Bonnard was intimate with all the women he painted: he knew them, as it were, by hand. In his soft, blurred splotches of bright color lies the closeness of the caress, the insights the fingers have divined. Indeed, Bonnard did not ask his models to sit for long, if at all; from a brief sketch he fill
Shankar looks beatific, sitting on stage before his sitar, a 17-stringed instrument made of two gourds, teak wood, and silver-toned frets. We can almost envision the sultan's courts in Delhi filling with melodious strains. But once Shankar begins to play, his asymmetrical rhythms delicately splinteri
At the end of the nineteenth century, there was probably no greater way to gain international recognition as an artist -- or anything else for that matter -- than to be associated with the brilliant actress Sarah Bernhardt. Czechoslovakian painter Alphonse Mucha would get just that opportunity. As a
French Impressionism was not just a style, an approach to brushwork, or a sensitivity to light. It was a new kind of content: a focus on the middle-class life of afternoons at the park, outings to the seashore, and a domestic world of well-appointed interiors. This turn toward familial and private sc