Jan 292026
 

Chopping Ice from the Water Trough, 1935, an oil painting by artist Dale Nichols, is part of Brandywine Museum of Art‘s permanent collection.

From the museum about the work-

Rising to popularity during the Great Depression, a style known as American Regionalism brought modern stylization to images of rural life. In his landscape painting Chopping Ice from the Water Trough, Dale Nichols engages Regionalism by bringing a clean, minimal approach to his representation of daily farm chores by highlighting the smooth contours of the snowy slopes and the sharp-edged geometry of the barn. Nichols, a native of Nebraska, trained and taught for many years at the Art Institute of Chicago but returned throughout his career to the farm subjects most familiar to him from his childhood. His work was so attuned to farm life that International Harvester Company commissioned him to depict a series of works marking the development and use of the famous McCormick Reaper in agriculture.

Jan 272026
 

A Morning Snow– Hudson River, the 1910 oil painting by George Wesley Bellows, is part of Brooklyn Museum‘s permanent collection (but not currently on view).

From the museum’s website about the work-

Assured, slashing strokes of a heavily loaded brush capture the effects of morning light reflected from freshly fallen snow. This view shows the Hudson River and New Jersey from Manhattan’s Upper West Side. George Wesley Bellows conveyed the sense of the city awakening through his depiction of the man shoveling snow, people going to work, boats plying the river, and smoke and steam interrupting the still, crisp atmosphere.

Elements of this composition move toward abstraction. The elevated vantage point reduces the illusion of depth, while horizontal and vertical components, seen particularly in the fence and tall trees, provide a subtle gridlike structure.

Jan 252026
 

“January”, 1940-41, Oil on masonite panel

Grant Wood‘s painting January is on view at Cleveland Museum of Art as part of their permanent collection. It feels like a good time to post it with both a big snowstorm happening in many parts of the U.S., and it being January.

From the museum about the work-

One of the last paintings Wood created before his untimely death from liver cancer, January has a decidedly nostalgic cast. According to the artist, the painting was “deeply rooted in the memories of my early childhood on an Iowa farm. . . . it is a land of plenty here which seems to rest, rather than suffer, under the cold.” One sign of activity, in the form of rabbit tracks, infiltrates the otherwise dormant scene. Wood’s composition teems with abstract design, most notably through the rhythmically geometric array of snow-laden corn shocks that seem to recede infinitely into the distance.

Jan 232026
 

“Berthe Morisot with a Muff”, c. 1871–72, Oil on canvas

Last week was Berthe Morisot‘s birthday and today it is her friend, brother-in-law, and fellow Impressionist, Édouard Manet‘s birthday. He was born on January 23rd, in 1832, and painted the portrait of her pictured above. It is part of the Cleveland Museum of Art‘s permanent collection.

From the museum about this work–

This painting depicts Impressionist painter Berthe Morisot, who met Édouard Manet at the Musée du Louvre in Paris in 1868. This portrait vibrates with vitality. Morisot wears a coat and stylish hat from which wisps of her dark hair escape. Manet’s wide brushstrokes and cross-hatchings evoke the sketchy quality of Morisot’s own paintings, likely Manet’s nod to his subject’s identity as an artist.

He made nine portraits of her in oil, watercolor, lithography, and etching during 1868–74. Initially artistic colleagues and friends, they became family in December 1874 when Morisot married Manet’s younger brother, Eugène.

The painting is currently on loan to San Francisco’s de Young museum for their current exhibition Manet & Morisot, on view until 3/1. Organized by Fine Arts Museums of San Francisco in collaboration with the Cleveland Museum of Art, the show will move to Cleveland on 3/29/26, and will run until July 5th.

About Manet & Morisot from the Cleveland Museum of Art–

Manet & Morisot is the first ever major exhibition dedicated to the artistic exchange between Édouard Manet, often referred to as the father of modern painting, and Berthe Morisot, the only woman among the founding members of the Impressionist movement. Unfolding over a period of roughly 15 years, between 1868 and 1883, theirs was perhaps the closest relationship between any two members of the Impressionist circle. As friends and colleagues—by turns collaborative and competitive—they collected one another’s work. Morisot posed for some of Manet’s most compelling portraits, several of which will be on view in the first gallery of the exhibition. When she married Manet’s younger brother, their professional connection deepened into a familial bond.

Thirty-six paintings and six drawings and prints borrowed from museums and private collections in the United States and Europe reveal the evolution of a singular friendship between two groundbreaking artists. Visitors will see beach and garden scenes made en plein air (out-of-doors) that demonstrate how Manet borrowed individual motifs and compositional ideas directly from Morisot. Portraits of fashionable Parisian women of the 1880s by the two artists show their different perspectives; Manet’s paintings were inspired by admiration and erotic interest while Morisot’s were informed by lived experience. The exhibition closes with a self-portrait by Morisot painted when she was in her mid-40s, revealing her perception of herself as a professional artist.

Jan 222026
 

“Untitled Club Painting”, 2015, Acrylic on canvas

“Untitled Gutter Painting”, 2014, Acrylic on canvas

“Untitled Black Door Painting (304) “, 2013, Acrylic on canvas

“Untitled Yard Painting (Albert)”, 2015, Acrylic on canvas

These contemplative paintings are from This Must Be the Place, Newcastle-based artist Narbi Price’s 2017 exhibition at Vane Gallery.

From Vane’s website about the exhibition:

Narbi Price’s work involves journeys to specific places that have witnessed a range of events – variously historical, famous, personal or forgotten.

He researches the precise location of a chosen event, ranging from significant moments in music, film and TV, whimsical acts through to places of violence and death amongst others. Working from photographs taken at the site, he makes paintings in the studio focusing on the abstract, formal and painterly qualities of the resultant images.

This process removes the conscious choice of subject matter; he must work with whatever is present at the spot. Whilst clearly photographically derived, the paintings use the language of abstraction to simultaneously acknowledge and disrupt the representational image. The paint is transparent, opaque, glossy, matt, dilute and impasted, often within the same work. As viewers, we are not immediately made aware of the specific histories of the sites and are given space to wonder about the multiplicities of events that might have taken place, an effect heightened by the painting method. Our experience of the work shifts as we become aware of the provenance of the depicted sites.

Below are the stories behind the locations for the paintings in this post (in bold type). All of the paintings in the exhibition can be found on Vane’s website.

Jan 162026
 

Jerome Witkin– “Lockhart“, 1972, Oil on canvas

Gary L. Schumer– “Interior Landscape”, 1983, Oil on canvas

Sometimes it can feel like the world is too noisy and filled with too much information to take in at once. One way to slow it down is to find moments in your days to connect to something around you- a person, an object, nature, or a work of art.

The two paintings above, Jerome Witkin‘s Lockhart and Gary L. Schumer‘s Interior Landscape, are from Canton Museum of Art‘s 2024 exhibition Immersive Spaces. For the show, the museum used selections from their permanent collection to encourage visitors to spend time engaging with the work.

From the museum’s website about the exhibition:

Have you ever wished you could step inside a work of art?

Art pulls us in by utilizing and activating our senses, and resonates with us based on our personal memories and experiences. In Immersive Spaces, learn how artists, through their imaginations and unique artistic processes, create art that envelops the senses.

Though we may not actually be able to feel or hear the objects and scenes depicted in a painting, artists invite us to use all of our senses when we explore a work of art—encouraging us to imagine the textures, smells, and even tastes of what is depicted. Some painters take this invitation to another level by painting details with such precision that we are tricked into believing what is painted is real.

Scientifically, by fully immersing yourself and “stepping into a painting,” you’re activating a process known as embodied cognition, where mirror neurons in the brain turn the things you see in art into actual emotions you can feel. Studies show that immersive art is beneficial; the more time you spend analyzing a piece of art, the more you are able to stimulate brain functions, which can increase your analytical and problem-solving skills in everyday life. Some studies also show that looking at art can increase blood flow to the brain by as much as 10% — the equivalent of looking at someone you love.

Curated from our Permanent Collection, Immersive Spaces brings together works of art that engage all of our senses and activate our brain functions. How do artists invite us into their paintings so that we can imagine ourselves stepping inside the picture and experiencing it firsthand? Let your senses come alive in Immersive Spaces, and get ready to experience art in a new way!

The museum has their entire collection available to view online, including the paintings above. They have also included artist biographies and sometimes, additional information about the work itself.

Here, Witkin describes the history behind his painting Lockhart, pictured above-

“In my first year at Syracuse University, I was asked to paint the Chancellor of SU at his house. The commission took place in a vast attic of the home. To my surprise, Chancellor Eggers agreed that I could use the space as my studio! That is the setting for “Lockhart.” This is one of my first ventures into painting multiple figures in space. The attractive couple chose their pose – I suggested they stay comfortable – she reading a book and he looking towards her. His legs were angled against the darkness in an interesting way, and Presto! The Pose! The couple was very in love and the title reflects their relationship. The formality of the picture is my naiveté in putting multiple figures in space…I’ve since become more comfortable but that painting taught me a lot about using the figure in space.”

Jan 142026
 

Impressionist painter Berthe Morisot was born today, January 14th, in 1841. She was part of a circle of artists that made up the Parisian avant-garde, including Edgar Degas, Pierre-Auguste Renoir, and Édouard Manet (she married his younger brother).

The oil painting pictured above, Reading (La Lecture), 1888, is on view at Museum of Fine Arts, St. Petersburg in Florida.

Dec 222025
 

Jean-Michel Basquiat was born today, December 22nd, in 1960. The painting above, Untitled (1981) is currently on view at The Broad in Los Angeles.

From the museum about this work-

Many of Jean-Michel Basquiat’s paintings are in some way autobiographical, and Untitled may be considered a form of self-portraiture. The skull here exists somewhere between life and death. The eyes are listless, the face is sunken in, and the head looks lobotomized and subdued. Yet there are wild colors and spirited marks that suggest a surfeit of internal activity. Developing his own personal iconography, in this early work Basquiat both alludes to modernist appropriation of African masks and employs the mask as a means of exploring identity. Basquiat labored over this painting for months — evident in the worked surface and imagery — while most of his pieces were completed with bursts of energy over just a few days. The intensity of the painting, which was presented at his debut solo gallery exhibition in New York City, may also represent Basquiat’s anxieties surrounding the pressures of becoming a commercially successful artist.

In the video below (also from The Broad) LeVar Burton discusses the work and its possible connection to Basquiat’s childhood and family.

Dec 192025
 

While reading through the recently released list of artists selected for next year’s Whitney Biennial, I was very happy to see Kimowan Metchewais on the list. I discovered his work when it was part of USF Contemporary Art Museum‘s 2023 exhibition, Native America: In Translation.

The exhibition included a slide show of Metchewais’s polaroids that was particularly captivating. The images in this post are just a few favorites. For more on the artist, this Aperture article from 2023 is very informative.

Below are a few more selections-