Kulturbesitz, Berlin / Photo: Klaus Göken

    Appears on: Frihedens Fald Kunsten i Tyskland 1910 – 1945

  • Meghann Riepenhoff, Borderwaters: a grid of forty-eight cyanotypes in blues, whites and sandy golds

    Meghann Riepenhoff, Borderwaters

    Meghann Riepenhoff, Borderwaters (USA/Mexico, 04.23-25.26), 2026. Forty-eight cyanotypes. The San Diego Museum of Art; Museum commission, 2026. © Meghann Riepenhoff · via 62 Above · Source ↗

    Appears on: Meghann Riepenhoff: Waters of the Americas

  • Meghann Riepenhoff, Day 260.2: a cyanotype of pale blue and grey washes on white

    Meghann Riepenhoff, Day 260.2

    Meghann Riepenhoff, Day 260.2: Waters of the Americas, Florida Department of Environmental Protection #8092, 2024. Cyanotype. Private Collection. © Meghann Riepenhoff · via 62 Above · Source ↗

    Appears on: Meghann Riepenhoff: Waters of the Americas

  • Meghann Riepenhoff, Day 287: a cyanotype in deep red-brown with a pale green top band

    Meghann Riepenhoff, Day 287

    Meghann Riepenhoff, Day 287: Mushroom Ink + Prussian Blue Pigment + Algae Pigment + Beta Carotene + Gingko Chlorophyll + Rattlesnake Lake + Moncton + Old-Growth Stump, 2024. Cyanotype. Collection of Clinton Yara and Brett Geist. © Meghann Riepenhoff · via 62 Above · Source ↗

    Appears on: Meghann Riepenhoff: Waters of the Americas

  • Meghann Riepenhoff, Ecotone #823: two blue cyanotypes marked with branching white lines

    Meghann Riepenhoff, Ecotone #823

    Meghann Riepenhoff, Ecotone #823 (Bainbridge Island, WA 02.25.20, Throughfall from Magnolia Tree), 2020. Two cyanotypes. Courtesy of the artist, Haines Gallery, and Yossi Milo Gallery. © Meghann Riepenhoff · via 62 Above · Source ↗

    Appears on: Meghann Riepenhoff: Waters of the Americas

  • Meghann Riepenhoff, Littoral Drift #475: a triptych of blue and white cyanotypes

    Meghann Riepenhoff, Littoral Drift #475

    Meghann Riepenhoff, Littoral Drift #475 (Triptych, Point White Beach on Rich Passage, Bainbridge Island, WA 05.20.16, Three Churning Waves), 2016. Three cyanotypes. Courtesy of Inga Sheffield. © Meghann Riepenhoff · via 62 Above · Source ↗

    Appears on: Meghann Riepenhoff: Waters of the Americas

  • Meghann Riepenhoff, Toxic Beach: three cyanotypes in deep blue and white, side by side

    Meghann Riepenhoff, Toxic Beach

    Meghann Riepenhoff, Waters of the Americas: Toxic Beach, North of Hunters Point Naval Shipyard Superfund Site, San Francisco, 2018-2019. Three cyanotypes. Private Collection. © Meghann Riepenhoff · via 62 Above · Source ↗

    Appears on: Meghann Riepenhoff: Waters of the Americas

  • Exhibition image for Slow Dance

    Melanie McLain, Peripersonal , 2020. OTRXS MUNDXS , Museo Tamayo, Mexico City, 2020–21. Courtesy of the artist.

    Melanie McLain, Peripersonal , 2020. OTRXS MUNDXS , Museo Tamayo, Mexico City, 2020–21. Courtesy of the artist. · License · Source ↗

    Appears on: Slow Dance

  • A group of people sitting and standing around printing equipment.

    Members of the former Inkling Studio printmaking cooperative gathered for a photo in the early 1980s.

    Members of the former Inkling Studio printmaking cooperative gathered for a photo in the early 1980s. · License · Source ↗

    Appears on: Inkling Studio: Community and Printmaking in Portland, 1981–2009

  • Exhibition image for Driving Forces: American Art and the Automobile

    Meridel Rubenstein, Bad Company (Paul, Annabelle, & Paul Medina, Chimayo, New Mexico, 68 Chevy Impala) , 1980. Ektacolor photograph. Gift of Terry and Eva Herndon. 2025.30.36. Peabody Essex Museum. © Meridel Rubenstein. Image courtesy of the artist.

    Meridel Rubenstein, Bad Company (Paul, Annabelle, & Paul Medina, Chimayo, New Mexico, 68 Chevy Impala) , 1980. Ektacolor photograph. Gift of Terry and Eva Herndon. 2025.30.36. Peabody Essex Museum. © Meridel Rubenstein. Image courtesy of the artist. · License · Source ↗

    Appears on: Driving Forces: American Art and the Automobile

  • Michal Rovner black-and-white print of dense script forming a mountain-like image

    Michal Rovner, Esther Scroll: New Reflections, 2026

    Michal Rovner, Esther Scroll: New Reflections, 2026. Archival pigment print. Courtesy of the artist and Pace Gallery · sent by Cassandra Martinez, 21 Oct 2026 · Source ↗

    Appears on: Michal Rovner: Esther Scrolls

  • Michal Rovner video still of a pink and red banded vertical scroll pattern

    Michal Rovner, Esther Scroll: The Kingdom, 2026

    Michal Rovner, Esther Scroll: The Kingdom, 2026. Video projection. Courtesy of the artist and Pace Gallery · sent by Cassandra Martinez, 21 Oct 2026 · Source ↗

    Appears on: Michal Rovner: Esther Scrolls

  • Gardner Museum façade showing a giant black-and-white image of a cat

    Michal Rovner: Untitled/Night, 2016, Anne H. Fitzpatrick Façade

    Michal Rovner: Untitled/Night, 2016. Anne H. Fitzpatrick Façade, July 28, 2026 – February 8, 2027. Isabella Stewart Gardner Museum, Boston · sent by Cassandra Martinez, 21 Oct 2026 · Source ↗

    Appears on: Michal Rovner: Untitled/Night, 2016

  • Close view of the façade image of a cat above the Gardner entrance

    Michal Rovner: Untitled/Night, 2016, Anne H. Fitzpatrick Façade

    Michal Rovner: Untitled/Night, 2016. Anne H. Fitzpatrick Façade, July 28, 2026 – February 8, 2027. Isabella Stewart Gardner Museum, Boston · sent by Cassandra Martinez, 21 Oct 2026 · Source ↗

    Appears on: Michal Rovner: Untitled/Night, 2016

  • Collage of seven Black female comedians on stage

    Mickalene Thomas, Do I Look Like a Lady? (Comedians and Singers), 2016.

    Mickalene Thomas, Do I Look Like a Lady? (Comedians and Singers), 2016. · License · Source ↗

    Appears on: Mickalene Thomas: Do I Look Like a Lady? (Comedians and Singers)

  • Suzanne Jackson, Migration, 1998, acrylic wash on canvas

    Suzanne Jackson, Migration, 1998

    Migration, 1998. Suzanne Jackson (American, born in 1944). Acrylic wash on gessoed canvas. The Shah Garg Collection. © Suzanne Jackson, courtesy Ortuzar, New York; photo: Timothy Doyon. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Suzanne Jackson: What Is Love

  • Ricardo de Madrazo, Mihrab of the Mosque of Córdoba, 1870, pencil and watercolour

    Ricardo de Madrazo, Mihrab of the Mosque of Córdoba, 1870

    Mihrab de la Mezquita de Córdoba. Ricardo de Madrazo y Garreta. Lápiz y acuarela sobre papel avitelado. 1870. Firmado y fechado. Madrid, Museo Nacional del Prado. Adquirido en 2012 · acceso profesionales · Source ↗

    Appears on: Ricardo de Madrazo (1852-1917): dibujos y acuarelas

  • Exhibition image for Hammer Projects: Mike Cloud

    Mike Cloud, Dorothy Costume Quilt Back (front) , 2007 Oil and fabric on canvas with stretcher bars. 96 × 110 in. (243.84 × 279.40 cm). Courtesy of the artist and Thomas Erben Gallery, New York.

    Mike Cloud, Dorothy Costume Quilt Back (front) , 2007 Oil and fabric on canvas with stretcher bars. 96 × 110 in. (243.84 × 279.40 cm). Courtesy of the artist and Thomas Erben Gallery, New York. · License · Source ↗

    Appears on: Hammer Projects: Mike Cloud

  • Painting of an ornate many-windowed building in warm ochre and orange, densely patterned, with small figures and objects arranged along its front

    Mohammed Z. Rahman, The Spaghetti House, 2024

    Mohammed Z. Rahman, The Spaghetti House, 2024. Tate Purchased with funds provided by the 2024 Frieze Tate Fund supported by Endeavor to benefit the Tate collection 2025. Courtesy the artist and Phillida Reid, London © Mohammed Z Rahman · License · Source ↗

    Appears on: Art Now: Mohammed Z Rahman

  • Monir Shahroudy Farmanfarmaian, Something Old Something New, 1974, mirror glass mosaic

    Monir Shahroudy Farmanfarmaian, Something Old Something New, 1974

    Monir Shahroudy Farmanfarmaian, Something Old Something New, 1974, mirror glass, painted glass and plaster on wood, Collection of Tate, UK, Purchased with funds provided by the Middle East North Africa Acquisitions Committee 2013, Photo: Tate Images, © Monir Shahroudy Farmanfarmaian · Sarah Osborne, 21 Oct 2026 · Source ↗

    Appears on: Modern Iran and the Avant-Gardes, 1948–78

  • Naoko Matsubara woodcut print: Mother and Baby, 1979

    Naoko Matsubara, Mother and Baby, 1979

    Mother and Baby, 1979. Naoko Matsubara (Canadian, born in Japan, born in 1937). Woodcut. Francis Welch Fund, Towles Contemporary Art Fund, and Edward S. Morse Memorial Fund. © Naoko Matsubara. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Naoko Matsubara’s Woodblock Worlds

  • Exhibition image for Na Mira: NO SMOKING

    Na Mira. Infrared HD video [work in progress], 2025. Courtesy the artist and Paul Soto Gallery

    Na Mira. Infrared HD video [work in progress], 2025. Courtesy the artist and Paul Soto Gallery · License · Source ↗

    Appears on: Na Mira: NO SMOKING

  • Exhibition image for Na Mira: NO SMOKING

    Na Mira. MANHATTAN MANHATTAN, 2026. Infrared high-definition video (black and white), frequency. Courtesy the artist

    Na Mira. MANHATTAN MANHATTAN, 2026. Infrared high-definition video (black and white), frequency. Courtesy the artist · License · Source ↗

    Appears on: Na Mira: NO SMOKING

  • Video still of an urban/natural apocalyptic landscape at night with multicolored fire tornadoes swirling skyward, their colors reflected off the surface of a dark river in the foreground.

    Nancy Baker Cahill, Carbon 1 (large detail), 2025

    Nancy Baker Cahill, Carbon 1 (large detail), 2025, digital animation still, dimensions variable, Courtesy of Nancy Baker Cahill · Lizzie Newton, 21 Oct 2026; Fall 2026 press portal · Source ↗

    Appears on: Nancy Baker Cahill: Ecologies of Scale

  • Exhibition image for Naoko Matsubara’s Woodblock Worlds

    Naoko Matsubara, Inner Strength (detail), 1960s. Woodblock print; ink on paper. Asiatic Curator’s Fund, Gift of the Felix and Helen Juda Foundation. © Naoko Matsubara.

    Naoko Matsubara, Inner Strength (detail), 1960s. Woodblock print; ink on paper. Asiatic Curator’s Fund, Gift of the Felix and Helen Juda Foundation. © Naoko Matsubara. · License · Source ↗

    Appears on: Naoko Matsubara’s Woodblock Worlds

  • The National Museum of Korea’s Path to History, a tall pale-stone hall with sunlight falling in diagonal bands and a stone pagoda at the far end

    The National Museum of Korea’s Path to History, a tall pale-stone hall with sunlight falling in diagonal bands and a stone pagoda at the far end

    National Museum of Korea

    Appears on: National Museum of Korea

  • National Museum of Korea by day across the Mirror Pond, with a red pavilion, trees and blue sky

    National Museum of Korea and the Mirror Pond, Seoul

    National Museum of Korea · Chaehyeon Eom · Source ↗

    Appears on: National Museum of Korea

  • National Museum of Korea at dusk, the long building and a traditional pavilion reflected in the Mirror Pond

    National Museum of Korea and the Mirror Pond, Seoul

    National Museum of Korea · Chaehyeon Eom · Source ↗

    Appears on: National Museum of Korea

  • Natori Shunsen, Bando Sucho as Shizhua: a kabuki actor in a red kimono

    Natori Shunsen, Bando Sucho as Shizhua

    Natori Shunsen, Bando Sucho as Shizhua, 1925. Ink and color on paper. Anonymous Gift, 2017.90. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Exhibition image for Natvar Bhavsar: Free Yourself

    Natvar Bhavsar (American, born India, 1934). REETVA , 1968. Painting on paper, dry pigment, acrylic medium on rag paper. 35 x 46 inches (89 x 117 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS), New York. Image courtesy of the artist.

    Natvar Bhavsar (American, born India, 1934). REETVA , 1968. Painting on paper, dry pigment, acrylic medium on rag paper. 35 x 46 inches (89 x 117 cm). © 2026 Natvar Bhavsar / Artists Rights Society (ARS), New York. Image courtesy of the artist. · License · Source ↗

    Appears on: Natvar Bhavsar: Free Yourself

  • Room 74 at the Museo del Prado, a domed gallery with Sleeping Ariadne at the centre and classical sculptures around the walls

    New sculpture display in room 74

    New sculpture display in room 74. Photo © Museo Nacional del Prado · acceso profesionales · Source ↗

    Appears on: Christina of Sweden. A passion for sculpture

  • Room 74 at the Museo del Prado, classical sculptures on plinths around a chequered marble floor

    New sculpture display in room 74

    New sculpture display in room 74. Photo © Museo Nacional del Prado · acceso profesionales · Source ↗

    Appears on: Christina of Sweden. A passion for sculpture

  • Room 74 at the Museo del Prado, wide view of the domed sculpture gallery

    New sculpture display in room 74

    New sculpture display in room 74. Photo © Museo Nacional del Prado · acceso profesionales · Source ↗

    Appears on: Christina of Sweden. A passion for sculpture

  • Room 74 at the Museo del Prado, Clytie in the foreground with Sleeping Ariadne behind

    New sculpture display in room 74

    New sculpture display in room 74. Photo © Museo Nacional del Prado · acceso profesionales · Source ↗

    Appears on: Christina of Sweden. A passion for sculpture

  • Nick Cave, Rescue: a sculpture of a seated dog figure beneath a tall tree of found metal flowers and birds

    Nick Cave, Rescue

    Nick Cave, Rescue, 2013. Mixed Media Sculpture. Museum Purchase with funds from the Bequest of Dr. Janet Brody Esser, 2022, 2022.18. © Nick Cave. Courtesy of the artist and Jack Shainman Gallery, New York. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Exhibition image for Nilima Sheikh: Fractured Skies

    Nilima Sheikh. Dying Dreaming (recto). 2007/10. Casein tempera on canvas. Lekha and Anupam Poddar Collection

    Nilima Sheikh. Dying Dreaming (recto). 2007/10. Casein tempera on canvas. Lekha and Anupam Poddar Collection · License · Source ↗

    Appears on: Nilima Sheikh: Fractured Skies

  • Exhibition image for Nilima Sheikh: Fractured Skies

    Nilima Sheikh. Son et Lumière (recto). 2006/10. Casein tempera on canvas. 120 x 72 in. Collection: Kiran Nadar Museum of Art

    Nilima Sheikh. Son et Lumière (recto). 2006/10. Casein tempera on canvas. 120 x 72 in. Collection: Kiran Nadar Museum of Art · License · Source ↗

    Appears on: Nilima Sheikh: Fractured Skies

  • Installation view of "Nina Beier & John Miller – The Populace" at ARoS, mannequins arranged among visitors in the gallery

    Installation view of "Nina Beier & John Miller – The Populace" at ARoS, mannequins arranged among visitors in the gallery

    Nina Beier & John Miller – The Populace, ARoS 2026. Installation view: David Stjernholm © ARoS

    Appears on: Nina Beier & John Miller – The Populace

  • Installation view of "The Populace" at ARoS, a group of mannequins dressed in street clothing

    Installation view of "The Populace" at ARoS, a group of mannequins dressed in street clothing

    Nina Beier & John Miller – The Populace, ARoS 2026. Installation view: David Stjernholm © ARoS

    Appears on: Nina Beier & John Miller – The Populace

  • Installation view of "The Populace" at ARoS, mannequins viewed from behind alongside framed portraits

    Installation view of "The Populace" at ARoS, mannequins viewed from behind alongside framed portraits

    Nina Beier & John Miller – The Populace, ARoS 2026. Installation view: David Stjernholm © ARoS

    Appears on: Nina Beier & John Miller – The Populace

  • Installation view of "The Populace" at ARoS, a bald mannequin figure wearing a camera and lanyard

    Installation view of "The Populace" at ARoS, a bald mannequin figure wearing a camera and lanyard

    Nina Beier & John Miller – The Populace, ARoS 2026. Installation view: David Stjernholm © ARoS

    Appears on: Nina Beier & John Miller – The Populace

  • Amulet of a standing gold bird with folded wings, tips touching the ground. A ring is attached to its head.

    Amulet of a Falcon, 690–664 BCE

    Nubian artist, Sudan, Amulet of a Falcon, 690–664 BCE, gold, H. 11/16 × W. 3/16 × D. 9/16 in., Harvard University—Boston Museum of Fine Arts Expedition, 20.253; Photo: © Museum of Fine Arts, Boston · Lizzie Newton, 21 Oct 2026; Fall 2026 press portal · Source ↗

    Appears on: Ancient Nubia: Excavating Treasures of the Nile from the Museum of Fine Arts, Boston

  • Pendant of a gold head topped with an elaborate headdress attached to a clear, somewhat flattened sphere.

    Hathor-Headed Crystal Pendant, 743–712 BCE

    Nubian artist, Sudan, Hathor-Headed Crystal Pendant, 743–712 BCE, gold and rock crystal, H. 2 1/16 × W. 1 1/4 in., Harvard University—Boston Museum of Fine Arts Expedition, 21.321; Photo: © Museum of Fine Arts, Boston · Lizzie Newton, 21 Oct 2026; Fall 2026 press portal · Source ↗

    Appears on: Ancient Nubia: Excavating Treasures of the Nile from the Museum of Fine Arts, Boston

  • Frontal view of 17 stylized figures of various sizes with headdresses, long, narrow beards, and writing on their torsos and legs.

    Shawabties of King Taharqa, 690–664 BCE

    Nubian artist, Sudan, Shawabties of King Taharqa, 690–664 BCE, travertine (Egyptian alabaster), serpentinite, and unidentified stone, dimensions variable, Harvard University—Boston Museum of Fine Arts Expedition, 21.11861, 21.2921, 21.11860, 21.11855, 21.11858, 21.11859, 21.11854, 20.231, 21.11857, 21.2959, 21.11856, 20.228, 20.216, 20.234, 20.232, 21.3015, 21.2997; Photo: © Museum of Fine Arts, Boston · Lizzie Newton, 21 Oct 2026; Fall 2026 press portal · Source ↗

    Appears on: Ancient Nubia: Excavating Treasures of the Nile from the Museum of Fine Arts, Boston

  • Sculpture of a person’s head and chest seen in profile. The person wears a smooth headdress and long, stylized beard.

    Shawabty of King Taharqa, 690–664 BCE

    Nubian artist, Sudan, Shawabty of King Taharqa, 690–664 BCE, green magnesite–containing rock, H. 20 1/16 × W. 6 3/4 in., Harvard University—Boston Museum of Fine Arts Expedition, 20.227; Photo: © Museum of Fine Arts, Boston · Lizzie Newton, 21 Oct 2026; Fall 2026 press portal · Source ↗

    Appears on: Ancient Nubia: Excavating Treasures of the Nile from the Museum of Fine Arts, Boston

  • Flat gold pectoral of a kneeling woman wearing a tall headdress. She stretches out winged arms and holds two implements.

    Winged Isis Pectoral, 538–519 BCE

    Nubian artist, Sudan, Winged Isis Pectoral, 538–519 BCE, gold, H. 2 11/16 × W. 6 11/16 in., Harvard University—Boston Museum of Fine Arts Expedition, 20.276; Photo: © Museum of Fine Arts, Boston · Lizzie Newton, 21 Oct 2026; Fall 2026 press portal · Source ↗

    Appears on: Ancient Nubia: Excavating Treasures of the Nile from the Museum of Fine Arts, Boston

  • Marcel Duchamp, Nude Descending a Staircase (No. 2): overlapping angular brown and ochre forms suggesting a figure in motion

    Marcel Duchamp, Nude Descending a Staircase (No. 2)

    Nude Descending a Staircase (No. 2), 1912, Marcel Duchamp, Oil on canvas, The Louise and Walter Arensberg Collection, 1950, 1950-134-59 · press.philamuseum.org · Source ↗

    Appears on: Marcel Duchamp

  • El Anatsui, OG Metal Cloth: a draped wall work of printed aluminum strips in red, white and bright colors joined with copper wire

    El Anatsui, OG Metal Cloth

    OG Metal Cloth, 2023, El Anatsui. Inkjet print on aluminum with copper wire, Approx. 64 × 64 × 4 inches, Printed by Ribuoli Digital, New York, Published by Benefit Print Project, New York. Photo by Christopher Burke Studios. © El Anatsui. · press.philamuseum.org · Source ↗

    Appears on: El Anatsui: Prints and Play

  • Exhibition image for Olalekan Jeyifous: Hydricosmic Litanies

    Olalekan Jeyifous, Plate VIII: River Reliquaries , 2025. Digital illustration. Courtesy the artist.

    Olalekan Jeyifous, Plate VIII: River Reliquaries , 2025. Digital illustration. Courtesy the artist. · License · Source ↗

    Appears on: Olalekan Jeyifous: Hydricosmic Litanies

  • Olga de Amaral seated in her studio among hanging textiles

    Olga de Amaral in her studio, 2013

    Olga de Amaral in her studio, 2013. © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Olga de Amaral standing with her gold-leafed work Décimo X

    Olga de Amaral with Décimo X, 2015

    Olga de Amaral with Décimo X, 2015. © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Olga de Amaral, Columna en pasteles: a tall freestanding woven column in ochre, green and lilac, slumped and twisting

    Olga de Amaral, Columna en pasteles (Column in Pastels), 1972

    Olga de Amaral, Columna en pasteles (Column in Pastels), 1972. Wool and horsehair, 118 1/8 × 78 3/4 inches (300 × 200 cm). The Museum of Fine Arts, Houston, Museum purchase funded by the Caroline Wiess Law Accessions Endowment, 2019.162. © Olga de Amaral. Photograph © The Museum of Fine Arts, Houston; Thomas R. DuBrock · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Olga de Amaral, Dibujo tejido: a pencil and watercolor drawing of interlaced blue and grey woven bands

    Olga de Amaral, Dibujo tejido (Woven Drawing), 1973

    Olga de Amaral, Dibujo tejido (Woven Drawing), 1973. Pencil and watercolor on paper, 11 × 8 5/8 inches (27.9 × 21.8 cm). © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Olga de Amaral, Dos columnas móviles: two hanging woven columns in red, orange and blue against a black background

    Olga de Amaral, Dos columnas móviles (Two Mobile Columns), 1985

    Olga de Amaral, Dos columnas móviles (Two Mobile Columns), 1985. Wool, linen, and horsehair, 78 3/4 × 35 7/16 inches (200 × 90 cm). © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Olga de Amaral, Paisaje de calicanto: a large woven wall hanging in a white gallery, with a visitor standing beside it for scale

    Olga de Amaral, Paisaje de calicanto (Stone Wall Landscape), 1980

    Olga de Amaral, Paisaje de calicanto (Stone Wall Landscape), 1980. Cotton, wool, horsehair, and acrylic, 90 9/16 × 78 3/4 inches (230 × 200 cm). © Olga de Amaral, courtesy of La Cometa Gallery · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Detail of Olga de Amaral, Riscos calizos: close view of red, cream and blue woven strands

    Olga de Amaral, Riscos calizos (Limestone Ridges) (detail), 1983

    Olga de Amaral, Riscos calizos (Limestone Ridges) (detail), 1983. Horsehair and wool, 116 1/8 × 66 7/8 inches (295 × 170 cm). Blanca and Sunil Hirani, USA. © Olga de Amaral · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Olga de Amaral, Riscos calizos: a woven hanging shading from cream at the top through ochre to deep red and brown fringes

    Olga de Amaral, Riscos calizos (Limestone Ridges), 1983

    Olga de Amaral, Riscos calizos (Limestone Ridges), 1983. Horsehair and wool, 116 1/8 × 66 7/8 inches (295 × 170 cm). Blanca and Sunil Hirani, USA. © Olga de Amaral · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Olga de Amaral, Strata XV: a gold-leafed woven hanging with a rippled surface and fringed lower edge

    Olga de Amaral, Strata XV, 2009

    Olga de Amaral, Strata XV, 2009. Linen, gesso, acrylic, and gold leaf, 88 5/8 × 79 1/8 × 1 1/8 inches (225 × 201 × 3 cm). Courtesy of Arte Collectum. © Olga de Amaral, courtesy Lisson Gallery · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Olga de Amaral holding up a long striped woven textile beside a stack of woven cushions

    Olga de Amaral

    Olga de Amaral. © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Olga de Amaral seated on a wooden chair in a wood-paneled room with a cat at her feet

    Olga de Amaral

    Olga de Amaral. © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Opening of the XXIII Mostra della Fucina degli Angeli, Galleria Martano, Turin, 1967

    XXIII Mostra della Fucina degli Angeli, Turin, 1967

    Opening of the exhibition XXIII Mostra della Fucina degli Angeli, Galleria Martano, Turin, October 1967. On view, Immortal by Max Ernst © Archivio Fucina degli Angeli, Venezia, by SIAE 2026 · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Fucina degli Angeli: Peggy Guggenheim and 20th-Century Artistic Glass

  • Oskar Kokoschka, Martha Hirsch (Woman with Large Eyes), 1909

    Oskar Kokoschka, Martha Hirsch (Woman with Large Eyes), 1909

    Oskar Kokoschka (Austrian, 1886–1980). Martha Hirsch (Woman with Large Eyes), 1909. Oil on canvas. Neue Galerie New York. Gift of the Serge and Vally Sabarsky Foundation, Inc. Photo: Hulya Kolabas. © 2026 Fondation Oskar Kokoschka / Artists Rights Society (ARS), New York / ProLitteris, Zürich · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Exhibition image for Artists and Their Pets

    Owen Shaw with blue-tongued lizard, c1970s, Art Gallery of new South Wales, donated through the Australian Government’s Cultural Gifts Program by Louise Walker 2008, photo: Robert Walker

    Owen Shaw with blue-tongued lizard, c1970s, Art Gallery of new South Wales, donated through the Australian Government’s Cultural Gifts Program by Louise Walker 2008, photo: Robert Walker · License · Source ↗

    Appears on: Artists and Their Pets

  • Exhibition image for Öyvind Fahlström: Are You Happy?

    Öyvind Fahlström, Column No. 3 (Chile F) (detail), 1973. Pen and ink over acrylic paint on paper. Gift of Maria and Conrad Janis by and through the Janis Living Trust. © 2026 Sharon Avery-Fahlström / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.

    Öyvind Fahlström, Column No. 3 (Chile F) (detail), 1973. Pen and ink over acrylic paint on paper. Gift of Maria and Conrad Janis by and through the Janis Living Trust. © 2026 Sharon Avery-Fahlström / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. · License · Source ↗

    Appears on: Öyvind Fahlström: Are You Happy?

  • Pablo Picasso at home in Cannes with the glass Precious Amphora, 1961

    Pablo Picasso with Precious Amphora, Cannes, 1961

    Pablo Picasso at home with Precious Amphora (Anfora preziosa, 1959–61), La Californie, Cannes, 1961. Photo Edward Quinn © Edward Quinn, by SIAE 2026 · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Fucina degli Angeli: Peggy Guggenheim and 20th-Century Artistic Glass

  • Pablo Picasso, Femme Assise: a seated woman painted in angular planes of blue, green and black

    Pablo Picasso, Femme Assise

    Pablo Picasso, Femme Assise, 1949. Oil on canvas. Promised Gift of Joan and Irwin Jacobs. © 2026 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Pamela Cevallos, Corrientes de retorno (Return currents), 2015-2025, painted ceramic figures, on view in I Follow Rivers: Indigenous Worlds in Latin America at the Denver Art Museum

    Pamela Cevallos, Corrientes de retorno (Return currents), 2015-2025, painted ceramic figures, on view in I Follow Rivers: Indigenous Worlds in Latin America at the Denver Art Museum

    Pamela Cevallos, Corrientes de retorno (Return currents), 2015–2025. Painted ceramic. Denver Art Museum: Funds from Collectors' Choice 40, 2026.368.1-13. © Pamela Cevallos.

    Appears on: I Follow Rivers

  • Detail from a piece of blue and white woven cloth, the left is plaid with dark blue vertical lines, and the right side has intricate diamond patterns.

    Pano d’Obra Bicho (Woman’s Shawl), early to mid 1900s. Mary Ann Lippitt Acquisition Fund. RISD Museum, Providence, RI.

    Pano d’Obra Bicho (Woman’s Shawl), early to mid 1900s. Mary Ann Lippitt Acquisition Fund. RISD Museum, Providence, RI. · License · Source ↗

    Appears on: Cloth of the Earth

  • Parviz Tanavoli, Heech, 1972, bronze sculpture of the Persian word for nothing

    Parviz Tanavoli, Heech, 1972

    Parviz Tanavoli, Heech, 1972, bronze on wood base, Grey Art Museum, New York University Art Collection, Gift of Abby Weed Grey, G1975.54, Photo: Courtesy of the Grey Art Museum, New York University, © Parviz Tanavoli · Sarah Osborne, 21 Oct 2026 · Source ↗

    Appears on: Modern Iran and the Avant-Gardes, 1948–78

  • Paul Klee, Mystical-Ceramic [in the manner of a still-life], 1925

    Paul Klee, Mystical-Ceramic [in the manner of a still-life], 1925

    Paul Klee (German, born Switzerland, 1879–1940). Mystical-Ceramic [in the manner of a still-life], 1925. Oil on board. Neue Galerie New York. This work is part of the collection of Estée Lauder and was made available through the generosity of Estée Lauder. © 2026 Artists Rights Society (ARS), New York, for Paul Klee · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Paula Modersohn-Becker, Self-Portrait with Two Flowers in Her Raised Left Hand, 1907

    Paula Modersohn-Becker, Self-Portrait with Two Flowers in Her Raised Left Hand, 1907

    Paula Modersohn-Becker (German, 1876–1907). Self-Portrait with Two Flowers in Her Raised Left Hand, 1907. Oil on canvas. Jointly owned by The Museum of Modern Art, New York, Gift of Debra and Leon Black, and Neue Galerie New York, Gift of Jo Carole and Ronald S. Lauder. Conservation was made possible by the Bank of America Art Conservation Project · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Exhibition image for Breath of Faith The Living Sculpture of Pedro de Mena

    Pedro de Mena Saint Francis of Assisi 1677 (detail), Art Gallery of New South Wales

    Pedro de Mena Saint Francis of Assisi 1677 (detail), Art Gallery of New South Wales · License · Source ↗

    Appears on: Breath of Faith The Living Sculpture of Pedro de Mena

  • A silver coffee and tea set.

    Peer Smed; Lona P. Schaeffer (American, 1902-1989), Tea and Coffee Set, ca. 1934-1938, silver, 13 3/4 in x 26 1/8 in x 16 5/8 in, Bequest of Arlene Schnitzer, © unknown, research required, 2023.24.13a-m

    Peer Smed; Lona P. Schaeffer (American, 1902-1989), Tea and Coffee Set, ca. 1934-1938, silver, 13 3/4 in x 26 1/8 in x 16 5/8 in, Bequest of Arlene Schnitzer, © unknown, research required, 2023.24.13a-m · License · Source ↗

    Appears on: Mirror Mirror: Silver in the 20th Century

  • Peggy Guggenheim and guests at Palazzo Venier dei Leoni, Venice, 1964, with Fucina degli Angeli glass works

    Peggy Guggenheim and guests at Palazzo Venier dei Leoni, 1964

    Peggy Guggenheim (center) and guests at Palazzo Venier dei Leoni, Venice, 1964. Hanging from the ceiling: Fish (Abyssal) (Pesce [Abissale]), after Alexander Calder, after 1953. On the bookcase, from left: Jean (Hans) Arp, Dove (or Amphora) (Colomba [o Amphore], 1963), and Three Graces (Tre grazie, 1962-63); Max Ernst, King (Re) and Queen (Regina), both 1964. On the coffee table, Oskar Kokoschka Bacchants (Baccanti, 1952–53) © Getty Images, by SIAE 2026 · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Fucina degli Angeli: Peggy Guggenheim and 20th-Century Artistic Glass

  • Peggy Guggenheim at Hayford Hall, about 1934

    Peggy Guggenheim at Hayford Hall, ca. 1934

    Peggy Guggenheim at Hayford Hall, ca. 1934. Private collection · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Peggy Guggenheim in London

  • Peggy Guggenheim in the garden of Palazzo Venier dei Leoni with Arp’s Bride and Groom, about 1965

    Peggy Guggenheim in the garden of Palazzo Venier dei Leoni, ca. 1965

    Peggy Guggenheim in the garden of Palazzo Venieri dei Leoni with Jean (Hans) Arp, Bride and Groom (Gli sposi, 1949), Venice, ca. 1965 © Archivio Fucina degli Angeli, Venezia, by SIAE 2026 · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Fucina degli Angeli: Peggy Guggenheim and 20th-Century Artistic Glass

  • Exterior view of the Denver Art Museum campus

    Exterior view of the Denver Art Museum campus

    Photo by James Florio Photography, courtesy Denver Art Museum.

    Appears on: Denver Art Museum

  • Exterior view of the Denver Art Museum's Hamilton Building glass facade

    Exterior view of the Denver Art Museum's Hamilton Building glass facade

    Photo by James Florio Photography, courtesy Denver Art Museum.

    Appears on: Denver Art Museum

  • Exterior view of the Frederic C. Hamilton Building at the Denver Art Museum

    Exterior view of the Frederic C. Hamilton Building at the Denver Art Museum

    Photo by James Florio Photography, courtesy Denver Art Museum.

    Appears on: Denver Art Museum

  • Exterior view of the Frederic C. Hamilton Building at the Denver Art Museum at dusk

    Exterior view of the Frederic C. Hamilton Building at the Denver Art Museum at dusk

    Photo by James Florio Photography, courtesy Denver Art Museum.

    Appears on: Denver Art Museum

  • View down Broadway toward the Frist Art Museum in downtown Nashville

    View down Broadway toward the Frist Art Museum in downtown Nashville

    Photo by John Schweikert, courtesy of the Frist Art Museum

    Appears on: Frist Art Museum

  • Close view of the Frist Art Museum facade along Broadway

    Close view of the Frist Art Museum facade along Broadway

    Photo by John Schweikert, courtesy of the Frist Art Museum

    Appears on: Frist Art Museum

  • Wide view of the Frist Art Museum building along Broadway

    Wide view of the Frist Art Museum building along Broadway

    Photo by John Schweikert, courtesy of the Frist Art Museum

    Appears on: Frist Art Museum

  • Exterior of the Frist Art Museum courtyard

    Exterior of the Frist Art Museum courtyard

    Photo by John Schweikert, courtesy of the Frist Art Museum

    Appears on: Frist Art Museum

  • Crowded lobby reception at the Frist Art Museum

    Crowded lobby reception at the Frist Art Museum

    Photo by Sara Bill, courtesy of the Frist Art Museum

    Appears on: Frist Art Museum

  • Gallery bathed in blue light with a suspended triangular frame overhead

    Installation view, Tomorrow the Sun Will Rise, The Phillips Collection, 2026

    Photo: Lee Stalsworth, courtesy The Phillips Collection · Source ↗

    Appears on: Tomorrow the Sun Will Rise

  • Installation view of Tomorrow the Sun Will Rise at The Phillips Collection, the exhibition title painted on a gallery wall beside an arched doorway

    Installation view, Tomorrow the Sun Will Rise, The Phillips Collection, 2026

    Photo: Lee Stalsworth, courtesy The Phillips Collection · Source ↗

    Appears on: Tomorrow the Sun Will Rise

  • Gallery with hanging broom-like sculptures of human hair and plastic rattan, framed works on paper, and two arched doorways

    Installation view, Tomorrow the Sun Will Rise, The Phillips Collection, 2026

    Photo: Lee Stalsworth, courtesy The Phillips Collection · Source ↗

    Appears on: Tomorrow the Sun Will Rise

  • Gallery hung with a curtain of gold vertical strands, framed paintings along the wall and a video monitor beyond

    Installation view, Tomorrow the Sun Will Rise, The Phillips Collection, 2026

    Photo: Lee Stalsworth, courtesy The Phillips Collection · Source ↗

    Appears on: Tomorrow the Sun Will Rise

  • Gallery corner with a large woven floor sculpture and small wall-mounted works

    Installation view, Tomorrow the Sun Will Rise, The Phillips Collection, 2026

    Photo: Lee Stalsworth, courtesy The Phillips Collection · Source ↗

    Appears on: Tomorrow the Sun Will Rise

  • Dimly lit gallery with school desk chairs facing a projected video of a chalkboard and a row of seated figures

    Installation view, Tomorrow the Sun Will Rise, The Phillips Collection, 2026

    Photo: Lee Stalsworth, courtesy The Phillips Collection · Source ↗

    Appears on: Tomorrow the Sun Will Rise

  • Exterior of ARoS Aarhus Kunstmuseum with the Rainbow Panorama rooftop walkway, daytime

    Exterior of ARoS Aarhus Kunstmuseum with the Rainbow Panorama rooftop walkway, daytime

    Photo: Mads Smidstrup © ARoS Aarhus Kunstmuseum

    Appears on: ARoS Aarhus Kunstmuseum

  • Close view of the Rainbow Panorama rooftop walkway at ARoS Aarhus Kunstmuseum against a blue sky

    Close view of the Rainbow Panorama rooftop walkway at ARoS Aarhus Kunstmuseum against a blue sky

    Photo: Mads Smidstrup © ARoS Aarhus Kunstmuseum

    Appears on: ARoS Aarhus Kunstmuseum

  • ARoS Aarhus Kunstmuseum entrance ramp in snow

    ARoS Aarhus Kunstmuseum entrance ramp in snow

    Photo: Mads Smidstrup © ARoS Aarhus Kunstmuseum

    Appears on: ARoS Aarhus Kunstmuseum

  • ARoS Aarhus Kunstmuseum and the Aarhus river canal in snow

    ARoS Aarhus Kunstmuseum and the Aarhus river canal in snow

    Photo: Mads Smidstrup © ARoS Aarhus Kunstmuseum

    Appears on: ARoS Aarhus Kunstmuseum

  • The Phillips Collection's original red brick and brownstone house on 21st Street NW, Washington, seen at an angle behind summer street trees

    The Phillips Collection's original red brick and brownstone house on 21st Street NW, Washington, seen at an angle behind summer street trees

    Photo: Mariah Miranda Photography / The Phillips Collection · Source ↗

    Appears on: The Phillips Collection

  • The Sant Building, the modern wing of The Phillips Collection, on the corner of 21st and Q Streets NW with an exhibition banner at the entrance

    The Sant Building, the modern wing of The Phillips Collection, on the corner of 21st and Q Streets NW with an exhibition banner at the entrance

    Photo: Mariah Miranda Photography / The Phillips Collection · Source ↗

    Appears on: The Phillips Collection

  • Frontal view of The Phillips Collection's historic Duncan Phillips house, a four-storey red brick terrace behind a row of street trees

    Frontal view of The Phillips Collection's historic Duncan Phillips house, a four-storey red brick terrace behind a row of street trees

    Photo: Mariah Miranda Photography / The Phillips Collection · Source ↗

    Appears on: The Phillips Collection

  • The Phillips Collection entrance with its name carved in stone, framed by green trees and planters

    The Phillips Collection, Washington, DC

    Photo: Mariah Miranda Photography / The Phillips Collection · Photo credit: Mariah Miranda Photography · Source ↗

    Appears on: The Phillips Collection

  • Red-brick Phillips Collection building seen from the sidewalk through leafy trees, with an exhibition banner

    The Phillips Collection, Washington, DC

    Photo: Mariah Miranda Photography / The Phillips Collection · Photo credit: Mariah Miranda Photography · Source ↗

    Appears on: The Phillips Collection

  • Tall red-brick corner of the Phillips Collection with a stone sign, steps and summer trees

    The Phillips Collection, Washington, DC

    Photo: Mariah Miranda Photography / The Phillips Collection · Photo credit: Mariah Miranda Photography · Source ↗

    Appears on: The Phillips Collection

  • Maria Callas as Violetta in La Traviata, 1958, on view in DIVA at the Denver Art Museum

    Maria Callas as Violetta in La Traviata, 1958, on view in DIVA at the Denver Art Museum

    Photograph of Maria Callas as Violetta in La Traviata, 1958. Houston Rogers © Victoria and Albert Museum, London.

    Appears on: DIVA

  • The West Gallery: a long skylit gallery with green walls hung with paintings, a carved table and bronze sculptures down the centre.

    The West Gallery, The Frick Collection

    Photograph: Joseph Coscia Jr. The Frick Collection, New York · License · Source ↗

    Appears on: The Frick Collection

  • The Garden Court: a skylit marble courtyard with paired columns, a central fountain and pool, and tropical plantings.

    The Garden Court, The Frick Collection

    Photograph: Joseph Coscia Jr. The Frick Collection, New York · License · Source ↗

    Appears on: The Frick Collection

  • The Living Hall: a wood-panelled room with chandeliers, paintings on every wall, a desk and a patterned rug.

    The Living Hall, The Frick Collection

    Photograph: Joseph Coscia Jr. The Frick Collection, New York · License · Source ↗

    Appears on: The Frick Collection

  • The Tangled Self exhibition entrance at the Denver Art Museum, showing the show's title on the wall

    The Tangled Self exhibition entrance at the Denver Art Museum, showing the show's title on the wall

    Photography © Denver Art Museum

    Appears on: The Tangled Self

  • Installation view of The Tangled Self at the Denver Art Museum

    Installation view of The Tangled Self at the Denver Art Museum

    Photography © Denver Art Museum

    Appears on: The Tangled Self

  • Installation view of The Tangled Self at the Denver Art Museum

    Installation view of The Tangled Self at the Denver Art Museum

    Photography © Denver Art Museum

    Appears on: The Tangled Self

  • Installation view of The Tangled Self at the Denver Art Museum

    Installation view of The Tangled Self at the Denver Art Museum

    Photography © Denver Art Museum

    Appears on: The Tangled Self

  • Exhibition image for Pierre Huyghe: UUmwelt

    Pierre Huyghe, UUmwelt, October 2018–ongoing. Exhibition view, MoMA Sculpture Garden, New York, 2026. Courtesy the artist. © Kamitani Lab / Kyoto University and ATR. © Pierre Huyghe / ADAGP, 2026. Photo: Alex Yudzon

    Pierre Huyghe, UUmwelt, October 2018–ongoing. Exhibition view, MoMA Sculpture Garden, New York, 2026. Courtesy the artist. © Kamitani Lab / Kyoto University and ATR. © Pierre Huyghe / ADAGP, 2026. Photo: Alex Yudzon · License · Source ↗

    Appears on: Pierre Huyghe: UUmwelt

  • Exhibition image for Pierre Huyghe: UUmwelt

    Pierre Huyghe, UUmwelt, October 2018–ongoing. Exhibition view, MoMA Sculpture Garden, New York, 2026. Courtesy the artist. © Kamitani Lab / Kyoto University and ATR. © Pierre Huyghe / ADAGP, 2026. Photo: Alex Yudzon

    Pierre Huyghe, UUmwelt, October 2018–ongoing. Exhibition view, MoMA Sculpture Garden, New York, 2026. Courtesy the artist. © Kamitani Lab / Kyoto University and ATR. © Pierre Huyghe / ADAGP, 2026. Photo: Alex Yudzon · License · Source ↗

    Appears on: Pierre Huyghe: UUmwelt

  • Piet Mondrian, Composition No. 1 with Grey and Red 1938 / Composition with Red 1939

    Piet Mondrian, Composition No. 1 with Grey and Red 1938 / Composition with Red 1939

    Piet Mondrian (1872-1944), Composition No. 1 with Grey and Red 1938 / Composition with Red 1939, 1938–39. Oil on canvas, 105.2 x 102.3 cm. Peggy Guggenheim Collection, Venice (Solomon R. Guggenheim Foundation, New York) · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Peggy Guggenheim in London

  • Exhibition image for Mondrian Boogie Woogie

    Piet Mondrian. Broadway Boogie Woogie. 1942–43. Oil on canvas, 50 x 50″ (127 x 127 cm). The Museum of Modern Art, New York. Given anonymously.

    Piet Mondrian. Broadway Boogie Woogie. 1942–43. Oil on canvas, 50 x 50″ (127 x 127 cm). The Museum of Modern Art, New York. Given anonymously. · License · Source ↗

    Appears on: Mondrian Boogie Woogie

  • Exhibition image for Mondrian Boogie Woogie

    Piet Mondrian. Victory Boogie Woogie (unfinished). 1942–1944. Oil, colored paper, and tape on canvas. 50 × 50″ (127 × 127 cm). Kunstmuseum Den Haag – long-term loan Cultural Heritage Agency of the Netherlands

    Piet Mondrian. Victory Boogie Woogie (unfinished). 1942–1944. Oil, colored paper, and tape on canvas. 50 × 50″ (127 × 127 cm). Kunstmuseum Den Haag – long-term loan Cultural Heritage Agency of the Netherlands · License · Source ↗

    Appears on: Mondrian Boogie Woogie

  • Ricardo de Madrazo, Rome sketchbook open to a wash drawing of a porrón used by Mariano Fortuny

    Ricardo de Madrazo, Rome sketchbook, 1874–75

    Porrón empleado por Mariano Fortuny en Cuaderno de Roma. Ricardo de Madrazo (1852-1917). Aguada sobre papel. 1874-5. Madrid, Museo Nacional del Prado. Adquirido en 2025 · acceso profesionales · Source ↗

    Appears on: Ricardo de Madrazo (1852-1917): dibujos y acuarelas

  • Beauford Delaney, Portrait of James Baldwin: a head-and-shoulders portrait in thick strokes of ochre, green and red against an orange-red ground

    Beauford Delaney, Portrait of James Baldwin

    Portrait of James Baldwin, 1945, Beauford Delaney (American (active Paris), 1901–1979), Oil on canvas, Philadelphia Museum of Art, 125th Anniversary Acquisition. Purchased with funds contributed by The Daniel W. Dietrich Foundation in memory of Joseph C. Bailey and with a grant from The Judith Rothschild Foundation, 1998, 1998-3-1 · press.philamuseum.org · Source ↗

    Appears on: A Nation of Artists

  • War Robe, possibly by Percy (Two Gun) Plain Woman, Káínai Nation (Blood Tribe), late 1880s to early 1900s, deer hide and pigment, on view in Storytellers at the Denver Art Museum

    War Robe, possibly by Percy (Two Gun) Plain Woman, Káínai Nation (Blood Tribe), late 1880s to early 1900s, deer hide and pigment, on view in Storytellers at the Denver Art Museum

    Possibly Percy (Two Gun) Plain Woman, Káínai Nation (Blood Tribe), War Robe, late 1880s–early 1900s. Denver Art Museum: Native Arts acquisition funds, 1938.260. Courtesy Denver Art Museum.

    Appears on: Storytellers

  • Poster for Judy Garland at Carnegie Hall, 1961, on view in DIVA at the Denver Art Museum

    Poster for Judy Garland at Carnegie Hall, 1961, on view in DIVA at the Denver Art Museum

    Poster for Judy Garland at Carnegie Hall, 1961. Courtesy Victoria and Albert Museum, London.

    Appears on: DIVA

  • Naoko Matsubara woodcut print: Prayer, 1994

    Naoko Matsubara, Prayer, 1994

    Prayer, 1994. Naoko Matsubara (Canadian, born in Japan, born in 1937). Woodcut. Francis Welch Fund, Towles Contemporary Art Fund, and Edward S. Morse Memorial Fund. © Naoko Matsubara. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Naoko Matsubara’s Woodblock Worlds

  • Exhibition image for Visionnaires

    Prune Nourry, Jane Poupelet (bronze) - (détail), 2025. Bronze (patine blanche) et yeux en marbre, 71,1 × 66,7 × 40,3 cm. Photo © Laurent Edeline. Courtesy de l’artiste et Templon, Paris - Bruxelles - New York.

    Prune Nourry, Jane Poupelet (bronze) - (détail), 2025. Bronze (patine blanche) et yeux en marbre, 71,1 × 66,7 × 40,3 cm. Photo © Laurent Edeline. Courtesy de l’artiste et Templon, Paris - Bruxelles - New York. · License · Source ↗

    Appears on: Visionnaires

  • Exhibition image for Keeping Alive the Remembrance: Commemorating America's Founding, 1776–1876

    Quilt , probably made in Philadelphia, ca. 1870. Red, white, blue, beige, printed on solid calico and white cotton. Yale University Art Gallery, Gift of the Joel E. and Carole Bernstein Family Collection Toggle credit

    Quilt , probably made in Philadelphia, ca. 1870. Red, white, blue, beige, printed on solid calico and white cotton. Yale University Art Gallery, Gift of the Joel E. and Carole Bernstein Family Collection Toggle credit · License · Source ↗

    Appears on: Keeping Alive the Remembrance: Commemorating America's Founding, 1776–1876

  • Exhibition image for Ragnar Kjartansson: Politics of the Obvious

    Ragnar Kjartansson (Icelandic, born 1976). Bangemand/Scaredman , 2023. Live durational performance; variable. Courtesy of the artist, Luhring Augustine, New York and i8 Gallery, Reykjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard

    Ragnar Kjartansson (Icelandic, born 1976). Bangemand/Scaredman , 2023. Live durational performance; variable. Courtesy of the artist, Luhring Augustine, New York and i8 Gallery, Reykjavik. Originally presented at the Louisiana Museum of Modern Art. Photo: Louisiana Museum of Modern Art/Poul Buchard · License · Source ↗

    Appears on: Ragnar Kjartansson: Politics of the Obvious

  • Exhibition image for Ranbir Sidhu: No Limits

    Ranbir Sidhu, Asteroid 3033 X1 , 2025. Image courtesy of the artist.

    Ranbir Sidhu, Asteroid 3033 X1 , 2025. Image courtesy of the artist. · License · Source ↗

    Appears on: Ranbir Sidhu: No Limits

  • Exhibition image for Rashid Johnson: A Poem for Deep Thinkers

    Rashid Johnson, Self-Portrait with My Hair Parted Like Frederick Douglass , 2003. Lambda print; 56 x 43 3/4 in. (142.2 x 111.1 cm). Collection Museum of Contemporary Art Chicago, gift of the Susan and Lewis Manilow Collection of Chicago Artists, 2006.26. Photo: Nathan Keay, © MCA Chicago

    Rashid Johnson, Self-Portrait with My Hair Parted Like Frederick Douglass , 2003. Lambda print; 56 x 43 3/4 in. (142.2 x 111.1 cm). Collection Museum of Contemporary Art Chicago, gift of the Susan and Lewis Manilow Collection of Chicago Artists, 2006.26. Photo: Nathan Keay, © MCA Chicago · License · Source ↗

    Appears on: Rashid Johnson: A Poem for Deep Thinkers

  • Ray Atkeson (American, 1907-1990), Celilo Falls, Oregon, ca

    Ray Atkeson (American, 1907-1990), Celilo Falls, Oregon, ca. 1949, gelatin silver print, Gift of the Ray Atkeson Estate. Portland Art Museum, Portland, Oregon, 93.17

    Ray Atkeson (American, 1907-1990), Celilo Falls, Oregon, ca. 1949, gelatin silver print, Gift of the Ray Atkeson Estate. Portland Art Museum, Portland, Oregon, 93.17 · License · Source ↗

    Appears on: An Honest Day’s Work: Photographs of Labor

  • Watercolour of a woman in a straw hat and pale dress reclining in tall grass and yellow wildflowers, a small white dog beside her

    Rhoda Holmes Nicholls, Reclining Lady with Dog, ca. 1900

    Reclining Lady with Dog, ca. 1900, Rhoda Holmes Nicholls (American, born England, 1854–1930), watercolor over graphite on wove paper. Virginia Museum of Fine Arts, Gabe W. Burton Fund, 2023.47 · Source ↗

    Appears on: Painted on Paper

  • Exhibition image for Textile Alchemy: The Art of Reiko Sudō & NUNO

    Reiko Sudō, Nuno Corporation, Nami osa ("Wavy Reed") aka "Reed Ripple," from Special Reed series, 1997, Los Angeles County Museum of Art, Costume and Textiles Special Purpose Fund, © NUNO Corporation, photo © Museum Associates/LACMA

    Reiko Sudō, Nuno Corporation, Nami osa ("Wavy Reed") aka "Reed Ripple," from Special Reed series, 1997, Los Angeles County Museum of Art, Costume and Textiles Special Purpose Fund, © NUNO Corporation, photo © Museum Associates/LACMA · License · Source ↗

    Appears on: Textile Alchemy: The Art of Reiko Sudō & NUNO

  • Limestone relief showing Akhenaten as a sphinx, 1349–1336 B.C.

    Relief of Akhenaten as a sphinx, 1349–1336 B.C.

    Relief of Akhenaten as a sphinx, 1349–1336 B.C. Limestone. Egyptian Curator's Fund. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Maverick Kings

  • Rembrandt self-portrait as a young man in a feathered beret, face half in shadow

    Rembrandt van Rijn, Self-Portrait, Age 23, 1629

    Rembrandt van Rijn (Dutch, 1606–1669), Self-Portrait, Age 23, 1629. Oil on oak panel. Isabella Stewart Gardner Museum, Boston · sent by Cassandra Martinez, 21 Oct 2026 · Source ↗

    Appears on: The Book of Esther in the Age of Rembrandt

  • Renée Green: The Equator Has Moved building

    Renée Green, Space Poem #14 (Long Poem in Four Parts) (detail), 2025. Renée Green: The Equator Has Moved , installation view, Dia Beacon, New York, 2025–26. © Renée Green and Free Agent Media. Photo: Bill Jacobson Studio, New York

    Renée Green, Space Poem #14 (Long Poem in Four Parts) (detail), 2025. Renée Green: The Equator Has Moved , installation view, Dia Beacon, New York, 2025–26. © Renée Green and Free Agent Media. Photo: Bill Jacobson Studio, New York · License · Source ↗

    Appears on: Renée Green: The Equator Has Moved

  • Reza Mafi, Untitled, 1971, ink calligraphy on paper

    Reza Mafi, Untitled, 1971

    Reza Mafi, Untitled, 1971, ink on paper, Collection of Houman M. Sarshar, Photo: Courtesy of Houman M. Sarshar · Sarah Osborne, 21 Oct 2026 · Source ↗

    Appears on: Modern Iran and the Avant-Gardes, 1948–78

  • Exhibition image for From Modesty to Magnificence: The Golden Age of Miniature Painting in England, 1700–1800

    Richard Cosway (English, 1742–1821). Portrait of a Woman , 1787. Watercolor on ivory, Sight: 2 11/16 x 2 1/8 in. (6.8 x 5.4 cm). Gift of Mr. and Mrs. John W. Starr and the Starr Foundation, Inc., F58-60/185.

    Richard Cosway (English, 1742–1821). Portrait of a Woman , 1787. Watercolor on ivory, Sight: 2 11/16 x 2 1/8 in. (6.8 x 5.4 cm). Gift of Mr. and Mrs. John W. Starr and the Starr Foundation, Inc., F58-60/185. · License · Source ↗

    Appears on: From Modesty to Magnificence: The Golden Age of Miniature Painting in England, 1700–1800

  • Exhibition image for Rooted in Place: California Native Art

    Rick Bartow (Wiyot, 1946–2016), The Magical Mind in Rural America (detail), 2015. Acrylic and graphite on unstretched canvas, 73 1/2 x 219 1/2 in. (186.69 x 557.531 cm). Fine Arts Museums of San Francisco, museum purchase, Phyllis C. Wattis Fund for Major Accessions, 2024.16. Artwork © Rick Bartow Trust. Photograph by Randy Dodson

    Rick Bartow (Wiyot, 1946–2016), The Magical Mind in Rural America (detail), 2015. Acrylic and graphite on unstretched canvas, 73 1/2 x 219 1/2 in. (186.69 x 557.531 cm). Fine Arts Museums of San Francisco, museum purchase, Phyllis C. Wattis Fund for Major Accessions, 2024.16. Artwork © Rick Bartow Trust. Photograph by Randy Dodson · License · Source ↗

    Appears on: Rooted in Place: California Native Art

  • Meghann Riepenhoff adding mushroom ink to a large cyanotype grid laid on the ground, seen from above

    Meghann Riepenhoff adding mushroom ink to a large cyanotype grid laid on the ground, seen from above

    Riepenhoff adding mushroom ink to a large-scale grid near the US-Mexico border. Photograph by Jerry Hudgens. · via 62 Above · Source ↗

    Appears on: Meghann Riepenhoff: Waters of the Americas

  • Meghann Riepenhoff holding a large sheet as a wave splashes over her at the shore

    Meghann Riepenhoff holding a large sheet as a wave splashes over her at the shore

    Riepenhoff printing at the confluence of the Genesee River and Lake Ontario in Rochester, NY, 2022. Photograph by Aaron Terry · via 62 Above · Source ↗

    Appears on: Meghann Riepenhoff: Waters of the Americas

  • Meghann Riepenhoff silhouetted in shallow water at sunset, printing on Miami Beach

    Meghann Riepenhoff silhouetted in shallow water at sunset, printing on Miami Beach

    Riepenhoff printing on Miami Beach. Photograph by David Cecchetto. · via 62 Above · Source ↗

    Appears on: Meghann Riepenhoff: Waters of the Americas

  • Close-up detail of Robert Blackstone’s Crystal City showing glittering miniature figures and structures

    Robert Blackstone, Crystal City (detail), c. 1990–2023

    Robert Blackstone, Crystal City (installation detail, John Michael Kohler Arts Center), c. 1990–2023; mixed media. Courtesy of the children of Robert Blackstone. Photo courtesy of John Michael Kohler Arts Center. · Emily Shedal, WeTransfer 21 Oct 2026 · Source ↗

    Appears on: Robert Blackstone: Crystal City

  • Robert Blackstone’s Crystal City, a large mixed-media miniature city, installed in a long white gallery

    Installation view, Robert Blackstone: Crystal City, 2026

    Robert Blackstone: Crystal City installation view at the John Michael Kohler Arts Center, 2026. Foreground: Robert Blackstone, Crystal City, c. 1990–2023; mixed media. Courtesy of the children of Robert Blackstone. Photo courtesy of John Michael Kohler Arts Center. · Emily Shedal, WeTransfer 21 Oct 2026 · Source ↗

    Appears on: Robert Blackstone: Crystal City

  • Robert Blackstone’s Crystal City seen from the side in the gallery, with a parasol and towers rising from the model city

    Installation view, Robert Blackstone: Crystal City, 2026

    Robert Blackstone: Crystal City installation view at the John Michael Kohler Arts Center, 2026. Foreground: Robert Blackstone, Crystal City, c. 1990–2023; mixed media. Courtesy of the children of Robert Blackstone. Photo courtesy of John Michael Kohler Arts Center. · Emily Shedal, WeTransfer 21 Oct 2026 · Source ↗

    Appears on: Robert Blackstone: Crystal City

  • The Louvre's barrel-vaulted Grande Galerie under its glass roof, paintings hung along both walls and a crowd of visitors blurred by a long exposure

    Robert Polidori, Au Louvre, 2003

    Robert Polidori. Au Louvre, 2003. Photographie © Musée du Louvre / © Robert Polidori · License · Source ↗

    Appears on: Louvre Photo

  • Robert Therrien sculpture of an oversized beige folding table and folding chairs in a gallery

    Robert Therrien, No title (folding table and chairs, beige), 2006

    Robert Therrien (American, 1947-2019). No title (folding table and chairs, beige), 2006. Paint, metal, and fabric. Collection Buffalo AKG Art Museum. Sarah Norton Goodyear Fund, 2007 (2007:1a-e). © Estate of Robert Therrien / Artists Rights Society (ARS), New York. Photo: Tom Loonan, Buffalo AKG Art Museum. · shared by Andrew Mayer, 20 Oct 2026 · Source ↗

    Appears on: The Light in the Window

  • Roberto Matta beside Max Ernst’s Archaic at the Fucina degli Angeli, Venice, 1968

    Roberto Matta next to Max Ernst, Archaic, 1968

    Roberto Matta next to Max Ernst, Archaic (Arcaico, 1968), Fucina degli Angeli, Venice, 1968 © Archivio Fucina degli Angeli, Venezia, by SIAE 2026 · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Fucina degli Angeli: Peggy Guggenheim and 20th-Century Artistic Glass

  • Exhibition image for Rochelle Feinstein: The Today Show

    Rochelle Feinstein. Tagged (detail), 2019. Photo by Gina Folly. Courtesy of the artist; Hoffman Donahue, Los Angeles / New York; and Nina Johnson, Miami. Artwork © Rochelle Feinstein

    Rochelle Feinstein. Tagged (detail), 2019. Photo by Gina Folly. Courtesy of the artist; Hoffman Donahue, Los Angeles / New York; and Nina Johnson, Miami. Artwork © Rochelle Feinstein · License · Source ↗

    Appears on: Rochelle Feinstein: The Today Show

  • Exhibition image for Near at Hand: Dobell Australian Drawing Biennial 2026

    Rosemary Lee Shrub 2026 © the artist

    Rosemary Lee Shrub 2026 © the artist · License · Source ↗

    Appears on: Near at Hand: Dobell Australian Drawing Biennial 2026

  • Exhibition image for Back and Forth

    Rozeal. (formerly known as iona rozeal brown), afro.died, T. , 2011, acrylic, pen, ink, marker, and graphite on birch plywood panel, Corcoran Collection (Museum Purchase with funds provided by the Women's Committee of the Corcoran Gallery of Art), 2015.19.243

    Rozeal. (formerly known as iona rozeal brown), afro.died, T. , 2011, acrylic, pen, ink, marker, and graphite on birch plywood panel, Corcoran Collection (Museum Purchase with funds provided by the Women's Committee of the Corcoran Gallery of Art), 2015.19.243 · License · Source ↗

    Appears on: Back and Forth

  • Rudolf Belling, Sculpture 23, 1923, a polished brass abstract head

    Rudolf Belling, Sculpture 23, 1923 (this cast 1960s)

    Rudolf Belling (German, 1886–1972). Sculpture 23, 1923 (this cast 1960s). Execution: Hermann Noack Foundry, Berlin. Brass. Neue Galerie New York. Gift of Irving and Jackie Blum. Photo: Jose Castillo Pazos. © 2026 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, for Rudolf Belling · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Rudolf Belling, Head in Brass, 1925 — polished brass sculpture of a stylized human head, from the Frihedens Fald exhibition

    Rudolf Belling, Head in Brass, 1925 — polished brass sculpture of a stylized human head, from the Frihedens Fald exhibition

    Rudolf Belling, Head in Brass, 1925. © Neue Nationalgalerie, Stiftung Preußischer Kulturbesitz, Berlin

    Appears on: Frihedens Fald Kunsten i Tyskland 1910 – 1945

  • El Anatsui, Sage and Charcoal Eclipse: overlapping discs in ochre, black and grey on a pale green sheet

    El Anatsui, Sage and Charcoal Eclipse

    Sage and Charcoal Eclipse, 2016, El Anatsui. Collage of relief and intaglio prints (machine cut), 41 7/16 × 41 7/16 inches. Printed by Factum Arte, Madrid, Published by October Gallery, London, and Factum Arte, Madrid, Photo by Oak Taylor-Smith © El Anatsui. · press.philamuseum.org · Source ↗

    Appears on: El Anatsui: Prints and Play

  • Saint Anne teaching the Virgin to read Ramon Destorrents, begun by Ferrer Bassa and Arnau Bassa Tempera and gold leaf on panel, 156 × 112 cm c. 1343–58 Lisbon, Museu Nacional de Arte Antiga

    Saint Anne teaching the Virgin to read Ramon Destorrents, begun by Ferrer Bassa and Arnau Bassa Tempera and gold leaf on panel, 156 × 112 cm c. 1343–58 Lisbon, Museu Nacional de Arte Antiga

    Saint Anne teaching the Virgin to read Ramon Destorrents, begun by Ferrer Bassa and Arnau Bassa Tempera and gold leaf on panel, 156 × 112 cm c. 1343–58 Lisbon, Museu Nacional de Arte Antiga · License · Source ↗

    Appears on: In the Italian Manner. Spain and the Mediterranean Gothic, 1320-1420

  • Saint Francis in prayer Francisco de Zurbarán Oil on canvas 1659 Donated by Plácido Arango Arias, 2015

    Saint Francis in prayer Francisco de Zurbarán Oil on canvas 1659 Donated by Plácido Arango Arias, 2015

    Saint Francis in prayer Francisco de Zurbarán Oil on canvas 1659 Donated by Plácido Arango Arias, 2015 · License · Source ↗

    Appears on: Prado. 21st Century

  • Saint John the Baptist Juan de Mesa Polychromed wood 1623-27 Acquired by the Museo Nacional del Prado with its own funds, 2023

    Saint John the Baptist Juan de Mesa Polychromed wood 1623-27 Acquired by the Museo Nacional del Prado with its own funds, 2023

    Saint John the Baptist Juan de Mesa Polychromed wood 1623-27 Acquired by the Museo Nacional del Prado with its own funds, 2023 · License · Source ↗

    Appears on: Prado. 21st Century

  • Saint John the Evangelist Ramon Destorrents and workshop Tempera and gold leaf on panel, 75.5 × 28.2 cm (each) c. 1355–60 Krakow, The National Museum in Krakow, The Princes Czartoryski Museum. © Laboratory Stock National Museum in Krakow

    Saint John the Evangelist Ramon Destorrents and workshop Tempera and gold leaf on panel, 75.5 × 28.2 cm (each) c. 1355–60 Krakow, The National Museum in Krakow, The Princes Czartoryski Museum. © Laboratory Stock National Museum in Krakow

    Saint John the Evangelist Ramon Destorrents and workshop Tempera and gold leaf on panel, 75.5 × 28.2 cm (each) c. 1355–60 Krakow, The National Museum in Krakow, The Princes Czartoryski Museum. © Laboratory Stock National Museum in Krakow · License · Source ↗

    Appears on: In the Italian Manner. Spain and the Mediterranean Gothic, 1320-1420

  • Saint Jude Ramon Destorrents and workshop Tempera and gold leaf on panel, 76.5 × 28.5 cm (each) c. 1355–60 Lille, Palais de Beaux-Arts

    Saint Jude Ramon Destorrents and workshop Tempera and gold leaf on panel, 76.5 × 28.5 cm (each) c. 1355–60 Lille, Palais de Beaux-Arts

    Saint Jude Ramon Destorrents and workshop Tempera and gold leaf on panel, 76.5 × 28.5 cm (each) c. 1355–60 Lille, Palais de Beaux-Arts · License · Source ↗

    Appears on: In the Italian Manner. Spain and the Mediterranean Gothic, 1320-1420

  • Salom Italia illustrated Esther scroll with an engraved architectural border on parchment

    Salom Italia, Esther Scroll, 1640s

    Salom Italia (Italian, 1618/19–after 1664, active in Amsterdam), Esther Scroll, 1640s. Printed border, handwritten text, and ink on parchment. The Jewish Museum, New York, Gift of the Danzig Jewish Community, D 76 · sent by Cassandra Martinez, 21 Oct 2026 · Source ↗

    Appears on: The Book of Esther in the Age of Rembrandt

  • Ricardo de Madrazo, partial watercolour copies of Tiepolo’s ceiling in the Throne Room of the Royal Palace, Madrid

    Ricardo de Madrazo, Throne Room of the Royal Palace, Madrid (four partial copies after Tiepolo), c. 1899–1905

    Salón del Trono del Palacio Real de Madrid (cuatro copias parciales de Tiepolo). Ricardo de Madrazo y Garreta. Lápiz y acuarela sobre cartulina. Hacia 1899-1905. Una firmada y fechada en el reverso. Madrid, Museo Nacional del Prado. Adquiridos en 2014 · acceso profesionales · Source ↗

    Appears on: Ricardo de Madrazo (1852-1917): dibujos y acuarelas

  • Exhibition image for Out of Bounds: American Abstraction at Mid-Century

    Sam Gilliam, Carousel Merge , 1971. Walker Art Center; Gift of Archie D. and Bertha H. Walker Foundation, 1971. © 2026 Estate of Sam Gilliam / Artists Rights Society (ARS), New York. Photo courtesy Walker Art Center.

    Sam Gilliam, Carousel Merge , 1971. Walker Art Center; Gift of Archie D. and Bertha H. Walker Foundation, 1971. © 2026 Estate of Sam Gilliam / Artists Rights Society (ARS), New York. Photo courtesy Walker Art Center. · License · Source ↗

    Appears on: Out of Bounds: American Abstraction at Mid-Century

  • Emma Amos painting of a couple embracing in a 1970s living room with a zebra rug and plants

    Emma Amos, Sandy and Her Husband, 1973

    Sandy and Her Husband, 1973. Emma Amos (American, 1937–2020). Oil on canvas; 112.4 x 127.6 cm (44 1/4 x 50 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2018.24. © Emma Amos / Licensed by VAGA at Artists Rights Society (ARS), NY · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: The Gift: Emma Amos with Friends

  • Exhibition image for A Gallery of Their Own: Women Artists from the Carr and Goldblum Gift

    Sandy Skoglund (American, born 1946), Fragile Steps (Walking on Eggshells) (detail), 1997. Photogravure, 6 3/4 x 8 1/2 in. (17.2 x 21.6 cm). Collection of Michael Carr and Peter Goldblum. ©️ Sandy Skoglund

    Sandy Skoglund (American, born 1946), Fragile Steps (Walking on Eggshells) (detail), 1997. Photogravure, 6 3/4 x 8 1/2 in. (17.2 x 21.6 cm). Collection of Michael Carr and Peter Goldblum. ©️ Sandy Skoglund · License · Source ↗

    Appears on: A Gallery of Their Own: Women Artists from the Carr and Goldblum Gift

  • Suzanne Jackson, Sapphire & Tunis, 2010–11, acrylic wash on paper and wood

    Suzanne Jackson, Sapphire & Tunis, 2010–11

    Sapphire & Tunis, 2010–11. Suzanne Jackson (American, born in 1944). Acrylic wash, linen‑backed scenic Bogus paper, and wood. The Shah Garg Collection. © Suzanne Jackson, courtesy Ortuzar, New York; photo: Timothy Doyon. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Suzanne Jackson: What Is Love

  • Seba Calfuqueo, HEDOR (Stench), 2022, enameled ceramic, on view in I Follow Rivers: Indigenous Worlds in Latin America at the Denver Art Museum

    Seba Calfuqueo, HEDOR (Stench), 2022, enameled ceramic, on view in I Follow Rivers: Indigenous Worlds in Latin America at the Denver Art Museum

    Seba Calfuqueo, HEDOR (Stench), 2022. Enameled ceramic. Denver Art Museum: Gift of Seba Calfuqueo, 2023.40.1-2. © Seba Calfuqueo.

    Appears on: I Follow Rivers

  • Sergio Hernandez, Estampa Japonesa: dense dark figures over a golden ground

    Sergio Hernandez, Estampa Japonesa

    Sergio Hernandez, Estampa Japonesa, 2022. Mixed media on wood. Museum purchase with funds from Robert and Tatiana Dotson in honor of the museum’s centennial, 2025.3. © Sergio Hernandez. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Watercolour of a weathered red brick industrial building with a steel pergola frame casting angled shadows across its wall, under a clear blue sky

    Kevin Deck, Shadow Chase, 2024, watercolor on paper

    Shadow Chase, 2024, watercolor on paper, Kevin Deck · Source ↗

    Appears on: 47th Annual Exhibition of the Virginia Watercolor Society

  • Exhibition image for Shahzia Sikander: The Last Post

    Shahzia Sikander, The Last Post, 2010, single-channel HD digital animation, color, 5.1 surround sound; 10:00 minutes. Music: Du Yun. Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, in partnership with the Smithsonian Asian Pacific American Center, 2025.11. ©2025, Shahzia Sikander. Courtesy the artist and Sean Kelly, New York/Los Angeles

    Shahzia Sikander, The Last Post, 2010, single-channel HD digital animation, color, 5.1 surround sound; 10:00 minutes. Music: Du Yun. Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, in partnership with the Smithsonian Asian Pacific American Center, 2025.11. ©2025, Shahzia Sikander. Courtesy the artist and Sean Kelly, New York/Los Angeles · License · Source ↗

    Appears on: Shahzia Sikander: The Last Post

  • Exhibition image for To Gather Your Leaving: Themes of Diasporic Experiences in the Northwest

    Sharita Towne (American, born 1984), for us , 2019-2020, Flashe on canvas, acylic and screenprint on panel, 78 1/8 in x 60 1/8 in x 5 11/16 in, Museum Purchase: The Arlene and Harold Schnitzer Northwest Art Fund, © artist or other rights holder, 2023.59.1

    Sharita Towne (American, born 1984), for us , 2019-2020, Flashe on canvas, acylic and screenprint on panel, 78 1/8 in x 60 1/8 in x 5 11/16 in, Museum Purchase: The Arlene and Harold Schnitzer Northwest Art Fund, © artist or other rights holder, 2023.59.1 · License · Source ↗

    Appears on: To Gather Your Leaving: Themes of Diasporic Experiences in the Northwest

  • Sheroanawe Hakihiiwe, kashausi (Caterpillar Pattern), 2019, oil-based ink on Hanji mulberry paper, on view in I Follow Rivers: Indigenous Worlds in Latin America at the Denver Art Museum

    Sheroanawe Hakihiiwe, kashausi (Caterpillar Pattern), 2019, oil-based ink on Hanji mulberry paper, on view in I Follow Rivers: Indigenous Worlds in Latin America at the Denver Art Museum

    Sheroanawe Hakihiiwe, kashausi (Caterpillar Pattern), 2019. Oil-based ink on Hanji mulberry paper. Denver Art Museum, purchased with funds from the Ralph L. and Florence R. Burgess Trust, 2021.116.2. © Sheroanawe Hakihiiwe/Galeria ABRA.

    Appears on: I Follow Rivers

  • Exhibition image for Routed West: Twentieth-Century African American Quilts in California

    Sherry Ann Byrd (pieced 1990, Richmond, California) and Irene Bankhead (quilted 1990, Oakland, California), Cultural Merger at Crossroads, USA , 1990; Cotton, cotton/polyester blend, and rayon; hand-pieced and quilted; 95 x 75 ½ in.; Bequest of the Eli Leon Living Trust, BAMPFA‬; Courtesy of Sherry Ann Byrd; Photo by Kevin Candland

    Sherry Ann Byrd (pieced 1990, Richmond, California) and Irene Bankhead (quilted 1990, Oakland, California), Cultural Merger at Crossroads, USA , 1990; Cotton, cotton/polyester blend, and rayon; hand-pieced and quilted; 95 x 75 ½ in.; Bequest of the Eli Leon Living Trust, BAMPFA‬; Courtesy of Sherry Ann Byrd; Photo by Kevin Candland · License · Source ↗

    Appears on: Routed West: Twentieth-Century African American Quilts in California

  • Shoes worn by Prince, on view in DIVA at the Denver Art Museum

    Shoes worn by Prince, on view in DIVA at the Denver Art Museum

    Shoes worn by Prince. © Victoria and Albert Museum, London.

    Appears on: DIVA

  • Siah Armajani, Prayer for the Sun, 1962, oil on canvas

    Siah Armajani, Prayer for the Sun, 1962

    Siah Armajani, Prayer for the Sun, 1962, oil on canvas, Grey Art Museum, New York University Art Collection, Gift of Abby Weed Grey G1975.81, Photo: Courtesy of the Grey Art Museum, New York University, the Estate of Siah Armajani and Rossi & Rossi · Sarah Osborne, 21 Oct 2026 · Source ↗

    Appears on: Modern Iran and the Avant-Gardes, 1948–78

  • Exhibition image for Collecting America: Recent Acquisitions

    Siestreem, Sara | Native American, Hanis Coos, 2022 | transtemporal clam basket | 3D printed scan of a hand woven basket (Nylon 12 Powder) | 9 x 8-1/2 inches | Museum purchase through the Hartz FUNd for Contemporary Art

    Siestreem, Sara | Native American, Hanis Coos, 2022 | transtemporal clam basket | 3D printed scan of a hand woven basket (Nylon 12 Powder) | 9 x 8-1/2 inches | Museum purchase through the Hartz FUNd for Contemporary Art · License · Source ↗

    Appears on: Collecting America: Recent Acquisitions

  • Woodblock print of a street sign reading RELEVANT above a wall of tiny posted images

    Karen D. Beckwith, Sign of the Times, 2024

    Sign of the Times, 2024. Karen D. Beckwith (American, b. 1964). Variable edition wood-block print. Courtesy of the artist. © Karen D. Beckwith · supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Lake Effect: Artists from Cleveland Now

  • Etching of an elaborate silver centerpiece flanked by two tureens set before carved paneling

    Gabriel Huquier after Meissonnier, Silver Sculptural Project for a Large Centerpiece and Two Tureens, c. 1735–37

    Silver Sculptural Project for a Large Centerpiece and Two Tureens, Which Have Been Executed for His Lordship the Duke of Kingston, from the Works of Juste-Aurèle Meissonier (Oeuvre de Juste-Aurèle Meissonier), c. 1735–37. Gabriel Huquier (French, 1695–1772), after Juste-Aurèle Meissonnier (French, b. Italy, 1695–1750). Etching; sheet: 42 x 66.8 cm; image: 38 x 64 cm. The Cleveland Museum of Art, John L. Severance Fund, 2000.76 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Juste-Aurèle Meissonnier: Rococo Goldsmith in Focus

  • Exhibition image for Sky Hopinka

    Sky Hopinka (Ho-Chunk Nation/Pechanga Band of Luiseño Indians), Free me from this body, my voice can carry only so far…, 2020, inkjet print with hand-etched text. National Gallery of Art, Gift of Funds from Sharon Percy Rockefeller and Senator John Davison Rockefeller IV, 2023.99.1

    Sky Hopinka (Ho-Chunk Nation/Pechanga Band of Luiseño Indians), Free me from this body, my voice can carry only so far…, 2020, inkjet print with hand-etched text. National Gallery of Art, Gift of Funds from Sharon Percy Rockefeller and Senator John Davison Rockefeller IV, 2023.99.1 · License · Source ↗

    Appears on: Sky Hopinka

  • Sleeping Ariadne, a Roman marble reclining figure restored by the workshop of Gian Lorenzo Bernini

    Sleeping Ariadne, c. 150–175; 17th century

    Sleeping Ariadne. Roman Workshop / Gian Lorenzo Bernini Workshop. Marble. c. 150-175; 17th century. Madrid, Museo Nacional del Prado (Origin Royal Collection) · acceso profesionales · Source ↗

    Appears on: Christina of Sweden. A passion for sculpture

  • Sophie Taeuber-Arp, Equilibrium, 1932

    Sophie Taeuber-Arp, Equilibrium, 1932

    Sophie Taeuber-Arp (1889-1943), Equilibrium (Equilibre), 1932. Oil on canvas, 41.7 x 33.5 cm. Stiftung Arp e. V., Berlin/Rolandswerth · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Peggy Guggenheim in London

  • Beaded necklace of quills and antler with a round medallion showing a deer head

    Charles Gray, Spirit of the Deer, 2026

    Spirit of the Deer, 2026. Charles Gray (Bear Clan of the Piscataway Nation, b. 1991). Porcupine quills, deer antler, deer hair, tin cones, brass beads, quahog shell beads, size 15 seed beads, smoked deer hide, and deer sinew. Courtesy of the artist. © Charles Gray · supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Lake Effect: Artists from Cleveland Now

  • Sadie Young, Spookadelia, 2024, mixed-media installation, on view in The Tangled Self at the Denver Art Museum

    Sadie Young, Spookadelia, 2024, mixed-media installation, on view in The Tangled Self at the Denver Art Museum

    Spookadelia (2024) installation at Spectra Art Space, courtesy of Sadie Young. Photography © Denver Art Museum.

    Appears on: The Tangled Self

  • Sadie Young, Spookadelia, 2024, mixed-media installation, on view in The Tangled Self at the Denver Art Museum

    Sadie Young, Spookadelia, 2024, mixed-media installation, on view in The Tangled Self at the Denver Art Museum

    Spookadelia (2024) installation at Spectra Art Space, courtesy of Sadie Young. Photography © Denver Art Museum.

    Appears on: The Tangled Self

  • Sadie Young, Spookadelia, 2024, mixed-media installation, on view in The Tangled Self at the Denver Art Museum

    Sadie Young, Spookadelia, 2024, mixed-media installation, on view in The Tangled Self at the Denver Art Museum

    Spookadelia (2024) installation at Spectra Art Space, courtesy of Sadie Young. Photography © Denver Art Museum.

    Appears on: The Tangled Self

  • Florine Stettheimer, Spring Sale at Bendel's: shoppers in bright dresses swirl through a department store under red curtains

    Florine Stettheimer, Spring Sale at Bendel's

    Spring Sale at Bendel's, 1921, Florine Stettheimer (American, 1871–1944), Oil on canvas, Philadelphia Museum of Art, Gift of Miss Ettie Stettheimer, 1951, 1951-27-1 · press.philamuseum.org · Source ↗

    Appears on: A Nation of Artists

  • Exhibition image for Intimately Bound Gender in the Inca World

    Standing female figure, 1400–1540. Inca. Silver. Dallas Museum of Art, collection of Andrew D. Christensen, gift of J.D. Christensen, 1983.633

    Standing female figure, 1400–1540. Inca. Silver. Dallas Museum of Art, collection of Andrew D. Christensen, gift of J.D. Christensen, 1983.633 · License · Source ↗

    Appears on: Intimately Bound Gender in the Inca World

  • Tall Goryeo silk painting of the standing bodhisattva Ksitigarbha holding a jewel, in red and gold robes

    Standing Ksitigarbha, 1300–1350

    Standing Ksitigarbha (지장보살), 1300–1350. Korea, Goryeo dynasty (918–1392). Hanging scroll; ink, color, and gold on silk, 103 x 43 cm. The Cleveland Museum of Art, John L. Severance Fund, 2025.141 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Ten Kings of Hell: The Afterlife in Medieval Korea

  • Standing Man in Tilted Hat: a tintype of a man in a checked suit and tilted hat, one hand resting on a fur-covered stand

    Standing Man in Tilted Hat

    Standing Man in Tilted Hat, 1860s, Artist/maker unknown. The Paul Cava Tintype Collection. Purchased with funds contributed by Julie Jensen Bryan and Robert Bryan2018-179-45. · press.philamuseum.org · Source ↗

    Appears on: Americana: Photographs 1850-1950

  • Granodiorite statue of a falcon, Horus of Nekhen, 1390–1352 B.C.

    Statue of a falcon (Horus of Nekhen), 1390–1352 B.C.

    Statue of a falcon (Horus of Nekhen), 1390–1352 B.C. Granodiorite. Harvard University—Boston Museum of Fine Arts Expedition. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Maverick Kings

  • Kho Liang Ie Mid-Century Modernist building

    Stedelijk Museum Amsterdam unbubble

    Stedelijk Museum Amsterdam unbubble · License · Source ↗

    Appears on: Kho Liang Ie Mid-Century Modernist

  • Stop-motion still: a single masked puppet with red hair holding a candle on a dark patterned floor

    Alex Da Corte, The Party (still), 2026

    Still from Alex Da Corte’s The Party, 2026. Courtesy of Alex Da Corte studio. · shared by Andrew Mayer, 20 Oct 2026 · Source ↗

    Appears on: Alex Da Corte: The Party

  • Stop-motion still: tall puppet figures with pale masks raise their arms in a dim, candlelit room

    Alex Da Corte, The Party (still), 2026

    Still from Alex Da Corte’s The Party, 2026. Courtesy of Alex Da Corte studio. · shared by Andrew Mayer, 20 Oct 2026 · Source ↗

    Appears on: Alex Da Corte: The Party

  • Stop-motion still: a crowd of masked puppet figures in patterned robes holding candles

    Alex Da Corte, The Party (still), 2026

    Still from Alex Da Corte’s The Party, 2026. Courtesy of Alex Da Corte studio. · shared by Andrew Mayer, 20 Oct 2026 · Source ↗

    Appears on: Alex Da Corte: The Party

  • Stop-motion still: masked puppet figures lining the walls of a dark parlor around a small glowing house

    Alex Da Corte, The Party (still), 2026

    Still from Alex Da Corte’s The Party, 2026. Courtesy of Alex Da Corte studio. · shared by Andrew Mayer, 20 Oct 2026 · Source ↗

    Appears on: Alex Da Corte: The Party

  • Stop-motion still: a candlelit corner with a masked figure, red shapes and shadowy furniture

    Alex Da Corte, The Party (still), 2026

    Still from Alex Da Corte’s The Party, 2026. Courtesy of Alex Da Corte studio. · shared by Andrew Mayer, 20 Oct 2026 · Source ↗

    Appears on: Alex Da Corte: The Party

  • Dark stone coffin with a pitched lid and a dragon carved on its side

    Stone Coffin Adorned with the Four Guardian Deities, 918–1392

    Stone Coffin Adorned with the Four Guardian Deities, 918–1392. Korea, Goryeo dynasty (918–1392). Stone; overall: 37 x 84.2 x 45 cm. National Museum of Korea, Sinsu5880 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Ten Kings of Hell: The Afterlife in Medieval Korea

  • Vincent van Gogh, Sunflowers, 1889: sunflowers in a yellow pot against a pale blue-green background

    Vincent van Gogh, Sunflowers, 1889

    Sunflowers, 1889, Vincent Willem van Gogh (Dutch, 1853 - 1890), Oil on canvas, 36 3/8 × 28 inches (92.4 × 71.1 cm) Framed: 46 3/4 × 39 1/8 × 2 1/4 inches (118.7 × 99.4 × 5.7 cm), The Mr. and Mrs. Carroll S. Tyson, Jr., Collection, 1963, 1963-116-19 · press.philamuseum.org · Source ↗

    Appears on: Van Gogh’s Sunflowers: A Symphony in Blue and Yellow

  • Vincent van Gogh, Sunflowers, 1888: sunflowers in a pot against a yellow background

    Vincent van Gogh, Sunflowers, 1888

    Sunflowers,1888, Vincent van Gogh, Oil on canvas, 92.1 × 73 cm, Bought, Courtauld Fund, 1924, The National Gallery. Photo: © The National Gallery, London · press.philamuseum.org · Source ↗

    Appears on: Van Gogh’s Sunflowers: A Symphony in Blue and Yellow

  • An oval enamel medallion on copper, richly coloured and parcel-gilt, showing Apollo seated among the Muses in a landscape.

    Susanne de Court (French, act. ca. 1600), Oval Medallion, Apollo and the Muses, ca. 1600. Enamel on copper, parcel-gilt, 4 1/4 × 3 1/2 in. (10.8 × 8.9 cm). The Frick Collection, New York; Gift of Alexis Gregory, 2021.

    Susanne de Court (French, act. ca. 1600), Oval Medallion, Apollo and the Muses, ca. 1600. Enamel on copper, parcel-gilt, 4 1/4 × 3 1/2 in. (10.8 × 8.9 cm). The Frick Collection, New York; Gift of Alexis Gregory, 2021. · Source ↗

    Appears on: Painting with Fire: Susanne de Court and the Art of Enamel

  • Exhibition image for Suzanne Bocanegra: Valley

    Suzanne Bocanegra, Valley , 2018 (stills). T. B. Walker Acquisition Fund, 2025. Courtesy the artist, Photo: Carlos Avendaño.

    Suzanne Bocanegra, Valley , 2018 (stills). T. B. Walker Acquisition Fund, 2025. Courtesy the artist, Photo: Carlos Avendaño. · License · Source ↗

    Appears on: Suzanne Bocanegra: Valley

  • Exhibition image for Suzanne Jackson: What Is Love

    Suzanne Jackson, Wind and Water (detail), 1975. Acrylic wash and graphite on gessoed canvas. The Museum of Modern Art, New York, acquired through the generosity of the Modern Women’s Fund, Alice and Tom Tisch, Anne and Joel Ehrenkranz, Marie-Josée and Henry R. Kravis, Michael S. Ovitz, Ronnie F. Heyman, and Pamela J. Joyner and Alfred J. Giuffrida. © Suzanne Jackson, courtesy Ortuzar, New York; photo: Ruben Diaz.

    Suzanne Jackson, Wind and Water (detail), 1975. Acrylic wash and graphite on gessoed canvas. The Museum of Modern Art, New York, acquired through the generosity of the Modern Women’s Fund, Alice and Tom Tisch, Anne and Joel Ehrenkranz, Marie-Josée and Henry R. Kravis, Michael S. Ovitz, Ronnie F. Heyman, and Pamela J. Joyner and Alfred J. Giuffrida. © Suzanne Jackson, courtesy Ortuzar, New York; photo: Ruben Diaz. · License · Source ↗

    Appears on: Suzanne Jackson: What Is Love

  • Takao Tanabe 100: Inside Passage building

    Takao Tanabe, Queen Charlotte Summer 2/83 , Reflections, Skidegate Channel, 1983, acrylic on canvas, 66 x 152.4 cm. National Gallery of Canada, Ottawa. Gift of Anona Thorne, Parksville, British Columbia, 2024.

    Takao Tanabe, Queen Charlotte Summer 2/83 , Reflections, Skidegate Channel, 1983, acrylic on canvas, 66 x 152.4 cm. National Gallery of Canada, Ottawa. Gift of Anona Thorne, Parksville, British Columbia, 2024. · License · Source ↗

    Appears on: Takao Tanabe 100: Inside Passage

  • Exhibition image for Much Here Is Beautiful: Photography Surveys of the U.S. Bicentennial

    Ted Wathen, Former Company Houses, Jenkins, Letcher County, Kentucky, 1975, gelatin silver print, Smithsonian American Art Museum, Transfer from the National Endowment for the Arts, 1983.63.1614, © 1975, Ted Wathen

    Ted Wathen, Former Company Houses, Jenkins, Letcher County, Kentucky, 1975, gelatin silver print, Smithsonian American Art Museum, Transfer from the National Endowment for the Arts, 1983.63.1614, © 1975, Ted Wathen · License · Source ↗

    Appears on: Much Here Is Beautiful: Photography Surveys of the U.S. Bicentennial

  • Helena Ceballos for Telas Amaral: two colored-pencil tunic designs on graph paper, one plaid and one deep pink

    Helena Ceballos for Telas Amaral, Mantas Guajiras (Bachué and Nocturno), 1960s

    Telas Amaral, Helena Ceballos (Colombian, 1931–2022), Mantas Guajiras (Bachué and Nocturno) (Guajira Tunics [Bachué and Nocturnal]), 1960s. Colored pencil and ink on paper, 9 7/16 × 5 7/8 inches (24 × 15 cm). © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Helena Ceballos for Telas Amaral: two colored-pencil designs for tunics on graph paper, one yellow and one blue

    Helena Ceballos for Telas Amaral, Mantas Guajiras (Caleidoscopio and Matilde), 1960s

    Telas Amaral, Helena Ceballos (Colombian, 1931–2022), Mantas Guajiras (Caleidoscopio and Matilde) (Guajira Tunics [Kaleidoscope and Matilde]), 1960s. Colored pencil and ink on paper, 9 7/16 × 5 7/8 inches (24 × 15 cm). © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Helena Ceballos for Telas Amaral: two colored-pencil tunic designs on graph paper in purple, blue and green

    Helena Ceballos for Telas Amaral, Mantas Guajiras (Libélula and La Gaviota), 1960s

    Telas Amaral, Helena Ceballos (Colombian, 1931–2022), Mantas Guajiras (Libélula and La Gaviota) (Guajira Tunics [Dragonfly and Seagull]), 1960s. Colored pencil and ink on paper, 9 7/16 × 5 7/8 inches (24 × 15 cm). © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Telas Amaral: rolls of woven fabric labels printed with the Amaral name

    Telas Amaral

    Telas Amaral. © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Telas Amaral: a room furnished with a striped daybed, cushions and a patterned rug made by the studio

    Telas Amaral

    Telas Amaral. © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • Telas Amaral: a magazine page headed Colombian Style showing a richly colored interior and the Amaral studio name

    Telas Amaral

    Telas Amaral. © Olga de Amaral, courtesy of Numena Collection · Laura · Source ↗

    Appears on: Olga de Amaral: Weaving the Infinite

  • A couple stands before Emily Carr landscapes in That Green Ideal

    That Green Ideal: Emily Carr and the Idea of Nature

    That Green Ideal: Emily Carr and the Idea of Nature, opening reception, February 2026. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: That Green Ideal: Emily Carr and the Idea of Nature

  • Visitors seated before an Emily Carr painting of a tree by the sea

    That Green Ideal: Emily Carr and the Idea of Nature

    That Green Ideal: Emily Carr and the Idea of Nature, opening reception, February 2026. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: That Green Ideal: Emily Carr and the Idea of Nature

  • Visitors look at Emily Carr paintings in That Green Ideal at the Vancouver Art Gallery

    That Green Ideal: Emily Carr and the Idea of Nature

    That Green Ideal: Emily Carr and the Idea of Nature, opening reception, February 2026. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: That Green Ideal: Emily Carr and the Idea of Nature

  • Kawada Kikuji, from the series Chizu / The Map, gelatin silver print: The A-Bomb Dome

    Kawada Kikuji, The A‑Bomb Dome (Genbaku donmu bakushinchi), from the series Chizu / The Map, 1959‑65, printed 1989

    The A‑Bomb Dome (Genbaku donmu bakushinchi), from the series Chizu / The Map, 1959‑65, printed 1989. Kawada Kikuji (Japanese, born in 1933). Photograph, gelatin silver print. Museum purchase with funds by exchange from the Bequest of Charles W. Millard III. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Kawada Kikuji: Chizu (The Map)

  • Kawada Kikuji, from the series Chizu / The Map, gelatin silver print: The A-Bomb, Ceiling, Stain

    Kawada Kikuji, The A‑Bomb, Ceiling, Stain (Genbaku donmu teni shimi), from the series Chizu / The Map, 1959‑65, printed 1989

    The A‑Bomb, Ceiling, Stain (Genbaku donmu teni shimi), from the series Chizu / The Map, 1959‑65, printed 1989. Kawada Kikuji (Japanese, born in 1933). Photograph, gelatin silver print. Museum purchase with funds by exchange from the Bequest of Charles W. Millard III. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Kawada Kikuji: Chizu (The Map)

  • Kawada Kikuji, from the series Chizu / The Map, gelatin silver print: the A-Bomb Dome

    Kawada Kikuji, the A'-BOMB DOME., from the series Chizu / The Map, 1959‑65, printed 1989

    the A'-BOMB DOME., from the series Chizu / The Map, 1959‑65, printed 1989. Kawada Kikuji (Japanese, born in 1933). Photograph, gelatin silver print. Museum purchase with funds by exchange from the Bequest of Charles W. Millard III. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Kawada Kikuji: Chizu (The Map)

  • Marcel Duchamp, The Large Glass: two tall cracked glass panels in a metal frame, with painted and lead-foil forms

    Marcel Duchamp, The Large Glass

    The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-1923, Marcel Duchamp, Oil, varnish, lead foil, lead wire, and dust on two glass panels , Bequest of Katherine S. Dreier, 1952, 1952-98-1 · press.philamuseum.org · Source ↗

    Appears on: Marcel Duchamp

  • The Coronation of the Virgin; The Virgin and Child; The Trinity; The Crucifixion and The Twelve Apostles Barnaba da Modena Tempera and gold leaf on panel, 82 × 60.7 cm 1374 London, The National Gallery, Presented by Rosalind, Countess of Carlisle, 1913

    The Coronation of the Virgin; The Virgin and Child; The Trinity; The Crucifixion and The Twelve Apostles Barnaba da Modena Tempera and gold leaf on panel, 82 × 60.7 cm 1374 London, The National Gallery, Presented by Rosalind, Countess of Carlisle, 1913

    The Coronation of the Virgin; The Virgin and Child; The Trinity; The Crucifixion and The Twelve Apostles Barnaba da Modena Tempera and gold leaf on panel, 82 × 60.7 cm 1374 London, The National Gallery, Presented by Rosalind, Countess of Carlisle, 1913 · License · Source ↗

    Appears on: In the Italian Manner. Spain and the Mediterranean Gothic, 1320-1420

  • The Countess of Chinchón Francisco de Goya Oil on canvas 1800 Acquired by the State and the Museo Nacional del Prado with its own funds and with funds from the Villaescusa bequest, 2000

    The Countess of Chinchón Francisco de Goya Oil on canvas 1800 Acquired by the State and the Museo Nacional del Prado with its own funds and with funds from the Villaescusa bequest, 2000

    The Countess of Chinchón Francisco de Goya Oil on canvas 1800 Acquired by the State and the Museo Nacional del Prado with its own funds and with funds from the Villaescusa bequest, 2000 · License · Source ↗

    Appears on: Prado. 21st Century

  • Visitor before two tall Michal Rovner works, a pink video projection and a black-and-white print

    Installation view, Michal Rovner: Esther Scrolls, Fenway Gallery

    The exhibition "Michal Rovner: Esther Scrolls" in the Fenway Gallery, 6 August 2026 – 18 January 2027. Isabella Stewart Gardner Museum, Boston · sent by Cassandra Martinez, 21 Oct 2026 · Source ↗

    Appears on: Michal Rovner: Esther Scrolls

  • Visitor facing a tall glowing pink Michal Rovner projection in a dark gallery

    Installation view, Michal Rovner: Esther Scrolls, Fenway Gallery

    The exhibition "Michal Rovner: Esther Scrolls" in the Fenway Gallery, 6 August 2026 – 18 January 2027. Isabella Stewart Gardner Museum, Boston · sent by Cassandra Martinez, 21 Oct 2026 · Source ↗

    Appears on: Michal Rovner: Esther Scrolls

  • Visitors looking at a framed banquet painting in a teal gallery

    Installation view, The Book of Esther in the Age of Rembrandt, Hostetter Gallery

    The exhibition "The Book of Esther in the Age of Rembrandt" in Hostetter Gallery, 6 August 2026 — 18 January, 2027. Isabella Stewart Gardner Museum, Boston · sent by Cassandra Martinez, 21 Oct 2026 · Source ↗

    Appears on: The Book of Esther in the Age of Rembrandt

  • Gallery with a large Flemish tapestry, paintings and a display case in a deep teal room

    Installation view, The Book of Esther in the Age of Rembrandt, Hostetter Gallery

    The exhibition "The Book of Esther in the Age of Rembrandt" in Hostetter Gallery, 6 August 2026 — 18 January, 2027. Isabella Stewart Gardner Museum, Boston · sent by Cassandra Martinez, 21 Oct 2026 · Source ↗

    Appears on: The Book of Esther in the Age of Rembrandt

  • Goltzius engraving of the muscular Farnese Hercules seen from behind, with two onlookers below

    Hendrick Goltzius, The Farnesian Hercules, 1592

    The Farnesian Hercules, from Three Famous Antique Roman Statues, 1592. Hendrick Goltzius (Dutch, 1558–1617). Engraving; image: 40.4 x 29.4 cm; sheet: 42.5 x 30.2 cm. The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2022.137 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: The Renaissance Engraver at Work

  • Mounted Korean hanging scroll of the Fifth King of Hell presiding at a red table with attendants

    The Fifth King of Hell, late 1300s

    The Fifth King of Hell, late 1300s. Korea, Goryeo dynasty (918–1392). Hanging scroll; ink, color, and gold ink on silk; image: 62 x 45.2 cm. National Museum of Korea, Koo7479 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Ten Kings of Hell: The Afterlife in Medieval Korea

  • The Flight into Egypt El Greco Oil on pine panel c. 1570 Acquired by the State and assigned to the Museo Nacional del Prado, 2001

    The Flight into Egypt El Greco Oil on pine panel c. 1570 Acquired by the State and assigned to the Museo Nacional del Prado, 2001

    The Flight into Egypt El Greco Oil on pine panel c. 1570 Acquired by the State and assigned to the Museo Nacional del Prado, 2001 · License · Source ↗

    Appears on: Prado. 21st Century

  • Detail of a medieval Korean scroll painting: demons drive sinners through red flames before a seated judge of hell

    The Fourth King of Hell (detail), late 1300s

    The Fourth King of Hell, late 1300s. Korea, Goryeo dynasty (918–1392). Hanging scroll; ink, color, and gold ink on silk; 63 x 45.3 cm. The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund and museum purchase from various donors by exchange and partial gift of the Honorable Joseph P. Carroll and Roberta Carroll, MD, 2019.224 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Ten Kings of Hell: The Afterlife in Medieval Korea

  • The Fourth King of Hell: a crowned judge seated behind a desk while attendants and demons torment souls in flames below

    The Fourth King of Hell, late 1300s

    The Fourth King of Hell, late 1300s. Korea, Goryeo dynasty (918–1392). Hanging scroll; ink, color, and gold ink on silk; 63 x 45.3 cm. The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund and museum purchase from various donors by exchange and partial gift of the Honorable Joseph P. Carroll and Roberta Carroll, MD, 2019.224 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Ten Kings of Hell: The Afterlife in Medieval Korea

  • The Frick Collection’s Fifth Avenue façade in spring, magnolia trees in bloom along the front lawn under a clear blue sky.

    The Frick Collection, Fifth Avenue façade

    The Frick Collection, New York · License · Source ↗

    Appears on: The Frick Collection

  • The James S. and Barbara N. Reibel Reception Hall, part of the renovated Frick: a pale stone hall with a sculptural staircase and pendant lamps.

    The James S. and Barbara N. Reibel Reception Hall, The Frick Collection

    The Frick Collection, New York · License · Source ↗

    Appears on: The Frick Collection

  • Six of Emma Amos watercolor portraits from The Gift arranged in a two-row grid

    Emma Amos, The Gift, 1990–94 (front cover sitters: Moira Roth, bell hooks, Mira Schor, Lucy Lippard, Faith Ringgold, Emma Amos)

    The Gift, 1990–94. Emma Amos (American, 1937–2020). 48 watercolor portraits; overall: 274.3 x 640.1 cm (108 x 252 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2023.126. © Emma Amos; Courtesy of RYAN LEE Gallery, New York · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: The Gift: Emma Amos with Friends

  • Six more Emma Amos watercolor portraits from The Gift in a two-row grid

    Emma Amos, The Gift, 1990–94 (back cover sitters: India Amos, Grace Williams, Kay WalkingStick, Lorna Simpson, Joan Semmel, Elizabeth Catlett)

    The Gift, 1990–94. Emma Amos (American, 1937–2020). 48 watercolor portraits; overall: 274.3 x 640.1 cm (108 x 252 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2023.126. © Emma Amos; Courtesy of RYAN LEE Gallery, New York · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: The Gift: Emma Amos with Friends

  • Emma Amos watercolor self-portrait in grey washes with long curly hair

    Emma Amos, The Gift: Emma Amos, 1990–94

    The Gift: Emma Amos, 1990–94. Emma Amos (American, 1937–2020). Watercolor; 66.7 x 50.3 cm. The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2023.126.12. © Emma Amos; Courtesy of RYAN LEE Gallery, New York · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: The Gift: Emma Amos with Friends

  • Emma Amos watercolor portrait of Faith Ringgold wearing large earrings and a beaded necklace

    Emma Amos, The Gift: Faith Ringgold, 1990–94

    The Gift: Faith Ringgold, 1990–94. Emma Amos (American, 1937–2020). Watercolor; 67 x 51.3 cm. The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2023.126.15. © Emma Amos; Courtesy of RYAN LEE Gallery, New York. · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: The Gift: Emma Amos with Friends

  • Emma Amos watercolor portrait of Kay WalkingStick in profile wearing a yellow turtleneck

    Emma Amos, The Gift: Kay WalkingStick, 1990–94

    The Gift: Kay WalkingStick, 1990–94. Emma Amos (American, 1937–2020). Watercolor; sheet: 66 x 50.6 cm (26 x 19 15/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2023.126.41. © Emma Amos; Courtesy of RYAN LEE Gallery, New York · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: The Gift: Emma Amos with Friends

  • Emma Amos watercolor portrait of Lorna Simpson with long locs and a striped top

    Emma Amos, The Gift: Lorna Simpson, 1990–94

    The Gift: Lorna Simpson, 1990–94. Emma Amos (American, 1937–2020). Watercolor; sheet: 66.2 x 50.5 cm (26 1/16 x 19 7/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2023.126.31. © Emma Amos; Courtesy of RYAN LEE Gallery, New York · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: The Gift: Emma Amos with Friends

  • Emma Amos watercolor portrait of Lucy Lippard with short curly hair in a red top

    Emma Amos, The Gift: Lucy Lippard, 1990–94

    The Gift: Lucy Lippard, 1990–94. Emma Amos (American, 1937–2020). Watercolor; sheet: 65.9 x 50.5 cm (25 15/16 x 19 7/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2023.126.48. © Emma Amos; Courtesy of RYAN LEE Gallery, New York · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: The Gift: Emma Amos with Friends

  • Pierre-Auguste Renoir, The Grands Boulevards, 1875, a sunlit Paris boulevard with carriages and strollers

    Pierre‑Auguste Renoir, The Grands Boulevards, 1875

    The Grands Boulevards, 1875. Pierre‑Auguste Renoir (French, 1841–1919). Oil on canvas. Philadelphia Museum of Art: The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986‑26‑29. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Renoir and Love

  • The Great Hercules Heindrick Goltzius Engraving on laid paper 1589 Acquired by the State and assigned to the Museo Nacional del Prado, 2014

    The Great Hercules Heindrick Goltzius Engraving on laid paper 1589 Acquired by the State and assigned to the Museo Nacional del Prado, 2014

    The Great Hercules Heindrick Goltzius Engraving on laid paper 1589 Acquired by the State and assigned to the Museo Nacional del Prado, 2014 · License · Source ↗

    Appears on: Prado. 21st Century

  • Kawada Kikuji, from the series Chizu / The Map, gelatin silver print: the Japanese flag

    Kawada Kikuji, the Japanese flag., from the series Chizu / The Map, 1959‑65, printed 1989

    the Japanese flag., from the series Chizu / The Map, 1959‑65, printed 1989. Kawada Kikuji (Japanese, born in 1933). Photograph, gelatin silver print. Museum purchase with funds by exchange from the Bequest of Charles W. Millard III. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Kawada Kikuji: Chizu (The Map)

  • Dürer engraving of a massive horse seen from behind beside an armored soldier in an archway

    Albrecht Dürer, The Large Horse, 1505

    The Large Horse, 1505. Albrecht Dürer (German, 1471–1528). Engraving; sheet: 16.6 x 11.9 cm. The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.113 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: The Renaissance Engraver at Work

  • Raimondi engraving after Raphael of soldiers attacking mothers and infants on a city riverbank

    Marcantonio Raimondi after Raphael, The Massacre of the Innocents, c. 1511–12

    The Massacre of the Innocents (Without the Fir Tree), c. 1511–12. Marcantonio Raimondi (Italian, 1470/82–1527/34), after Raphael (Italian, 1483–1520). Engraving; sheet: 28 x 42.6 cm. The Cleveland Museum of Art, Gift of the Print Club of Cleveland, 1964.23 · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: The Renaissance Engraver at Work

  • The Musical Mode, Todi Ragini: a woman with a stringed instrument beneath a tree, surrounded by white deer

    The Musical Mode, Todi Ragini

    The Musical Mode, Todi Ragini, Leaf from a Ragamala series, Deccan, Hyderabad, ca. 1775-1800. Ink, opaque watercolor, and gold paper. Edwin Binney 3rd Collection, 1990.545. · via 62 Above · Source ↗

    Appears on: Ragamala Paintings from the Binney Collection

  • Naoko Matsubara woodcut print: The Present, 2020

    Naoko Matsubara, The Present, 2020

    The Present, 2020. Naoko Matsubara (Canadian, born in Japan, born in 1937). Woodcut. Francis Welch Fund, Towles Contemporary Art Fund, and Edward S. Morse Memorial Fund. © Naoko Matsubara. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Naoko Matsubara’s Woodblock Worlds

  • Pierre-Auguste Renoir, The Promenade, 1870, a couple walking in a wooded glade

    Pierre‑Auguste Renoir, The Promenade, 1870

    The Promenade, 1870. Pierre‑Auguste Renoir (French, 1841–1919). Oil on canvas. The J. Paul Getty Museum, Los Angeles. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Renoir and Love

  • The Raising of Lazarus José de Ribera Oil on canvas c. 1616 Acquired by the State as a nonrecourse debt of Caja Madrid and assigned to the Museo Nacional del Prado 2001

    The Raising of Lazarus José de Ribera Oil on canvas c. 1616 Acquired by the State as a nonrecourse debt of Caja Madrid and assigned to the Museo Nacional del Prado 2001

    The Raising of Lazarus José de Ribera Oil on canvas c. 1616 Acquired by the State as a nonrecourse debt of Caja Madrid and assigned to the Museo Nacional del Prado 2001 · License · Source ↗

    Appears on: Prado. 21st Century

  • The Rest on the Flight into Egypt Luisa Ignacia Roldán, la Roldana Terracotta and polychromed wood 1691 Acquired by the State and assigned to the Museo Nacional del Prado, 2025

    The Rest on the Flight into Egypt Luisa Ignacia Roldán, la Roldana Terracotta and polychromed wood 1691 Acquired by the State and assigned to the Museo Nacional del Prado, 2025

    The Rest on the Flight into Egypt Luisa Ignacia Roldán, la Roldana Terracotta and polychromed wood 1691 Acquired by the State and assigned to the Museo Nacional del Prado, 2025 · License · Source ↗

    Appears on: Prado. 21st Century

  • Kawada Kikuji, from the series Chizu / The Map, gelatin silver print: the ruin of an anti-aircraft gun position

    Kawada Kikuji, The ruin of a stronghold. An anti‑aircraft gun position (Yoki), from the series Chizu / The Map, 1959‑65, printed 1989

    The ruin of a stronghold. An anti‑aircraft gun position (Yoki), from the series Chizu / The Map, 1959‑65, printed 1989. Kawada Kikuji (Japanese, born in 1933). Photograph, gelatin silver print. Museum purchase with funds by exchange from the Bequest of Charles W. Millard III. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Kawada Kikuji: Chizu (The Map)

  • Kawada Kikuji, from the series Chizu / The Map, gelatin silver print: the ruin of a stronghold

    Kawada Kikuji, the ruin of a stronghold., from the series Chizu / The Map, 1959‑65, printed 1989

    the ruin of a stronghold., from the series Chizu / The Map, 1959‑65, printed 1989. Kawada Kikuji (Japanese, born in 1933). Photograph, gelatin silver print. Museum purchase with funds by exchange from the Bequest of Charles W. Millard III. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Kawada Kikuji: Chizu (The Map)

  • Albert Bierstadt, The Shore of the Turquoise Sea: a green wave breaking over a rocky beach under a dark sky

    Albert Bierstadt, The Shore of the Turquoise Sea

    The Shore of the Turquoise Sea, 1878, Albert Bierstadt, American (born Germany), 1830-1902, Oil on canvas, The Middleton Family Collection · press.philamuseum.org · Source ↗

    Appears on: A Nation of Artists

  • The Wine of Saint Martin’s Day Pieter Bruegel the Elder Glue-size tempera on twill 1566-67 Acquired with an extraordinary dation of the Ministry of Culture and with the Museo Nacional del Prado’s own funds, 2010

    The Wine of Saint Martin’s Day Pieter Bruegel the Elder Glue-size tempera on twill 1566-67 Acquired with an extraordinary dation of the Ministry of Culture and with the Museo Nacional del Prado’s own funds, 2010

    The Wine of Saint Martin’s Day Pieter Bruegel the Elder Glue-size tempera on twill 1566-67 Acquired with an extraordinary dation of the Ministry of Culture and with the Museo Nacional del Prado’s own funds, 2010 · License · Source ↗

    Appears on: Prado. 21st Century

  • Theodore Geisel (Dr. Seuss) in a hard hat during the 1986 Cat in the Hat cornice installation

    Theodore Geisel (Dr. Seuss) in a hard hat during the 1986 Cat in the Hat cornice installation

    Theodore Geisel installing a promotional Cat in the Hat cornice piece to the Museum façade, 1986. The San Diego Museum of Art Archives. · via 62 Above · Source ↗

    Appears on: SDMA 100 Years

  • Oil painting of a young couple beside an oak tree at the edge of a harvested cornfield, the man standing with a gun and a dog, the woman seated on a green iron bench in a pale blue dress

    Thomas Gainsborough, Mr and Mrs Andrews, about 1750

    Thomas Gainsborough, 'Mr and Mrs Andrews', about 1750. © The National Gallery, London · License · Source ↗

    Appears on: Yinka Shonibare and Thomas Gainsborough: A Conversation

  • Exhibition image for Origami Unfolded

    TOP IMAGE Kevin Box and Michael G. LaFosse, Emerging Peace , 2017 (detail), from Origami in the Garden . Patinated cast bronze and painted cast aluminum. © Box Studio.

    TOP IMAGE Kevin Box and Michael G. LaFosse, Emerging Peace , 2017 (detail), from Origami in the Garden . Patinated cast bronze and painted cast aluminum. © Box Studio. · License · Source ↗

    Appears on: Origami Unfolded

  • Exhibition image for Isamu Noguchi: "I am not a designer"

    TOP IMAGE Louise Dahl-Wolfe, Isamu Noguchi, 1955, gelatin silver print. © 2025 Center for Creative Photography, Arizona Board of Regents/Artists Rights Society (ARS), New York. © 2025 The Isamu Noguchi Foundation and Garden Museum, New York/Artists Rights Society (ARS), New York.

    TOP IMAGE Louise Dahl-Wolfe, Isamu Noguchi, 1955, gelatin silver print. © 2025 Center for Creative Photography, Arizona Board of Regents/Artists Rights Society (ARS), New York. © 2025 The Isamu Noguchi Foundation and Garden Museum, New York/Artists Rights Society (ARS), New York. · License · Source ↗

    Appears on: Isamu Noguchi: "I am not a designer"

  • Exhibition image for The Stars We Do Not See

    TOP IMAGE Wingu Tingima, Minyma Tjuta Seven Sisters , 2006. Synthetic polymer paint on canvas. National Gallery of Victoria, Melbourne Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2006. © Wingu Tingima Copyright Agency, Australia 2023.

    TOP IMAGE Wingu Tingima, Minyma Tjuta Seven Sisters , 2006. Synthetic polymer paint on canvas. National Gallery of Victoria, Melbourne Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2006. © Wingu Tingima Copyright Agency, Australia 2023. · License · Source ↗

    Appears on: The Stars We Do Not See

  • Exhibition image for High Drama: Japanese Prints of Theater, Heroes and History

    TOYOHARA Kunichika 豊原国周 (1835-1900). Japanese; Meiji period, 1894. Actors Onoe Kikugorō V as the Englishman Spencer and Onoe Ushinosuke II as Spencer in the distance [inset] in the play Riding the Famous Hot-Air Balloon . Ukiyo-e woodblock print in vertical ōban format; ink and color on paper, 14 ⅜ x 9 ³⁄₁₆ inches. Gift of The Lavenberg Collection of Japanese Prints

    TOYOHARA Kunichika 豊原国周 (1835-1900). Japanese; Meiji period, 1894. Actors Onoe Kikugorō V as the Englishman Spencer and Onoe Ushinosuke II as Spencer in the distance [inset] in the play Riding the Famous Hot-Air Balloon . Ukiyo-e woodblock print in vertical ōban format; ink and color on paper, 14 ⅜ x 9 ³⁄₁₆ inches. Gift of The Lavenberg Collection of Japanese Prints · License · Source ↗

    Appears on: High Drama: Japanese Prints of Theater, Heroes and History

  • Ricardo de Madrazo, Tangier sketchbook open to a pen drawing of a troubadour in the Barra souk

    Ricardo de Madrazo, Tangier sketchbook, 1877

    Trovador en el zoco de Barra en Cuaderno de Tánger. Ricardo de Madrazo (1852-1917). Pluma sobre papel. 1877. Madrid, Museo Nacional del Prado. Adquirido en 2025 · acceso profesionales · Source ↗

    Appears on: Ricardo de Madrazo (1852-1917): dibujos y acuarelas

  • Painting of a sunny Cleveland street corner with houses, utility poles and a cyclist

    Nicole Maye Luga, Turning Back, 2023

    Turning Back, 2023. Nicole Maye Luga (American, b. 1976). Oil on panel. Courtesy of the artist. © Nicole Maye Luga · supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Lake Effect: Artists from Cleveland Now

  • Exhibition image for Pressing Importance: Salem and the Declaration of Independence

    United States Continental Congress; John Rogers or Ezekiel Russell, printer. In Congress, July 4, 1776. A Declaration by the Representatives of the United States of America (detail), 1776. Broadside, ink on paper. Phillips Library, Peabody Essex Museum. KF4506 .U558 1776 +++

    United States Continental Congress; John Rogers or Ezekiel Russell, printer. In Congress, July 4, 1776. A Declaration by the Representatives of the United States of America (detail), 1776. Broadside, ink on paper. Phillips Library, Peabody Essex Museum. KF4506 .U558 1776 +++ · License · Source ↗

    Appears on: Pressing Importance: Salem and the Declaration of Independence

  • Christ the Redeemer: an icon of Christ whose face shows through an embossed silver cover

    Christ the Redeemer

    Unknown artist (Ukraine), Christ the Redeemer, 19th century. Oil and tempera with silver oklad (chased and repoussé). Private Collection. · via 62 Above · Source ↗

    Appears on: Icons of Imperial Russia

  • Installation view of "UNRULY: The Body in Punk" at ARoS, a large blue swirling graphic artwork on the gallery wall

    Installation view of "UNRULY: The Body in Punk" at ARoS, a large blue swirling graphic artwork on the gallery wall

    UNRULY. The Body in Punk, ARoS 2026. Installation view: Mads Smidstrup © ARoS

    Appears on: Ulydig – Kroppen i punk

  • Installation view of "UNRULY: The Body in Punk" at ARoS, a visitor viewing framed photographs beside a leopard-print bench

    Installation view of "UNRULY: The Body in Punk" at ARoS, a visitor viewing framed photographs beside a leopard-print bench

    UNRULY. The Body in Punk, ARoS 2026. Installation view: Mads Smidstrup © ARoS

    Appears on: Ulydig – Kroppen i punk

  • Installation view of "UNRULY: The Body in Punk" at ARoS, a grid of eight framed black-and-white photographs

    Installation view of "UNRULY: The Body in Punk" at ARoS, a grid of eight framed black-and-white photographs

    UNRULY. The Body in Punk, ARoS 2026. Installation view: Mads Smidstrup © ARoS

    Appears on: Ulydig – Kroppen i punk

  • Installation view of "UNRULY: The Body in Punk" at ARoS, a drum kit displayed on a gallery plinth

    Installation view of "UNRULY: The Body in Punk" at ARoS, a drum kit displayed on a gallery plinth

    UNRULY. The Body in Punk, ARoS 2026. Installation view: Mads Smidstrup © ARoS

    Appears on: Ulydig – Kroppen i punk

  • Installation view of "UNRULY: The Body in Punk" at ARoS, a large printed graphic beside a display of punk clothing

    Installation view of "UNRULY: The Body in Punk" at ARoS, a large printed graphic beside a display of punk clothing

    UNRULY. The Body in Punk, ARoS 2026. Installation view: Mads Smidstrup © ARoS

    Appears on: Ulydig – Kroppen i punk

  • Installation view of "UNRULY: The Body in Punk" at ARoS, the exhibition title wall text

    Installation view of "UNRULY: The Body in Punk" at ARoS, the exhibition title wall text

    UNRULY. The Body in Punk, ARoS 2026. Installation view: Mads Smidstrup © ARoS

    Appears on: Ulydig – Kroppen i punk

  • Untitled (Basketball): a cyan-toned photograph of young women in bloomers playing basketball outdoors

    Untitled (Basketball)

    Untitled (Basketball), 1895-1905, Artist/maker unknown. Gift of Peter J. Cohen, 2018-80-2. · press.philamuseum.org · Source ↗

    Appears on: Americana: Photographs 1850-1950

  • El Anatsui, Untitled (Black on Gold): a black ink rubbing on gold-leaf paper

    El Anatsui, Untitled (Black on Gold)

    Untitled (Black on Gold), 2019, El Anatsui. Black ink rubbing on goldleaf Gasenshi paper, 53 1/8 × 53 1/8 inches. Printed by Factum Arte, Madrid, Published by October Gallery, London, and Factum Arte, Madrid, Philadelphia Museum of Art: Purchased with the Henry P. McIlhenny Fund, the James D. Crawford and Judith N. Dean Fund, the Lola Downin Peck Fund, and the Alice Newton Osborn Fund, 2025 90 2, Photo by Jonathan Greet © El Anatsui. · press.philamuseum.org · Source ↗

    Appears on: El Anatsui: Prints and Play

  • El Anatsui, Untitled (Cassava Graters Imprints and Collage): a grid of black relief prints on sheets joined with copper wire

    El Anatsui, Untitled (Cassava Graters Imprints and Collage)

    Untitled (Cassava Graters Imprints and Collage), 2016, El Anatsui. Relief print with copper wire, mounted to cut aluminum sheet, 7 ft. 10 1/2 in. × 6 ft. 6 3/4 inches. Printed by Factum Arte, Madrid, Published by October Gallery, London, and Factum Arte, Madrid, Philadelphia Museum of Art: Purchased with the Henry P. McIlhenny Fund, the James D. Crawford and Judith N. Dean Fund, the Lola Downin Peck Fund, and the Alice Newton Osborn Fund, 2025 90 1 , Photo by Oak Taylor-Smith © El Anatsui. · press.philamuseum.org · Source ↗

    Appears on: El Anatsui: Prints and Play

  • Untitled (George and Martha Washington), detail: a collage of cut-out nineteenth-century photographs and prints of faces, including George Washington

    Untitled (George and Martha Washington), detail

    Untitled (George and Martha Washington) (detail), c. 1876, Artist/maker unknown, 43-2026-1. · press.philamuseum.org · Source ↗

    Appears on: Americana: Photographs 1850-1950

  • El Anatsui, Untitled (with Red): stenciled and hand-painted aluminum in crimson, turquoise and black

    El Anatsui, Untitled (with Red)

    Untitled (with Red), 2014–15, El Anatsui. Stenciling and hand painted enamel on aluminum, Approx. 40 × 36 inches. Printed by Brand X Editions, New York, Published by Benefit Print Project, New York, Middlebury College Museum of Art, Gift of the Benefit Print Project, New York, 2020.017, Photo by Benefit Print Project © El Anatsui. · press.philamuseum.org · Source ↗

    Appears on: El Anatsui: Prints and Play

  • El Anatsui, Untitled, 2025: a color woodcut of overlapping grids and bands in black, orange and yellow

    El Anatsui, Untitled, 2025

    Untitled, 2025, El Anatsui. Color woodcut (laser cut), 46 × 62 in. (116.8 × 157.5 cm). Printer: Alexis Nutini. Printed and published by Brandywine Workshop and Archives, Philadelphia. · press.philamuseum.org · Source ↗

    Appears on: El Anatsui: Prints and Play

  • Three, tall, flowering irises rise in foreground, overlooking water and a grassy, flowering field with small figures and distant trees beneath gradient blue sky and red horizon band.

    Uoya Eikichi, Japanese (19th century); Utagawa Hiroshige, Japanese (1797-1858), Iris garden, Horikiri (Horikiri no hanashobu); Meisho Edo hyakkei; One hundred views of famous places in Edo, 1857; 1856-1858; late 18th century-mid 19th century. Gift of Mrs. John D. Rockefeller, Jr.. RISD Museum, Providence, RI.

    Uoya Eikichi, Japanese (19th century); Utagawa Hiroshige, Japanese (1797-1858), Iris garden, Horikiri (Horikiri no hanashobu); Meisho Edo hyakkei; One hundred views of famous places in Edo, 1857; 1856-1858; late 18th century-mid 19th century. Gift of Mrs. John D. Rockefeller, Jr.. RISD Museum, Providence, RI. · License · Source ↗

    Appears on: A Medley of Irises

  • Utagawa Hiroshige, Cliff Climbers: figures climbing a steep wooded cliff above a river

    Utagawa Hiroshige, Cliff Climbers

    Utagawa Hiroshige, Cliff climbers, 19th century. Ink and color on paper. Anonymous, 2017.14. · via 62 Above · Source ↗

    Appears on: Forging a Legacy: 15 Years of Landmark Acquisitions

  • Vasily Kandinsky, Cossacks, 1910–11

    Vasily Kandinsky, Cossacks, 1910–11

    Vasily Kandinsky (1866-1944), Cossacks (Fragment zu Komposition IV), 1910–11. Oil on canvas, 94.5 x 130.2 cm. Tate, London, Presented by Mrs Hazel McKinley, 1938 · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Peggy Guggenheim in London

  • Vasily Kandinsky, Dominant Curve, 1936, abstract painting

    Vasily Kandinsky, Dominant Curve, 1936

    Vasily Kandinsky (1866-1944), Dominant Curve (Courbe dominante), April 1936. Oil on canvas, 129.2 x 194.3 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Peggy Guggenheim in London

  • Vasily Kandinsky, Green Figure, 1936

    Vasily Kandinsky, Green Figure, 1936

    Vasily Kandinsky (1866-1944), Green Figure (Figure verte), 1936. Oil on canvas, 117.5 cm x 89.3 cm. Centre Pompidou, Paris, Musée national d’art moderne / Centre de création industrielle, Bequest Nina Kandinsky, 1981, In deposit, from July 20, 1998, at Musée d’art moderne et contemporain de la Ville de Strasbourg, Strasbourg · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Peggy Guggenheim in London

  • Vasily Kandinsky, Black Form, 1923

    Vasily Kandinsky, Black Form, 1923

    Vasily Kandinsky (French, born Russia, 1866–1944). Black Form, 1923. Oil on canvas. Neue Galerie New York. This work is part of the collection of Estée Lauder and was made available through the generosity of Estée Lauder. Photo: Hulya Kolabas. © 2026 Artists Rights Society (ARS), New York, for Vasily Kandinsky · Michelle Perlin, 26 Oct 2026 · Source ↗

    Appears on: 25th Anniversary Exhibition

  • Peggy Guggenheim in London: The Making of a Collector building

    Rita Kernn-Larsen (1904-1998) Self-Portrait (Know Thyself) ( Selvportræt [Kend dig selv] ), 1937 Oil on canvas, 40 x 45 cm Solomon R. Guggenheim Foundation, New York, Purchased with funds contributed by Penny Borda, Lewis and Laura Kruger, and the Guggenheim Circle, 2013

    Vasily Kandinsky, Dominant Curve (Courbe dominante), 1936 Oil on canvas, 129.2 x 194.3 cm Solomon R. Guggenheim Museum, New York · License · Source ↗

    Appears on: Peggy Guggenheim in London: The Making of a Collector

  • A gilded bronze relief of the risen Christ stepping from the tomb, arms raised, above sleeping soldiers in armour.

    Vecchietta (Italian, 1410–1480), Resurrection of Christ, 1472. Leaded low-tin bronze, 21 3/8 × 16 1/4 × 1 1/2 in. (54.3 × 41.3 × 3.8 cm). The Frick Collection, New York.

    Vecchietta (Italian, 1410–1480), Resurrection of Christ, 1472. Leaded low-tin bronze, 21 3/8 × 16 1/4 × 1 1/2 in. (54.3 × 41.3 × 3.8 cm). The Frick Collection, New York. · License · Source ↗

    Appears on: Siena: The Art of Bronze, 1450-1500

  • Exhibition image for Hammer Projects: Vibeke Mascini

    Vibeke Mascini, Amber Highway , process photo, 2026 Resin cast, taxidermized moths, amber stone, jump-start cables, LED light strip, 12-volt car batteries. Courtesy of the artist. Photo: Baroeg Mulder

    Vibeke Mascini, Amber Highway , process photo, 2026 Resin cast, taxidermized moths, amber stone, jump-start cables, LED light strip, 12-volt car batteries. Courtesy of the artist. Photo: Baroeg Mulder · License · Source ↗

    Appears on: Hammer Projects: Vibeke Mascini

  • View of 4th Floor To Mildness by Pipilotti Rist in the Crumpacker Center of the Portland Art Museum

    View of 4th Floor To Mildness by Pipilotti Rist in the Crumpacker Center of the Portland Art Museum. Photo by Jeremy Bittermann, 2025. © Pipilotti Rist, Courtesy the artist, Hauser & Wirth and Luhring Augustine / Artists Rights Society (ARS), New York / ProLitteris, Zurich.

    View of 4th Floor To Mildness by Pipilotti Rist in the Crumpacker Center of the Portland Art Museum. Photo by Jeremy Bittermann, 2025. © Pipilotti Rist, Courtesy the artist, Hauser & Wirth and Luhring Augustine / Artists Rights Society (ARS), New York / ProLitteris, Zurich. · License · Source ↗

    Appears on: Pipilotti Rist: 4th Floor to Mildness

  • Exhibition image for Vilhelm Hammershøi: Pictures from Home

    Vilhelm Hammershøi. Interior. The Music Room, Strandgade 30 , 1907. Oil on canvas, 27 9/16 × 23 1/4 in. (70 × 59 cm). The Art Institute of Chicago, Joseph Winterbotham Collection

    Vilhelm Hammershøi. Interior. The Music Room, Strandgade 30 , 1907. Oil on canvas, 27 9/16 × 23 1/4 in. (70 × 59 cm). The Art Institute of Chicago, Joseph Winterbotham Collection · License · Source ↗

    Appears on: Vilhelm Hammershøi: Pictures from Home

  • Virgin of Humility with Donors Henry II of Castile, Juana Manuel and their Two Children (Virgin of Tobed) Jaume Serra Tempera and gold leaf on panel, 161.4 × 117.8 cm c. 1366–69 Madrid, Museo Nacional del Prado, Várez Fisa Family Bequest, 2013

    Virgin of Humility with Donors Henry II of Castile, Juana Manuel and their Two Children (Virgin of Tobed) Jaume Serra Tempera and gold leaf on panel, 161.4 × 117.8 cm c. 1366–69 Madrid, Museo Nacional del Prado, Várez Fisa Family Bequest, 2013

    Virgin of Humility with Donors Henry II of Castile, Juana Manuel and their Two Children (Virgin of Tobed) Jaume Serra Tempera and gold leaf on panel, 161.4 × 117.8 cm c. 1366–69 Madrid, Museo Nacional del Prado, Várez Fisa Family Bequest, 2013 · License · Source ↗

    Appears on: In the Italian Manner. Spain and the Mediterranean Gothic, 1320-1420

  • A visitor stands beneath a suspended whale skeleton sculpture in Future Geographies at the Vancouver Art Gallery

    Installation view, Future Geographies

    Visitor discovers Future Geographies: Art in the Century of Climate Change, exhibition at the Vancouver Art Gallery, May 14 to November 15, 2026. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: Future Geographies: Art in the Century of Climate Change

  • A visitor views Lawrence Paul Yuxweluptun’s painting The Impending Fire Storms, 2024

    Lawrence Paul Yuxweluptun, The Impending Fire Storms, 2024

    Visitor discovers Lawrence Paul Yuxweluptun Lets’lotseltun, The Impending Fire Storms, 2024, in Future Geographies: Art in the Century of Climate Change, May 2026. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: Future Geographies: Art in the Century of Climate Change

  • A visitor photographs the immersive forest projection in SANCTUARY: The Ancient Forest Experience

    SANCTUARY: The Ancient Forest Experience

    Visitor discovers SANCTUARY: The Ancient Forest Experience in Future Geographies: Art in the Century of Climate Change, exhibition at the Vancouver Art Gallery. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: SANCTUARY: The Ancient Forest Experience

  • A visitor sits inside the immersive forest projection of SANCTUARY: The Ancient Forest Experience

    SANCTUARY: The Ancient Forest Experience

    Visitor discovers SANCTUARY: The Ancient Forest Experience in Future Geographies: Art in the Century of Climate Change, exhibition at the Vancouver Art Gallery. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: SANCTUARY: The Ancient Forest Experience

  • A visitor stands before Teresita Fernández’s black wall installation Island Universe, 2023

    Teresita Fernández, Island Universe, 2023

    Visitor discovers Teresita Fernández, Island Universe, 2023, in Future Geographies: Art in the Century of Climate Change, May 2026. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: Future Geographies: Art in the Century of Climate Change

  • A visitor views three Emily Carr forest drawings in That Green Ideal

    Visitor discovers the work of Emily Carr

    Visitor discovers the work of Emily Carr in That Green Ideal: Emily Carr and the Idea of Nature. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: That Green Ideal: Emily Carr and the Idea of Nature

  • Visitors and a seated viewer among Emily Carr works on paper in That Green Ideal

    Visitor discovers the work of Emily Carr

    Visitor discovers the work of Emily Carr in That Green Ideal: Emily Carr and the Idea of Nature. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: That Green Ideal: Emily Carr and the Idea of Nature

  • A visitor in Vancouver Now! Emily Hermant, with Billow in the foreground

    Visitor discovers Vancouver Now! Emily Hermant

    Visitor discovers Vancouver Now! Emily Hermant, exhibition at the Vancouver Art Gallery, August 7 to November 22, 2026, Photo: Vancouver Art Gallery · contact sheet terms · Source ↗

    Appears on: Vancouver Now! Emily Hermant

  • Visitors walk past a large installation of crushed blue plastic in Future Geographies

    Installation view, Future Geographies

    Visitors discover Future Geographies: Art in the Century of Climate Change, exhibition at the Vancouver Art Gallery, May 14 to November 15, 2026. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: Future Geographies: Art in the Century of Climate Change

  • Visitors watch John Akomfrah’s multi-screen video installation Vertigo Sea, 2015

    John Akomfrah, Vertigo Sea, 2015

    Visitors discover John Akomfrah, Vertigo Sea, 2015, in Future Geographies: Art in the Century of Climate Change, May 2026. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: Future Geographies: Art in the Century of Climate Change

  • Visitors sit in the immersive old-growth forest projection of SANCTUARY

    SANCTUARY: The Ancient Forest Experience

    Visitors discover SANCTUARY: The Ancient Forest Experience in Future Geographies: Art in the Century of Climate Change, exhibition at the Vancouver Art Gallery. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: SANCTUARY: The Ancient Forest Experience

  • Visitors watch a waterfall projection in SANCTUARY: The Ancient Forest Experience

    SANCTUARY: The Ancient Forest Experience

    Visitors discover SANCTUARY: The Ancient Forest Experience in Future Geographies: Art in the Century of Climate Change, exhibition at the Vancouver Art Gallery. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: SANCTUARY: The Ancient Forest Experience

  • Two visitors view Shuvinai Ashoona’s large drawing Untitled, 2019

    Shuvinai Ashoona, Untitled, 2019

    Visitors discover Shuvinai Ashoona, Untitled, 2019, in Future Geographies: Art in the Century of Climate Change, May 2026. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: Future Geographies: Art in the Century of Climate Change

  • Two visitors view an Emily Carr painting of tall trees at Free First Friday

    Visitors discover the work of Emily Carr

    Visitors discover the work of Emily Carr at Free First Friday, October 2026. Photo: Vancouver Art Gallery · Sarah Osborne / media@ · Source ↗

    Appears on: That Green Ideal: Emily Carr and the Idea of Nature

  • Wassily Kandinsky, Hornform, 1924 — abstract geometric composition with a curved horn shape and floating shapes, from the Frihedens Fald exhibition

    Wassily Kandinsky, Hornform, 1924 — abstract geometric composition with a curved horn shape and floating shapes, from the Frihedens Fald exhibition

    Wassily Kandinsky, Hornform, 1924. © Neue Nationalgalerie, Stiftung Preußischer Kulturbesitz, Berlin / Photo: Jörg P. Anders

    Appears on: Frihedens Fald Kunsten i Tyskland 1910 – 1945

  • Painting of a collapsed greenhouse frame half-sunk in a lush, overgrown wetland

    Avery Duff, Wasteland/Wetland, 2025

    Wasteland/Wetland, 2025. Avery Duff (b. 1992). Oil on canvas. Courtesy of the artist. © Avery Duff · supplied via press office 20 Oct 2026 · Source ↗

    Appears on: Lake Effect: Artists from Cleveland Now

  • Exhibition image for Taking Back Our Space: Photographic Perspectives

    Wendy Red Star. Catalogue Number 1944.26 from the series Accession. 2019. All inkjet prints, 17 1/8 × 28″ (43.5 × 71.1 cm) or 28 × 17 1/8″ (71.1 × 43.5 cm). The Museum of Modern Art, New York. Acquired through the generosity of Christine A Symchych and James P McNulty. © 2025 Wendy Red Star.

    Wendy Red Star. Catalogue Number 1944.26 from the series Accession. 2019. All inkjet prints, 17 1/8 × 28″ (43.5 × 71.1 cm) or 28 × 17 1/8″ (71.1 × 43.5 cm). The Museum of Modern Art, New York. Acquired through the generosity of Christine A Symchych and James P McNulty. © 2025 Wendy Red Star. · License · Source ↗

    Appears on: Taking Back Our Space: Photographic Perspectives

  • Wharton Esherick, Library Ladder Steps: a curving wooden step ladder whose uprights end in carved elephant and donkey finials

    Wharton Esherick, Library Ladder Steps

    Wharton E. Esherick Library Ladder Steps with Elephant and Donkey Shaped Finals, 1935 Hickory, Oak 34 ¾ x 18 x 23 ¼ inches 125th Anniversary Acquisition. Gift of Rachel Bok Goldman and Allen S. Goldman, M.D., 2001 Philadelphia Museum of Art. · press.philamuseum.org · Source ↗

    Appears on: A Nation of Artists

  • Abstract painting of translucent pale green and white angular ice forms layered over a deep blue ground

    Wilhelmina Barns-Graham, Glacier Crystal, Grindelwald, 1950

    Wilhelmina Barns-Graham, Glacier Crystal, Grindelwald, 1950 © Wilhelmina Barns-Graham Trust · License · Source ↗

    Appears on: Wilhelmina Barns-Graham

  • Painting of an aqueduct with a person standing at the base and a tree framing the righthand side.

    William Sartain (American, 1843-1924), The Aqueduct, last quarter of 19th century, oil on canvas, image: 31 5/8 in x 39 11/16 in; frame: 46 1/8 in x 54 1/16 in x 4 7/8 in, Gift of the children of Mrs. C.H. Lewis, public domain, 20.2

    William Sartain (American, 1843-1924), The Aqueduct, last quarter of 19th century, oil on canvas, image: 31 5/8 in x 39 11/16 in; frame: 46 1/8 in x 54 1/16 in x 4 7/8 in, Gift of the children of Mrs. C.H. Lewis, public domain, 20.2 · License · Source ↗

    Appears on: American Land

  • Suzanne Jackson, Wind and Water, 1975, acrylic wash and graphite on canvas

    Suzanne Jackson, Wind and Water, 1975

    Wind and Water, 1975. Suzanne Jackson (American, born in 1944). Acrylic wash and graphite on gessoed canvas. The Museum of Modern Art, New York, acquired through the generosity of The Modern Women’s Fund, Alice and Tom Tisch, Anne and Joel Ehrenkranz, Marie‑Josée and Henry R. Kravis, Michael S. Ovitz, Ronnie F. Heyman, and Pamela J. Joyner and Alfred J. Giuffrida. © Suzanne Jackson, courtesy Ortuzar, New York; photo: Ruben Diaz. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Suzanne Jackson: What Is Love

  • Emma Amos color etching of a figure in blue sunglasses against a gold patterned ground

    Emma Amos, Without Feather Boa, 1965

    Without Feather Boa, 1965. Emma Amos (American, 1937–2020). Color etching and aquatint; support: 81.9 x 62.4 x 0.2 cm (32 1/4 x 24 9/16 x 1/16 in.); image: 76.8 x 57.5 cm (30 1/4 x 22 5/8 in.). The Cleveland Museum of Art, Alma Kroeger Fund, 2021.142. © Emma Amos; Courtesy of RYAN LEE Gallery, New York · approved press images, supplied via press office 20 Oct 2026 · Source ↗

    Appears on: The Gift: Emma Amos with Friends

  • Pierre-Auguste Renoir, Woman with a Parasol and Small Child on a Sunlit Hillside, about 1874–76

    Pierre‑Auguste Renoir, Woman with a Parasol and Small Child on a Sunlit Hillside, about 1874–76

    Woman with a Parasol and Small Child on a Sunlit Hillside, about 1874–76. Pierre‑Auguste Renoir (French, 1841–1919). Oil on canvas. Bequest of John T. Spaulding. Photograph © Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Renoir and Love

  • Exhibition image for Divine Matter/Earthly Matters: The Material Dimensions of Christian Devotional Images

    Wood Carved and Cloisonné Cross 17 th -18 th Century Brass, fruitwood, semi-precious stones, (modern) acrylic base 7 x 3 inches (Cross) Russian Gift of Mr. and Mrs. Jacob B. Kolliner 1991:9.4

    Wood Carved and Cloisonné Cross 17 th -18 th Century Brass, fruitwood, semi-precious stones, (modern) acrylic base 7 x 3 inches (Cross) Russian Gift of Mr. and Mrs. Jacob B. Kolliner 1991:9.4 · License · Source ↗

    Appears on: Divine Matter/Earthly Matters: The Material Dimensions of Christian Devotional Images

  • Kawada Kikuji, from the series Chizu / The Map, gelatin silver print: Words burning up

    Kawada Kikuji, Words burning up (Hyoshi yo no danpen), from the series Chizu / The Map, 1959‑65, printed 1989

    Words burning up (Hyoshi yo no danpen), from the series Chizu / The Map, 1959‑65, printed 1989. Kawada Kikuji (Japanese, born in 1933). Photograph, gelatin silver print. Museum purchase with funds by exchange from the Bequest of Charles W. Millard III. Courtesy Museum of Fine Arts, Boston · Amelia Kantrovitz, 22 Oct 2026 · Source ↗

    Appears on: Kawada Kikuji: Chizu (The Map)

  • Two-paneled illustration of figures in patterned robes, one threads a needle while another peers into a box, framed by clouds and curtains.

    Yashima Gakutei 八島岳亭, Japanese (1786?-1868), A Chinese Woman with Spools; A Chinese Woman Examining Thread, 1820s; ca. 1823. Gift of George Pierce Metcalf. RISD Museum, Providence, RI.

    Yashima Gakutei 八島岳亭, Japanese (1786?-1868), A Chinese Woman with Spools; A Chinese Woman Examining Thread, 1820s; ca. 1823. Gift of George Pierce Metcalf. RISD Museum, Providence, RI. · License · Source ↗

    Appears on: The Artistry and Reunion of Two Surimono Albums

  • Yayoi Kusama's INFINITY MIRRORED ROOM - LET'S SURVIVE FOREVER building

    Yayoi Kusama, INFINITY MIRRORED ROOM - LET'S SURVIVE FOREVER , 2017. Wood, metal, glass mirrors, LED lighting system, monofilament, stainless steel balls, and carpet, 312.4 x 624.8 x 622.9 cm. © YAYOI KUSAMA. Courtesy Ota Fine Arts; David Zwirner. Photo: AGO

    Yayoi Kusama, INFINITY MIRRORED ROOM - LET'S SURVIVE FOREVER , 2017. Wood, metal, glass mirrors, LED lighting system, monofilament, stainless steel balls, and carpet, 312.4 x 624.8 x 622.9 cm. © YAYOI KUSAMA. Courtesy Ota Fine Arts; David Zwirner. Photo: AGO · License · Source ↗

    Appears on: Yayoi Kusama's INFINITY MIRRORED ROOM - LET'S SURVIVE FOREVER

  • Sculpture of two headless mannequins dressed in brightly patterned Dutch wax textiles, posed as an eighteenth-century couple beside a green iron bench with a model dog

    Yinka Shonibare, Mr. and Mrs. Andrews without their Heads, 1998

    Yinka Shonibare, 'Mr. and Mrs. Andrews without their Heads', 1998. © Courtesy the artist, Stephen Friedman Gallery, London. Image courtesy National Gallery of Canada, Ottawa. Photo: Stephen White. · License · Source ↗

    Appears on: Yinka Shonibare and Thomas Gainsborough: A Conversation

  • Exhibition image for Ink

    Yuan Jai Jadeite Cabbage 1999. Ink and color on silk. 96 × 170 cm. Courtesy of the Artist and Vitamin Creative Space

    Yuan Jai Jadeite Cabbage 1999. Ink and color on silk. 96 × 170 cm. Courtesy of the Artist and Vitamin Creative Space · License · Source ↗

    Appears on: Ink

  • Yves Tanguy and Peggy Guggenheim, 1938

    Yves Tanguy and Peggy Guggenheim, 1938

    Yves Tanguy and Peggy Guggenheim, 1938. Private collection · Arianna Ferraretto, 22 Oct 2026 · Source ↗

    Appears on: Peggy Guggenheim in London