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Benedetta Craveri offers an elegant narrative of a love affair in pre-Revolutionary, spun out in various works of art.
Hearst Castle’s Roman Pool, a sumptuous creation by Julia Morgan, serves as a metaphor for the spirit of California.
The peaceful but mysterious interiors painted by the Danish artist Vilhelm Hammershøi are explored in terms of their history, artistry, and poetry.
After abdicating the throne, Queen Christina of Sweden moved to Rome, where she devoted herself fully to her great vocation as patron of the arts and collector.
The procession of the Queen of Sheba as illustrated by Josep Maria Sert in a hall of the Wendel family’s Hôtel Particulier, now at the Musée Carnavalet.
The dome painted by Correggio in the Church of San Giovanni Evangelista in Parma at the heart of a new and original layout.
The botanical festoons frescoed by Giovanni da Udine in Rome’s Villa Farnesina, which include species then newly brought over from the New World.
Joris-Karl Huysmans' ekfrasis in the novel À rebours alongside two Salomès by Gustave Moreau, master of the Sublime.
The Etruscan studio in the royal Savoy palace of Racconigi, a noteworthy instance of a pseudo-antiquarian capriccio.
Pietro Portaluppi's collection of antique sundials, now housed at the Museo Poldi Pezzoli in Milan, presented in a magnificent display.
The voracious and well-informed career as an art collector of Cardinal Richelieu, Chief Minister of State under Louis XIII of France.
The frescoes of the Palace of Sassuolo, the delicious retreat of the Dukes of Este, are a symphony of trompe-l’œil.
Winckelmann’s Roman life in a “spoken portrait” that brings to light both personal and secret aspects.
Andrew Graham-Dixon pens a perceptive portrait of George Stubbs, the horse portraitist of eighteenth-century England.
Mr. PA, contemplating Goya’s portrait of Manuel Osorio at the Metropolitan Museum, meditates on the nature of art and his own life.
Anselm Kiefer’s site-specific exhibition at Palazzo Reale Milano explores and celebrates prophetic female figures from the past.
Half painting and half diorama, the great “cyclorama” of the Battle of Atlanta recounts a moment in American history as well as commemorating a long-lost figurative genre.
Magnificent tables of marble and inlaid stones made in Rome in the second half of the sixteenth century.
The Neo-Andean Baroque buildings by the Bolivian acrhitect Freddy Mamani Silvestre in El Alto, above La Paz.
Poet Rosita Copioli’s flash of inspiration about the basrelief of Mercury in Rimini’s Malatesta Temple.
The myth of Diana, as told in Ovid's Metamorphoses, painted by Bartholomeus Spranger, Titian and Van Dyck.
A learned and witty article describes the many self-portraits painted by Sofonisba Anguissola, often with self-promotional intent.
Ettore Guatelli’s museum of rural culture at Ozzano Taro, in the province of Parma.
The Masonic park of the Villa Durazzo Pallavicini in Pegli (near Genoa), conceived as a theatrical spectacle.
