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    Krzysztof Grzybacz’s ‘Floral Compositions’ Are Tender Portrayals of Togetherness

    “Yellow, White, Orange, Pink, Blue, Yellow, White” (2025), diptych, oil on canvas, 200 × 320 centimeters. Photos by Bartosz Zalewski. All images courtesy of Krzysztof Grzybacz and Galeria Dawid Radziszewski, Vienna, shared with permission

    Krzysztof Grzybacz’s ‘Floral Compositions’ Are Tender Portrayals of Togetherness

    March 27, 2025

    Art

    Kate Mothes

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    Arranged by size and hue, the blooms in Krzysztof Grzybacz’s large-scale oil paintings appear in comfortable togetherness, each individual’s features amplified by its placement next to those that differ. His Floral Compositions series organizes the flowers against swaths of green fabric, exploring their potent symbolism.

    Grzybacz taps into the age-old tradition of flowers in oil, rendering their petals and stems in vibrant hues that capture their unique outlines and textures. Rooted in still life, his compositions are underpinned by abstraction and the artist’s fascination with layering and perspective.

    “Yellow” (2025), oil on canvas, 200 × 160 centimeters

    The works in Grzybacz’s current solo exhibition at Galeria Dawid Radziszewski also reference the queer community. “Flowers are like people: they pose, search for their own space, and mark out boundaries,” says a statement from the gallery. The artist nods to the role of order and systems, while also emphasizing the importance of celebrating diversity.

    Grouped together in front of textile folds, oblique grids, or distorted human features, the artist invokes the power of alliances through a sense of tenderness, curiosity, and pliability.

    Floral Compositions continues through March 29 in Vienna. Find more on Grzybacz’s website and Instagram.

    “Blue, yellow, orange, white, pink” (2025), oil on canvas, 100 × 80 centimeters

    “Orange, blue, pink, yellow, white, maroon, purple” (2025), oil on canvas, 200 × 160 centimeters

    “White, Yellow, Orange, Blue, Purple” (2025), oil on canvas, 200 × 160 centimeters

    “Blue, White, Yellow, Orange, Pink” (2025), oil on canvas, 100 × 80 centimeters

    “White, maroon, orange, yellow, blue” (2025), oil on canvas, 70 × 60 centimeters

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    Traverse Hieronymus Bosch’s ‘The Garden of Earthly Delights’ with Smarthistory

    Hieronymus Bosch, “The Garden of Earthly Delights” (1490-1510), oil on oak panels, 81 x 152 inches. Image courtesy of the Museo del Prado, Madrid

    Traverse Hieronymus Bosch’s ‘The Garden of Earthly Delights’ with Smarthistory

    March 24, 2025

    Art

    Kate Mothes

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    Have you ever wondered why two large owls sit on either side of the central panel in “The Garden of Earthly Delights” by Hieronymus Bosch? Or perhaps you’ve noticed the strangely fleshy, sculptural fountains rising from the bodies of water—or are they stone? Why is the right side so dark, and who are all these people anyway?

    Narrated by Dr. Beth Harris and Dr. Steven Zucker, Smarthistory’s latest video tours the uncanny landscapes of Bosch’s famous triptych, which continues to “confound our expectations of Christian art of the Renaissance.”

    Smarthistory is a small nonprofit that collaborates with hundreds of art historians, curators, archaeologists, and more, who are committed to making art history as accessible as possible. Through essays, conversations, and videos, the organization presents scholarly information in engaging, digestible, yet analytically rigorous lessons.

    For Smarthistory’s video examining some of the motifs in “The Garden of Earthly Delights,” Harris and Zucker dive into some of the most alluring details of Bosch’s historic painting, parsing mysteries that have persisted since its creation at the turn of the 16th century.

    The overarching narrative of Bosch’s masterpiece remains largely an enigma. “Although it is wonderfully playful and wonderfully inventive and just an incredible thing to look at, it would have been deeply troubling to Bosch’s generation,” Zucker says. “His society would have looked at this as sinful, even though the people that are being represented here didn’t understand sin.” (More on that in a minute.)

    An anomaly of its genre, the painting was commissioned by Engelbert II, a wealthy member of the court of the Duke of Burgundy, probably intending it for his palace. The work consists of three panels in the style of an altarpiece, with two half-size panels on either side of a central composition, which fold inward like two doors to reveal another painting on the exterior.

    Detail of the left panel portraying God introducing Eve to Adam

    In Bosch’s case, he depicted a crystalline sphere in grisaille, or all-gray, which portrays an overview of the earth with God perched in the upper left-hand corner, readying to make something of the lackluster orb. Two biblical phrases, “for he spake and it was done,” from Psalm 33, and “for he commanded and they were created,” from Psalm 148, reference Creation.

    Turning over the panels, as if opening the cover of a book, we enter an otherworldly realm where humans and beasts mingle with oversized animals, fruit, and surreal structures. On the left, Adam and Eve are introduced by a young God, before Eve was tempted to eat the forbidden fruit hanging in the Garden of Eden. In the center, dozens of nude figures frolic, eat, engage in sexual activities, forage, swim, and fly. On the right is hell.

    “One of the most compelling theories is that the central panel is an alternate story,” Zucker says. “What if the Temptation had not taken place? What if Adam and Eve had remained innocent and had populated the world? And so is it possible that what we’re seeing is that reality played out in Bosch’s imagination?”

    Exterior of “The Garden of Earthly Delights” shown with panels closed

    Two oversized owls, symbolic of the presence of evil, flank the central panel. While people appear unashamed of their selves or actions, a sense of uneasiness pervades the scene, balancing the dichotomies of paradise and hell; holiness and sin.

    “The largest figure is a figure which art historians call the ‘tree man,’” Dr. Harris says. “His legs look like the branches of trees with more branches growing from them. But where we might see his feet, we see two unsteady boats in the water with figures in them, suggesting that there’s an inherent instability to this figure who can barely balance in this way.”

    Smarthistory’s video illustrates compositional tools that provide clues to underlying narrative and metaphor, like the way the “tree man” appears to look back across space at Adam and Eve—specifically Adam’s lustful gaze as the representation of humankind’s origin. “In this representation, we don’t need the apple. We don’t need the serpent. All we need is Adam’s lustful gaze as he is introduced to Eve,” Dr. Zucker says. And the rest, so to speak, is history.

    Explore more from the world of art on Smarthistory’s website. You might also enjoy this fantastical parade in The Netherlands devoted entirely to Bosch and Roberto Benavidez’s Bosch-inspired piñatas.

    Detail of the central panel

    Detail from the right-hand panel depicting Hell

    Detail of the central panel

    Detail of the central panel

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    ‘Little Beasts’ Is a First-of-Its-Kind Museum Collaboration Reveling in Art and the Natural World

    Jacopo Ligozzi, “A Groundhog or Marmot with a Branch of Plums”. (1605), brush with brown and black wash, point of the brush with black and brown ink and white gouache, and watercolor, over traces of graphite on burnished paper, sheet: 13 x 16 5/8 inches. All images courtesy of The National Gallery of Art, Washington, D.C., shared with permission

    ‘Little Beasts’ Is a First-of-Its-Kind Museum Collaboration Reveling in Art and the Natural World

    March 21, 2025

    ArtHistoryNatureScience

    Kate Mothes

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    During the 16th and 17th centuries, major developments in colonial expansion, trade, and scientific technology spurred a fervor for studying the natural world. Previously unknown or overlooked species were documented with unprecedented precision, and artists captured countless varieties of flora and fauna in paintings, prints, and encyclopedic volumes.

    Marking a first-of-its-kind collaboration between the National Gallery of Art and the Smithsonian National Museum of Natural History, Little Beasts: Art, Wonder, and the Natural World pairs nearly 75 prints, drawings, and paintings with around 60 objects from the NMNH collection.

    Jan van Kessel the Elder, “Insects and a Sprig of Rosemary” (1653), oil on panel, 4 1/2 x 5 1/2 inches

    “In major cities like Antwerp, artists such as Joris and Jacob Hoefnagel and Jan van Kessel created highly detailed drawings, prints, and paintings of these insects, animals, and other beestjes, or ‘little beasts’ in Dutch,” says the National Gallery of Art. “Their works inspired generations of artists and naturalists, fueling the burgeoning science of natural history.”

    Natural history has been a focus for scholars since ancient times, albeit early commentary was a bit more wide-ranging than its definition today. The largest single work to have survived from the Roman Empire is Pliny the Elder’s Naturalis Historia, which consists of 37 books divided into 10 volumes and covers everything from astronomy to zoology and mineralogy to art.

    Studying the natural world in ancient and early modern times was predominantly a philosophical pursuit until a discernible change during the Renaissance. By the 16th century, attitudes had shifted. The humanist learning tradition, centered on literature and the arts, began to give way to more advanced explanations for natural objects, describing their types and transformations and grouping them into classes.

    Private collections played a fundamental role in founding many natural history archives. The popularity of Wunderkammers, or “rooms of wonder,” transformed a pastime of the wealthy into exercises in scholarly prestige. By the late 17th century, more rigorous and formalized classification systems emerged as the philosophical component waned.

    Wenceslaus Hollar, “Shell (Murex brandaris)” (c. 1645), etching on laid paper, plate: 3 3/4 x 5 3/8 inches

    Throughout this time, artists like Albrecht Dürer, Clara Peeters, and Wenceslaus Hollar created works that responded to new discoveries. From biologically accurate renderings of shells and insects to playful compositions that employ animals and plants as decorative motifs, paintings and prints were often the only means by which the public could see newly discovered species.

    “Art and science have been closely aligned throughout the 175-year history of the Smithsonian,” says Kirk Johnson, director of the NMNH. “Even today, researchers at the National Museum of Natural History depend on scientific illustrators to bring clarity and understanding to the specimens they study.”

    Little Beasts opens on May 18 and continues through November 2 at the National Gallery of Art in Washington, D.C. Find more on the museum’s website.

    Clara Peeters, “Still Life with Flowers Surrounded by Insects and a Snail” (c. 1610), oil on copper,
    overall: 6 9/16 x 5 5/16 inches; framed: 10 x 9 x 1 1/2 inches

    Robert Hooke, “Micrographia: or, Some physiological descriptions of minute bodies made by magnifying glasses. / With observations and inquiries thereupon” (1665), bound volume with etched illustrations height (foldout illustrations significantly larger): 12 3/16 inches

    Jan van Kessel the Elder, “Artist’s Name in Insects and Reptiles [bottom center]” (1658), oil on copper, overall: 5 5/8 x 7 1/2 inches; framed: 9 7/8 x 12 1/8 inches

    Jan van Kessel the Elder, “Noah’s Family Assembling Animals Before the Ark” (c. 1660), oil on panel, overall: 25 3/4 x 37 3/16 inches; framed: 32 3/4 x 44 1/4 inches

    An Elephant Beetle (Megasoma e. elephas) from the Department of Entomology collections at the Smithsonian Institution National Museum of Natural History

    Wenceslaus Hollar, “Two Butterflies, a Wasp, and a Moth” (1646), etching on laid paper, plate: 3 3/16 x 4 3/4 inches; sheet: 3 1/4 x 4 13/16 inches

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    Robert Peterson Summons Black Resilience and Tenderness in Vibrant Portraits

    “The Prophet” (2025), oil on canvas, 48 x 30 inches. All images courtesy of the artist and albertz benda, New York and Los Angeles, shared with permission

    Robert Peterson Summons Black Resilience and Tenderness in Vibrant Portraits

    March 20, 2025

    Art

    Kate Mothes

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    In characteristically glistening blue hues, Robert Peterson’s striking portraits invite us into emotionally complex inner worlds.

    Peterson centers the Black body in paintings that challenge dominant narratives surrounding Black lives, celebrating beauty, compassion, and resilience. Tender portraits reveal the essential humanity of vulnerability and individuality with an emphasis on themes of empathy and togetherness.

    “Protect Those Tears” (2025), oil on canvas, 14 x 11 inches

    Peterson’s choice of oils, a traditional portrait medium, embeds his work in the continuum of Western painting. However, instead of highly stylized scenes or elaborate ornamentation, his figures are often set against bold, flat backgrounds and they appear half-dressed or in casual clothes, unguarded and relaxed.

    In his forthcoming solo exhibition, We Are Forever at albertz benda, Peterson examines familial connections, paying homage to the strength and dedication inherent in the relationships between siblings and parents and their children.

    “At the core of this new body of work is a profound sense of intimacy, offering a thoughtful reflection on presence and the enduring significance of his subjects’ stories,” the gallery says.

    We Are Forever runs from March 27 to May 3 in New York. Find more on the artist’s website and Instagram.

    “Untitled (Purple)” (2025), oil on canvas, 18 x 14 inches

    “Water Me” (2025), oil on canvas, 24 x 20 inches

    “Hamsa Tattoo” (2025, oil on canvas, 28 x 22 inches

    “Untitled (Black)” (2025), oil on canvas, 18 x 14 inches

    Installation view of works at the Dallas Art Fair

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    A Visit to Amy Sherald’s Studio Revels in Her Commitment to Beauty

    All images courtesy of Art21

    A Visit to Amy Sherald’s Studio Revels in Her Commitment to Beauty

    March 19, 2025

    ArtFilm

    Grace Ebert

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    From the studio to her childhood bedroom in Columbus, Georgia, to the museum, a new film from Art21 presents a broad portrait of Amy Sherald. The artist is perhaps best known for her depiction of former First Lady Michelle Obama and her signature images of Black Americans rendered in grayscale.

    In “Singular Moments,” the Art21 team peers into Sherald’s process and captures the intricacies of creating a work. Reference photos taped to a wall and paint squirted onto white paper plates accompany the artist as she works on her increasingly large-scale canvases.

    Sherald frequently paints people she knows, beginning with their faces and eyes before moving on to the rest of their figures. As the title of the film suggests, her focus is on a single moment of beauty. “I think beautiful paintings are important,” she says in the film. “I say figuration is like the soul food of art making. It’s what takes you back home and what you eat when you need comfort, and we all need that at some point.”

    The film comes ahead of Sherald’s first solo exhibition at a New York museum, American Sublime, which will present about 50 works from 2007 to today next month at the Whitney Museum of American Art. In addition to a visit to the artist’s parents’ home, filled with grade-school pictures and teenage art projects, viewers also witness the creation of some of her more recent works, particularly those exploring what it means to be an American.

    Watch “Singular Moments” above, and be sure to read our conversation with the artist in which she discusses anxiety and finding respite in her work.

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    Porcelain Vessels Are Portals Through Time and Space in Paintings by Sun Hwa Kim

    “Still Life with Jars” (2025), acrylic and flashe on canvas, 60 x 84 inches. All images courtesy of the artist and Harper’s, New York

    Porcelain Vessels Are Portals Through Time and Space in Paintings by Sun Hwa Kim

    March 17, 2025

    Art

    Kate Mothes

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    In the late 17th century, during Korea’s Joseon Dynasty, a particularly rotund, plain white porcelain vessel rose to popularity. Nicknamed “moon jars” for their milky glaze and spherical form, the earliest examples were finished in wood-fired kilns to add character to their minimalist surfaces. Treasured and reproduced by skilled artisans throughout the centuries, the classic style continues to influence contemporary artisans.

    For Brooklyn-based artist Sung Hwa Kim, the traditional Korean jar serves as a starting point for an ongoing series of paintings invoking decorative vessels as metaphorical containers for the past. In the context of the still-life, he conjures what he refers to as “visual haikus,” poetic evocations of the passing of time, like changing seasons and the transition from day into night.

    “Still Life with Jar, Ashtray, and Vincent van Gogh Painting” (2024), acrylic and flashe on canvas, 72 x 60 inches

    In Kim’s current solo exhibition, Spring, Summer, Fall, Winter, and Spring at Harper’s, the artist emphasizes quiet, everyday moments in domestic settings that often overlook brick buildings or the iconic Brooklyn Bridge. Some of his compositions are vibrantly monochrome, setting the scene for a vase on top of a table, containing a scene from a historic painting or faraway landscape.

    Kim often incorporates spectral, glowing insects (previously) and situates the vessels on sills or near windows. Vases contain landscapes, trees, and animals, while decor on the walls reference works by famous modernists like Vincent van Gogh, René Magritte, and Sanyu.

    Inside the pots, the flora appears ghost-like or faded, rendered in fuzzy gray marks, and objects left nearby, like a pencil and notebook or a drinking glass, suggest that someone was recently present but an unspecified time has passed since they left. The jars serve as portals to other times and places just as the windows provide views of another world. “Ultimately, Kim masterfully inhabits the role of guide, making perceptible the delicate threshold between what fades and what endures,” says a gallery statement.

    Spring, Summer, Fall, Winter, and Spring continues in New York through April 5. See more on the artist’s website and Instagram.

    “Still Life with Jar, Fruits, and Incense Burner” (2025), acrylic and flashe on canvas, 72 x 60 inches

    “Still Life with Jar and Round Glass Top Table” (2025), acrylic and flashe on canvas, 50 x 40 inches

    “Still Life with Jar, Moon Lamp, and René Magritte Postcard” (2024), acrylic and flashe on canvas, 72 x 60 inches

    “Still Life with Jar, Pencil, and Notebook” (2025), acrylic and flashe on canvas, 60 x 48 inches

    “Still Life with Jar” (2024), acrylic and flashe on canvas, 50 x 40 inches

    “Still Life with Jar and Sanyu Painting” (2025), acrylic and flashe on canvas, 60 x 48 inches

    “Still Life with Jars” (2025), acrylic and flashe on canvas, 60 x 48 inches

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    Sparse Brushstrokes Give Rise to Thick Impasto in Jose Lerma’s Minimal Portraits

    “Leidy” (2025), acrylic on burlap, 48 x 36 inches. All images courtesy of Jose Lerma and Nino Mier Gallery, shared with permission

    Sparse Brushstrokes Give Rise to Thick Impasto in Jose Lerma’s Minimal Portraits

    March 13, 2025

    Art

    Grace Ebert

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    When Jose Lerma encountered “Reception of the Grand Condé by Louis XIV” by Jean-Léon Gérôme at the Musée d’Orsay in Paris, he found himself drawn to the figures tucked far behind the crowd. Known for his meticulous realism, Gérôme rendered these small characters with minimal brushstrokes, a decision that has influenced Lerma’s work for more than a decade.

    Exaggerating the sparse quality of the figures, Lerma (previously) paints portraits in wide swaths of acrylic applied with brooms and industrial tools. The new works retain the contrasts of earlier pieces as well-defined strokes sweep across the burlap to form heavy, impasto ridges.

    “Yamila” (2025), acrylic on burlap, 72 x 48 inches

    At Nino Mier Gallery in Brussels, Lerma’s new solo exhibition Bayamonesque presents the culmination of his current style. The title references his upbringing in Bayamón, Puerto Rico, and how we think about resemblance. Painting both real subjects and manufactured characters, the portraits reference those who might otherwise be relegated to the background, stripping down their likeness to only what’s necessary.

    Vacillating between figurative and abstract, the compositions are what Lerma refers to as “the summary of a portrait…The abstract painter in me is, above all, drawn to certain people for specific features that can be broken down to their bare minimum as paintable elements: an expressive cowl, a striking nose, a distinctive shape of lips.”

    Bayamonesque is on view from March 14 to April 17 in Brussels. Find more from Lerma on Instagram.

    “Celimar” (2025), acrylic on burlap, 32 x 24 inches

    “Leda” (2025), acrylic on burlap, 72 x 48 inches

    “Clarisa” (2025), acrylic on burlap, 32 x 24 inches

    “Felo” (2025), acrylic on burlap, 24 x 16 inches

    “Ismaela” (2025), acrylic on burlap, 32 x 24 inches

    “Rania” (2025), acrylic on burlap, 32 x 24 inches

    “Fernanda” (2025), acrylic on burlap, 24 x 16 inches

    “Lisi” (2025), acrylic on burlap, 48 x 36 inches

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    Keita Morimoto Lingers in the Artificial Light of Urban Nights

    “Green Room” (2025),
    acrylic and oil on linen, 162 x 194 x 3 centimeters. Photos by Shin Inaba, courtesy of Keita Morimoto and Almine Rech, shared with permission

    Keita Morimoto Lingers in the Artificial Light of Urban Nights

    March 12, 2025

    Art

    Grace Ebert

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    Cities are constantly in flux, but Keita Morimoto (previously) invites us to linger in their transitions a little longer. The artist renders corner stores, vending machines, and lampposts that illuminate spaces that might otherwise go unnoticed. Either unoccupied or inhabited by just one or two people, Morimoto’s scenes are dimly lit but not eerie and invoke the environments most of us engage with for just a moment.

    “The anonymous, liminal spaces in my paintings echo the feeling of never fully belonging,” Morimoto says in a statement. “I’m drawn to the way emotions can transform a familiar setting into something entirely different, revealing deeper truths about the human experience.” 

    “Crossroad” (2025), acrylic and oil on linen, 162 x 130 x 3 centimeters

    In a new body of work titled To Nowhere and Back, the artist continues his explorations into the interplay of light and shadow. Drawing on the sights of New York City and Tokyo, he considers how we find connection in a world that’s constantly changing. He shares:

    My work reflects a lifetime of navigating conflict, loneliness, and the desire to escape within urban environments. When I moved from Osaka to Canada at 16, I experienced a profound sense of isolation, as though severed from everything familiar. Over time, some connections emerged, but it was always accompanied by subtle discomfort. Returning to Japan in 2021 brought a similar disorientation—moments when even my birthplace felt unfamiliar, as if reality itself had shifted.

    Rather than translate streets he’s wandered down directly onto the canvas, Morimoto paints with a cinematic quality. This pulls the viewer from the familiar and makes even the most ordinary sidewalk appear intriguing. Zeroing in on light sources further supports this vision, and artificial bulbs become beacons amid scenes shrouded in darkness. The artist considers how these machines create “a robotic harmony in Japanese urban life” and paints them as characters in their own right.

    To Nowhere and Back runs from March 14 to April 26 at Almine Rech in Tribeca. Find more from Morimoto on Instagram.

    “Last Call” (2025), acrylic and oil on linen, 116.7 x 91 x 2.8 centimeters

    “Evening Embers” (2025), acrylic and oil on linen, 162 x 130.3 x 3 centimeters

    “Forgotten Path” (2025), acrylic and oil on linen, 162 x 259 x 4 centimeters. Photo by Osamu Sakamoto

    “Waiting Hour” (2025), acrylic and oil on linen, 116.7 x 91 x 2.8 centimeters

    “No Destination” (2025), acrylic on panel, 27.3 x 22 x 2 centimeters

    “Evening Embers” (2025), acrylic and oil on linen, 162 x 130 x 3 centimeters

    “Stairs to Nowhere” (2025), acrylic and oil on linen, 162 x 130 x 3 centimeters

    “The Way Back” (2025), acrylic and oil on linen, 162 x 194 x 3 centimeters

    “Missed Calls” (2025), acrylic and oil on linen, 145.5 x 112 x 3 centimeters

    “Gathering” (2025), acrylic on panel, 27.3 x 22 x 2 centimeters

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