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      The Painter of Revolution, on Both Sides of the Atlantic

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      Born into slavery, Guillaume Lethière became one of France’s most decorated painters. For the first time, a major exhibition gives us the full view of his scenes of love and war.Liberté, égalité … and that third one, what is it again?On July 14, 1789 (exactly 235 years ago this Sunday), some idealistic Parisians stormed a not especially crowded prison. They overthrew the king’s guard. They set in train a three-pronged revolution: for individual liberty, for civil equality, and, last and rarest, for communal obligation. That July fraternity passed from the realm of genealogy into politics — and this July’s startling French legislative election, fought over race, migration and national belonging, confirms how agitated that third virtue remains. Who is my brother? In the National Assembly of 1789 and the National Assembly of 2024, some questions never get a final answer.Far from the Bastille, at the Clark Art Institute in the Berkshires, one of the most remarkable exhibitions I’ve seen in years punches right at the heart of today’s altercations over nationality and democracy, culture and politics, and what it means to be a citizen. Guillaume Lethière (1760—1832) was a Neoclassical painter of mixed race who has never, until now, been the subject of a solo museum show. Born in the French Caribbean, almost certainly into slavery, he reached the summits of artistic achievement in Paris and Rome. As rebellions and revolutions shook both France and the Caribbean, he painted massive history paintings of heroes in togas, and portraits of men and women from Europe and the Antilles. It was Lethière’s calling, in an era where no bonds seemed stable, to give form to fraternité.“Woman Leaning on a Portfolio,” circa 1799, oil on canvas, at the Clark. Our critic celebrates “the aloof precision of Lethière’s line” in this portrait, which pictures his stepdaughter clutching an artist’s papers. Richard Beaven for The New York TimesThis groundbreaking show was organized over five years by Esther Bell and Olivier Meslay of the Clark, along with Marie-Pierre Salé of the Musée du Louvre in Paris, where the exhibition will travel in November. Bell and Meslay have also edited an imposing 400-page catalog, bulky with contributions from leading scholars of French and Caribbean history. But “Guillaume Lethière” is not — this point is critical — a corrective exhibition, highlighting some marginal figure excluded from a white, European establishment. Lethière couldn’t have been more central to the Paris art world of the late 18th and early 19th centuries. He ran one of the leading academies. He painted the empress Joséphine, a fellow Creole. Ingres drew him and his family. In a 1798 painting depicting France’s celebrity artists of that age of revolution, Lethière stands in the most prominent position, bathed in light.Even today, at the Louvre, he is hiding in plain sight. If you’ve ever fought through the throngs in the Italian painting wing, you may remember being spat out of the Mona Lisa gallery into a grand chamber with a concession selling magnets, mugs and other souvenirs. In all my years I never really looked up in that room — but right there, hanging above the Leonardo Rubik’s cubes and Eiffel Tower figurines, are two giant paintings by Lethière, two stentorian 25-footers of antique virtue and death. A consul orders his sons beheaded for betraying the Roman Republic. A centurion stabs his daughter to save her from enslavement.That’s our guy! As weighty as marble. As serious as the law. What you are going to see in this show is the cold beauty of Neoclassicism: a style predicated on Greek and Roman examples that found favor during the French Revolution, everywhere from painting and architecture to fashion and furniture design. Neoclassicism frowns on pleasure. It sneers at ornament. Its greatest exponent was Jacques-Louis David, the Jacobin artist/terrorist and Lethière’s great rival, who painted Roman history and myth as moral lessons for the new French republic.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      It’s Still Barbie’s World

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      A new exhibition reminds us that while the famous doll can now do any job, her greatest power is selling stuff — to children and adults alike.At the latest celebration of the world’s most famous doll, everything is pink.People speak in hushed tones, pointing out their favorite — the one they had, or wanted desperately — and laugh with childish wonder about the fantastical stories they used the curvy, 11.5 inch figure to tell. Strangers of all ages swap tales and compare models. Some recall being forbidden to own the doll, with its rather sexy adult body; some profess disinterest or even disdain; and others wonder about how sustainable it is to produce so many of the plastic figures that three are sold every second.Love her or hate her, Barbie — 65 this year and still basking in the glow of her recent Hollywood success — has a powerful hold on the cultural imagination of adults and children alike. At “Barbie: The Exhibition,” running through Feb. 23, 2025, at the Design Museum in London, 180 chronologically displayed dolls and accessories chart her aesthetic and sociocultural shifts.The show opens with the original: the first Barbie ever, spotlit on a pedestal where she turns slowly in her strapless black-and-white-striped bathing suit, her tiny feet wedged into precariously high kitten-heel sandals, her blonde ponytail coif immaculate. Nearby, the first commercial for the doll plays on a monitor, its sugary sweet jingle drifting through subsequent rooms: “Barbie’s small and so petite, her clothes and figure look so neat!” and “Purses hats and gloves galore, and all the gadgets gals adore! Barbie, beautiful Barbie …”By the last gallery, Barbie has a mansion, a camper van, a cabin in Aspen, a hot rod, a mini car and a pool with a slide.Benjamin Cremel/Agence France-Presse — Getty ImagesWhen Ruth Handler, who co-founded Mattel in 1945 and acted as its first president, conceived of Barbie in the early 1950s, it was as an alternative to the omnipresent baby doll, which she thought — watching her daughter play — automatically socialized young girls for marriage and motherhood.Barbie, launched to some skepticism from male executives in 1959, was an adult woman with a glamorous interchangeable wardrobe, offering more role play options. For parents spooked by Barbie’s maturity, Mattel developed more benign options, including a freckled best friend, Midge (1963) and little sister Skipper (1964). Ken, Barbie’s devoted boyfriend, appeared in 1961, with a head of strange velvet hair. And so, the franchise grew and grew.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Wide, Wide World of Judy Chicago

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      The 84-year-old American is perhaps best known for her groundbreaking feminist installation “The Dinner Party,” but she is an artist with a formidable range.Like all women and all art, Judy Chicago contains multitudes. This summer, the 84-year old American artist’s lifelong interest in excavating and subverting female history through storytelling, activism and overtly feminine aesthetics and materials is on display in two bold and affecting European retrospectives.Across venues in Britain and France, six decades of Chicago’s distinctly feminist oeuvre show a remarkable range. Minimalist sculptures; psychedelic spray-painted car hoods; landscapes billowing with bright plumes of smoke; and paintings of swirling, hallucinatory flowers fill the galleries with Chicago’s hallmark bright colors and undulating line.Many works incorporate personal texts in tidy, looping cursive about gendered rejection, shame, longing and anger. And tapestries, wall hangings and monumental drawings on black paper present female bodies, including the body of the artist herself, in states of ecstasy, abandon, dissolution — being born, giving birth, dying and evanescing into the ether in rainbow sweeps and spirals. These works foreground the female nude, its life-giving properties and implicit connection to the natural world.One of the shows, “Herstory” — which ran at the New Museum in New York this past fall and is now on show at the LUMA Foundation in Arles, France — is a classic chronological display of Chicago’s work from the early 1960s to the present; the other, “Revelations,” at the Serpentine Galleries in London, focuses on the artist’s drawings. The catalog for the London exhibition also includes an illuminated manuscript of the same name from the 1970s that Chicago produced while creating her best-known work, “The Dinner Party” (1974-1979), an installation that imagines a ceremonial banquet for 39 pre-eminent women.“In the Beginning,” from “Birth Project” (1982), on display at the Serpentine Galleries in London.Judy Chicago/Artists Rights Society (ARS), New York, via Judy Chicago and Serpentine; Jo UnderhillNow a mainstay of art history studies, “The Dinner Party” has dominated understanding of Chicago’s career despite her prolific and wide-ranging output. The vast triangular table with elaborate ceramic and embroidered place settings was the product of years of collaborative work with female artisans, and it distilled a decade of research in archives and libraries, where Chicago unearthed figure after figure who had made groundbreaking discoveries across disciplines but whose contributions had been erased from history. Each place setting at the banquet is devoted to one of these women, each with her own special embroidered cloth and ceramic plate.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Sigmund Rolat, Who Used His Wealth to Memorialize Polish Jews, Dies at 93

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      A Holocaust survivor and a shipping financier, he returned to his home country, where his parents and brother perished, to help build a museum and other memorials.Sigmund Rolat, a Polish Holocaust survivor who tapped the wealth he accumulated as a businessman in the United States to support cultural projects in his homeland, most notably a museum devoted to the history of Jews in Poland that stands on the grounds of the Warsaw Ghetto, died on May 19 at his home in Alpine, N.J. He was 93.His son, Geoffrey, confirmed the death.Mr. Rolat believed that except for the dark chapter of World War II, with Nazi atrocities at concentration camps like Auschwitz and Treblinka in occupied Poland, the history of Polish Jewry was a mystery to most Jews, and most Americans. He donated millions of dollars to help build the interior and other elements of the Polin Museum of the History of Polish Jews, which opened in 2014, and he became a major fund-raiser and an influential voice on its board.“I want the gate of our museum, and not the ‘Arbeit macht frei’ gate, to be the first gate that will be seen by Jews visiting Poland,” Mr. Rolat told Forbes magazine in 2014, referring to the cynical inscription (“Work sets you free”) that greeted inmates when they entered the main Auschwitz concentration camp.The Polin Museum of the History of Polish Jews sits on the site of the Warsaw Ghetto. Mr. Rolat donated millions for its construction. It opened in 2014.Maciek Nabrdalik for The New York Times“The Jews should first learn our shared history,” he added. “And then, of course, they should see Auschwitz, but with a better understanding of what happened there.”The main exhibition at the museum tells the story of Poland’s Jews over 1,000 years, from the Middle Ages to the present, using artifacts, paintings, replicas and interactive installations.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Qatar Aims to Increase its Influence in the Realms of Art and Film

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      The Art for Tomorrow conference in Venice provides an opportunity for the Middle East at large to change how it’s portrayed.The future of art is very much the theme of “Your Ghosts Are Mine: Expanded Cinema, Amplified Voices,” a film and video installation that coincides with this year’s Venice Biennale. Organized by Qatar Museums and featuring some 40 artists from the region, it speaks to the emergence of the Middle East as a force in various art forms, not to mention a force in changing the narrative on how the region is portrayed in film and art.The future is on the mind of Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, the chairwoman of Qatar Museums and the Doha Film Institute. Al Mayassa sees this year’s Art for Tomorrow conference in Venice, convened by the Democracy & Culture Foundation, with panels moderated by New York Times journalists, as a chance to improve the profile of artists from her home country of Qatar and beyond. Among the events at the conference is a tour of the installation at the ACP Palazzo Franchetti, a Biennale venue.The installation “Your Ghosts Are Mine: Expanded Cinema, Amplified Voices” includes excerpts from movies and videos in 10 galleries in the palazzo from more than 40 artists from around the world.David Levene/Qatar Museums“In Qatar, we’ve been working for years to support the work of filmmakers and video artists from the Arab world and others from the Middle East, North Africa and South Asia,” Al Mayassa said in a recent interview. “This exhibition continues our work of bringing their ideas from the margins of the international conversation to the center.”The installation, which runs through Nov. 24, also plays into the Biennale’s theme of “Foreigners Everywhere” with excerpts from movies and videos in 10 galleries in the palazzo from more than 40 artists from around the world. Each gallery has a theme, ranging from deserts as cradles of civilization and places of rebirth to borders as the lines between both free and forbidden places.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Museum Revolution Gains Momentum

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      Faced with dwindling attendance and changing demographics, museum directors are shifting their approach, with an eye toward “radical hospitality.”When Melissa Chiu began her tenure as the director of the Hirshhorn Museum and Sculpture Garden 10 years ago, she had a stray thought about the institution’s location, on the National Mall, and its appearance, a doughnut-shaped concrete structure by the architect Gordon Bunshaft with a certain resemblance to a spaceship.“Maybe some of our visitors thought it was the Air and Space Museum,” she said of the popular institution next door, which, like the Hirshhorn, is part of the Smithsonian and which was getting more than six million visitors a year at the time. “So, OK,” she said, “that’s not a bad thing.”Chiu — who is appearing this week at the Art for Tomorrow conference in Venice with the artist and writer John Akomfrah to discuss how artists and museums can work together to address social, political and ecological issues — did not wait around for confusion to boost attendance at her museum. (The annual conference was founded by The New York Times, and is convened by the Democracy & Culture Foundation, with panels moderated by Times journalists.)Melissa Chiu, the director of the Hirshhorn, in front of Torkwase Dyson’s “Bird and Lava #04” at the museum. Her mantra for the museum? “Radical accessibility.”Lexey Swall for The New York TimesThe number of people visiting the Hirshhorn has increased dramatically since she started in 2014, when the museum received 552,000 visitors. In 2018 and 2019 that figure was up more than 50 percent, and even in the post-lockdown phase of the pandemic, a time when many museums have faced a slump in visitors, the numbers are still well above that decade-old baseline.The issue of attendance has been a focus of museums large and small across the country lately, as tourism has shifted, interest on the part of younger people has waned in some places and regional demographics have changed. Museums have taken various steps to manage the challenge: featuring newer and sometimes lesser-known artists, catering more to local audiences, and adding technological enhancements to attract nontraditional visitors.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Cleveland Museum of Art to Return a Rare Ancient Icon to Libya

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      A 2,200-year-old sculpture of a bearded man carved from basalt, unearthed in the 1930s, is believed to have been stolen in the early 1940s.While excavating an ancient Greek palace in eastern Libya in the 1930s, an archaeologist dug up a large earthen storage jar, looked inside and spotted something unexpected — a 2,200-year-old sculpture of a bearded man carved from basalt, a dark volcanic stone.The two-foot-tall antiquity, most likely chiseled during ancient Egypt’s Ptolemaic Dynasty, was a rare find. Known as a striding male figure, it is one of only 33 statues like it known to exist, Egyptologists say.But it wasn’t long before thieves got ahold of the bearded figure and took it on an illicit odyssey that brought it, in 1991, to the Cleveland Museum of Art.On Wednesday, after curators had reviewed abundant proof that the item was stolen from Libya, including photos of it on display in the 1940s at a small museum near its discovery site, the museum agreed to transfer ownership to Libyan officials.“When confronting a situation like this we look at all the material and try to come to an agreement that is beneficial to all parties,” said Seth Pevnick, curator of Greek and Roman art at the Cleveland museum.“It’s less about ownership and more about access” to the object, he said, adding that the museum is hoping to display it on loan for five more years.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Dancing Past the Venus de Milo

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      I fell in love with the Louvre one morning while doing disco moves to Michael Jackson’s “Don’t Stop ’Til You Get Enough” in the Salle des Cariatides.The museum, a former medieval fortress and then royal palace, had not yet opened, and I was following instructions to catwalk and hip bump and point in the grand room where Louis XIV once held plays and balls.The sun cast warm light through long windows, striping the pink-and-white checkered floor and bathing the marble arms, heads and wings of the ancient Grecian statues around me.“Point, and point, and point,” shouted Salim Bagayoko, a dance instructor. So I struck my best John Travolta poses and pointed around the room, my eyes landing on the delicate sandaled foot of Artemus, the wings of a Niobid and the stone penis of Apollo.The woman beside me caught my eye. We giggled.Over the years, I have felt many things in the world’s most-visited, and arguably most-famous, museum — irritation, exhaustion and some wonder, too.This time, I felt joy.The classes are part of an effort by museums and galleries across France to put on Olympics-themed shows as Paris prepares to host the Olympic Games.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More