Who was Jef Geys?by Dirk SnauwaertA brief overview of late Belgian artist Jef Geys, spanning key projects, approaches, methodologies, and complexities
Tarot cards: the pocket-sized Renaissanceby Silvia TomasiFirst recorded in 15th century Italy, tarot cards have reached today's collections following strange paths and through a few discoveries.
In memory of Herman Daled, beyond his collectionby Catherine MayeurA few weeks after his passing, we delve into Herman Daled's seminal involvement with art, an engagement that went much beyond collecting.
Ancient books, an introductionby Antonio CarnevaleNiche within a niche, ancient books from the Renaissance are very much alive today, torn between objects of fetish and crossroads of stories.
Authentic or not? A brief guide, inspired by Liubov Popova and the Ludwigby Gianluca Poldi*Scientific analysis can spot fakes, but only up to a certain point. It needs a rigorous and transparent process.
Sketches of revolution: back to Zurich’s Strauhof in the 1970sby Bice CurigerFrom the show at the Strauhof in Zurich that chronicled the genesis of Swiss counter-culture, here is a chronology of its most important steps.
Sandro Botticelli: portraiture as a lost paradiseby Antonio CarnevaleBotticelli's portraits bring us to the golden age of his life, preluding his dramatic fall into debts and oblivion.
Luca Giordano, Fapresto, Famolto, Proteoby Silvia TomasiRibera, Caravaggio, Rubens, Dürer, Veronese and Titian revive in the art of Luca Giordano, turned into elements for a new painting style.
Giambattista Tiepolo: escaping the museum roomby Antonio CarnevaleTiepolo's painting lives outside museums, inseparable from the places for which it was created. Here is a comprehensive map.
Benedetto Antelami: praise of gravityby Silvia TomasiBenedetto Antelami carves the most spiritual and quotidian figures in the heaviest Medieval stone, founding blocks of cathedrals and cults.
A mistaken perspective on the Renaissanceby Antonio CarnevaleWrong, defective, crooked perspectives: they were not painters' mistakes, but ways to represent thoughts and mysteries in the Renaissance.
The quotidian avant-garde of Gustave Van de Woestyneby Evelyn SimonsSymbolism and everyday blend in the work of Belgian master Gustave Van de Woestyne, a modernist who was able to make pious and rural life feel contemporary.
What are combs for besides untying knots?by Silvia TomasiThe answer to combs collecting lies in the artists' creativity, from the Etruscans, to Füssli, Man Ray, Picasso, Dalí, Calder...
The symbolic, erotic, and lunar asparagusby Silvia TomasiThrough Flemish painting, Manet, Max Ernst, Andreas Gursky, and Hannah Levy, we start to believe that the asparagus has feelings too.
Luigi Zuccheri, the accidental modernistby Sofia SilvaA 20th century, ancient Venetian painter who found himself modern by chance, Luigi Zuccheri pushed localism to the limit.
The figure of the rope between gore, eros and faithby Silvia TomasiGoya, Lady Gaga, Man Ray, Giulio Paolini, Georg Baselitz, Jake and Dinos Chapman, Antonello & co., all tied together to a vibrating rope.
Why take an artwork from the place it was made for?by Antonio CarnevaleBringing works of art out of museums and back to their places of origin is what we should do: the future may begin in the church of Santa Corona in Vicenza.
No leap is ever into the voidby Silvia TomasiA saga of artist jumps through the work of Hsieh, Mureșan, de Dominicis, Perrone, in the wake of Yves Klein's famous leap into the void.
Velázquez and why even masterpieces need titlesby Antonio CarnevaleLa Meninas is Velázquez's most famous masterpiece. However, another of his paintings shows us how words can change our view on artworks.
Five self-portraits at the time of surveillance capitalismby Antonio CarnevaleWhat takes you from facial recognition algorithms to a museum of ancient art? The hope of finding an antidote to big data.
