When two weeks ago the Los Angeles Times published an article with a reproduction of "Adam" and "Eve" by German Renaissance painter Lucas Cranach the Elder -- the news was good, at least for the Norton Simon Museum in Pasadena.
"I am a great artist and I know it," wrote Paul Gauguin to his Danish wife Mette. "It is because I am such that I have endured such sufferings... You tell me that I am wrong to remain far away from the artistic center. No, I am right. I have known for a long time what I am doing and why I do it. My artistic center is in my brain and not elsewhere and I am strong because I am never sidetracked by others"
One night in 1908, at the age of 64, Henri Rousseau, the toll booth operator turned self-taught painter, found himself at the epicenter of the Parisian avant-garde, or at the center of an elaborate joke, or perhaps a little of both.
Hundreds of his small porcelain pots are meticulously arranged in vitrines with a very particular syncopated rhythm. The ever-changing space between them is as important in his work as the moments of silence between the words of a poem.
The exhibition Paul Gauguin at Fondation Beyeler in Riehen (Basel, Switzerland) is one of the highlights of the art year 2015. The show brings together about fifty masterpieces by Paul Gauguin from leading international museums and private collections such as the Musée d'Orsay, Paris.
In celebration of its 150th anniversary, the Albright-Knox Art Gallery in Buffalo organized a travelling exhibition, Gauguin to Warhol, which is currently on display at The San Diego Museum of Art.
Although only in its infancy, Prospect New Orleans has garnered worldwide attention as an innovative and important contemporary art biennial with its latest rendition.