art

Susumu Kamijo, The Glimmering Flowers, 2025 Acrylic and pastel pencil on canvas, 66 x 76 cm.

Caravaggio, Penitent Magdalene, 1594-95 Oil on canvas, 48 x 39 in. Location: Doria Pamphilij Gallery, Rome

Domenico Gnoli, Apple, 1968 Acrylic and sand on canvas, 47 x 63 in.

Bodys Isek Kingelez, assorted sculptures

Chaïm Soutine, Still Life with Rayfish, 1923-4 Oil on canvas, 32 x 39.3in. Collection: Metropolitan Museum of Art

Alfred Stieglitz, Georgia O'Keefe, c. 1921 Gelatin-silver print

Georges de La Tour, Woman Catching Fleas, 1630s Oil on canvas Collection: Musée Historique, Nancy, France

Paolo Uccello, Niccolò Mauruzi da Tolentino at the Battle of San Romano, probably c. 1438–1440 Egg tempera with walnut oil and linseed oil on poplar, 182 × 320 cm. Collection: National Gallery, London

William-Adolphe Bouguereau, Les Oréades, 1902 Oil on canvas, 93.5 x 71.5 in. Collection: Musée d'Orsay, Paris

Frederic Lord Leighton, Flaming June, 1895 Oil on canvas, 47 x 47 in. Collection: Museo de Arte de Ponce, Ponce, Puerto Rico

Paul Gauguin, Vision after the Sermon, 1888 Oil on canvas, 72 x 91 cm Collection: National Gallery of Scotland, Edinburgh

The simple, gilded frame and understated inscription are integral parts of the finished artwork, offering the sole indication of the psychologically loaded act central to its creation. Without the inscription, we would have no idea what is in the frame; the piece would be indecipherable." (via)

Caravaggio, The Incredulity of Saint Thomas (Secular Version), 1602 Oil on canvas, 42 x 57 in. Collection: Sanssouci, Potsdam, Germany

"Made of translucent industrial fiberglass, one of Hesse’s favorite materials, Repetition Nineteen III is the third version she planned. (The first was in papier-mâché; the second, which she imagined initially in metal, then in latex, was never completed.) Besides beautifully modulating the light, the fiberglass seems both soft and hard, contributing to the richly paradoxical character of these subtle objects: nonconformist individuals that somehow make a group. The arrangement, whatever it is, seems both random and coherent, unified by a similarity preserved through difference. Hesse expressed a sense of openness around the installation of the work. “I don’t ask that the piece be moved or changed,” she reflected, “only that it could be moved and changed. There is not one preferred format.”"

August Sander, Bricklayer, 1928

Barbara Rossi (1940-2023)

Miyoko Ito (1918-1983)