Sebastian Smee

Column by Sebastian Smee What soundtrack would you choose to go with this 1907 painting by Vilhelm Hammershøi?

A superb Jacques-Louis David exhibition at the Louvre seeks to recast the Jacobin regicide as a “free spirit.” But he was also propagandist.

The great American ceramic artist, weaver and painter Toshiko Takaezu is the subject of a beautiful traveling retrospective.

Watchful, assessing and faintly disgusted, this young Irish girl stares out of a tight frame, her own fiery interest in a world we cant see burning through our voyeuristic interest in her.

Kerry James Marshall is contemporary art’s great engine tinkerer. He wants to know how things work. In the 1990s, when his contemporaries were making slight, cerebral works using found objects,

Decades after a brazen art theft drove Merry White’s father to despair, federal agents closed in on one last missing work. For White, the search is personal.

Merry White crumpled to the gallery floor. She had been walking around the East Building at the National Gallery of Art in 1984 when shed suddenly

Frederic Edwin Church sold a nation on its own mythology. That was his making—and his unmaking.

The festival is excessive, at times preposterous. But it can still yield moments of profundity.

Trump’s colossal monument would mar Washington’s skyline and disrupt one of its most sacred spaces.