Editorial from Exhibo and official announcements from Musée d'Orsay.
Editorial coverage on Exhibo
Thick paint, knife and brush: binders, drying chemistry, Van Gogh to de Kooning, cracking modes, and studio costs today
Impasto is the practice of laying paint so thick that brush or knife marks stand in relief on the support. This guide stays with technique: how binders carry weight, how workshops sequence layers, who pushed the method from Rembrandt's lead white to de Kooning's scraped surfaces, and why conservators treat peaks differently from flat film.
How Abu Dhabi took one of the West's most contested ideas — the museum that claims to hold all of humanity — and moved the question of who gets to frame the world
A portolan chart in the floor, three ewers without a hierarchy, and a $450-million Leonardo no one has seen since it was bought. The Louvre Abu Dhabi is a French–Emirati experiment in what the universal museum becomes when it is rebuilt from a different centre — and whether that moves the centre, or merely moves the Louvre, is the question the building leaves open.
The 1894 painting, the latest addition to the Abu Dhabi Masterpieces Collection, will be on view for a year alongside Monet, Japanese prints and photography that trace Impressionism's cross-cultural roots.
Pierre-Auguste Renoir's 1894 double portrait of Berthe Morisot and her daughter, Julie Manet, is now on display in the permanent galleries of Louvre Abu Dhabi for one year — the latest addition to the Abu Dhabi Masterpieces Collection, placed in dialogue with Monet, Japanese prints and period photography.
A field guide to collecting Arab and Middle Eastern art — who buys, what it costs, why prices lag cultural significance, and where collectors are looking now.
How the Arab world went from selling its art history to the West to building the fastest-growing market for Middle Eastern art on earth — who buys, why, what it costs, and where the smart money is looking now
