Pearlstein's tough-minded depictions of naked bodies in the studio have lately taken on a surprisingly Baroque character. The author traces the recent emergence of a "powerful eccentric impulse."
Artists, curators, and critics recall their time with the art historian and her writings.
With the Museum of Modern Art in New York preparing to open a much-anticipated Francis Picabia retrospective on Monday, we turn back to the September 1970 issue of ARTnews, in which Philip Pearlst<a href="/art-news/reviews/monster-mash-momas-retrospective-of-the-shape-shifting-provocateur-francis-picabia-is-one-of-the-best-shows-of-the-year-7336/" rel="nofollow" target="_blank"…
Experimenting first with Impressionism, then Pointillism, and then Cubism and Dada, Francis Picabia (1879–1953) made himself impossible to categorize. On the occasion of his October…
Philip Pearlstein and Andy Warhol met at Carnegie Tech and became fast friends. In New York City, they shared an apartment, worked together, and took their first steps toward fame and fortune…
On the 150th birthday of Manet's two most scandalous paintings, a show and a conference track the afterlives of the nudes, the dudes, the maid, and the cat
Artists who are going strong at 80 and up find that old age offers freedom, self-assurance, and room to explore
A veteran painter argues that the nude motion studies of Muybridge and Eakins are unjustly notorious—when they should be celebrated for influencing generations of modern artists.