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COMING SOON—"Salvador Dalí: The Image Disappears"
See the first-ever Art Institute exhibition devoted to the quintessential Surrealist and discover 25 works created by the artist at the height of his fame, including rare loans from around the world.
Opening February 18—https://bit.ly/3QzhGSb
Kerry James Marshall describes "Africa Restored (Cheryl as Cleopatra)" as "the shape of Africa reconfigured as a cubist sculpture," reversing art-historical narratives of modernist painting's appropriation of African sculpture.
It formally references the 'nkisi nkondi,' or power figures, of the Democratic Republic of Congo. These sculptures were crafted as basic armatures into which layers of metals, mirrors, and nails were driven to activate their force.
Affixed to the sculpture are "medallions," or "icons," in the form of images and texts laminated in plastic that refer to figures within the black freedom movement in America as well as to Egyptian iconographies adopted by African Americans in the 1970s as a way to challenge dominant Western worldviews.
Notably, Marshall adds new elements each time the sculpture goes on view, including for this current presentation. Thus, the work can be seen as an unfinished, living sculpture—open to continued revision by the artist.
See "Africa Restored (Cheryl as Cleopatra)" by Kerry James Marshall—on view in Gallery 295.
"Blessed are they who see beautiful things in humble places." —Camille Pissarro
Pissarro was a driving force behind the Impressionist group shows. Slightly older than the other members of the circle, he made many of the arrangements, reconciled disputes among painters, and contributed a number of canvases to all eight Impressionist exhibitions.
Pissarro's work was driven in part by his political sympathies for the poor, with the day-to-day experiences of rural life preoccupying the artist throughout his career. His paintings of laborers at rest or working in the fields reflected his belief in the central importance of the working class to French society as a whole.
See these works among six paintings by Pissarro on view at the Art Institute.
These playful drinking cups were designed to get you tipsy! In ancient Greece, potters created innovative designs that served a functional role while offering entertainment. These vessels often made reference to Dionysos, the god of wine and theater.
Eye cups doubled as masks when tilted back for drinking, with the handles serving as ears. And the vessels fashioned after the heads of animals could not be set down without spilling their contents, encouraging guests who held them to drink more wine.
See these objects on view at the Art Institute.
Happy ! Celebrate the rich contributions of Black artists to the museum's collection across media—in this Highlights feature: https://bit.ly/3GnuX9L
On this episode of the Art Institute Essentials video series, we take a closer look at Hannah Brown Skeele's "Fruit Piece."
Skeele painted this amazingly realistic still life in 1860. The luxury foods that she depicted both reflect evolving middle-class tastes in fine art as well as the colonial economies that made these tropical products available.
Supported by Bloomberg Philanthropies
Celebrate the remarkable history of photography through the ways it has responded to and provoked changes across the world.
Explore more than 150 works on view in "A Field Guide to Photography and Media": http://bit.ly/3fSogoI
This exhibition accompanies the museum’s first-ever publication to survey our photography collection—to be published in Spring 2023.
This extravagant ostrich cup is reunited in our galleries with the painting that depicts it in loving detail.
Dutch still lifes of opulent objects tend to signify human vanity and the fleeting nature of wealth. In this painting, artist Pieter van Roestraeten captured specific heirlooms belonging to the Whitfield family of England, who may have commissioned the painting to convey their longevity and prosperity through generations.
See the painting and the Ostrich Cup on view together in Gallery 234.
In this article, trace the roughly 50-year journey of these elaborate vessels as they traveled from China to France and were extravagantly transformed along the way.
These exuberant and luxurious vases exemplify the rich cultural and commercial ties between China and Europe in the early modern period.
Despite their limited palette, these black-and-white works have a presence, immediacy, and expressive power. Explore striking artworks that span nearly 250 years—in the exhibition "Monochromatic Japanese Prints": https://bit.ly/3fDEIsl
"A Lákt (bentwood box) is one of the most prized possessions in our culture dating back thousands of years. Constructed from a plank of cedar with three kerf cuts that is steamed and bent, they were used in cooking, food storage, and trading as well as to store our At.oow (sacred clan objects) and regalia. Painted and carved boxes were typically owned by Clan Chiefs and symbolized wealth when displayed at our Ku èex' (potlatch ceremony). The 'formline' style was a specific design for bentwood boxes that emphasized abstraction, and boxes were typically left unnamed by the carver. The Clan Chief would interpret the elements he saw in the design, and name it. There is no word for 'art' in our language; the boxes are extremely beautiful yet functional and serve a purpose in our culture." —Artist James Johnson
See this work on view in Gallery 264.
At first glance, "Self-Portrait of My Sister" (1941) appears to be a straightforward representation of a young woman in hat and gloves.
The title's contradictory language, however, reveals that this painting is a riddle. Chicagoan Gertrude Abercrombie was an only child—she had no sister to portray.
Abercrombie initially referred to this painting as “Portrait of Artist as Ideal.” This language, coupled with her reference to a fictitious sister, hints at a desire to be a different person, a longing that she could indulge through her painting.
She used self-portraiture as a means of trying on new personas and appearances. In this stark and saturated painting, the figure’s absurdly long neck, shockingly blue eyes, and lush brown hair emanate a strange power and improbable beauty.
See “Self-Portrait of My Sister” by Gertrude Abercrombie on view in Gallery 262.
This painting depicts the final moments in the life of Saint Peter Martyr, a friar murdered in the 13th century. The artist focused attention on the contrasting emotional states of the serenely resigned saint and his elegantly brutish assailant.
The painter Giovanni Girolamo Savoldo created a darkly poetic style of his own, investing the Lombard artistic tradition of literal realism with the rich textural and atmospheric affects of Titian and other Venetian painters. Savoldo's figures are endowed with a complex interior psychology, and his landscapes and draperies are notable for their luminosity.
See "The Death of St. Peter Martyr" (1530/35) on view in Gallery 206.
As though capturing the brief impression of a passerby, Édouard Manet depicted a young Parisienne with a glass of beer at her side. The woman's face consists of just a few quick strokes applied to the white-primed canvas like makeup.
During the late 19th century, Parisian cafés were the gathering places of artists and writers and were ideal locations for observing the urban scene. While the figure appears to be seated outdoors, evidence has come to light indicating that Manet posed her in his studio in front of a canvas of a garden that he had previously painted.
See "Woman Reading" among eight works by Manet on view at the Art Institute.
Happy Lunar New Year! 🐇 🎉
An enormous rabbit fills the entire surface of this Japanese print, created in the Year of the Rabbit, 1867.
The curious, sacklike quality of the rabbit’s body is also a reference to the large white bag of Hotei, one of the gods of good fortune, who often appears on New Year visual art. Believed to live on the moon as a companion of the Moon Goddess, the rabbit’s body is also rounded out to suggest a lopsided moon, emphasized by its silvery outline.
We wish everyone hope and prosperity in 2023! 🐰 ✨
Visitors and critics were shocked and fascinated when Ivan Albright's "Picture of Dorian Gray" first appeared at the Art Institute in 1945. The Chicago Tribune reported that the museum had "a heck of a time handling the crowds flocking to see his painting."
In this article, we explore how Albright's distinct style still attracts and repulses audiences today: https://bit.ly/3ZRxsMs
“Art is to console those who are broken by life.”
This vibrant painting dates to the last year of Vincent van Gogh's life. Institutionalized during this time, Van Gogh made a number of copies of the work of artists he admired.
For this image, he copied a wood engraving from Honoré Daumier’s "Physiology of Drinking," a parody on the four ages of man. Van Gogh's devotion to the poorest members of society had been expressed, even before the decision to become a painter, in his stint as a lay preacher in the Belgian coal-mining district.
Somewhat softening his own depiction of these four ungainly figures, there is real pathos in Van Gogh's version and real desperation in the earnest concentration with which they drink, as if to quench a spiritual as well as physical thirst.
See "The Drinkers" among six paintings by Van Gogh—now on view at the Art Institute.
Though largely forgotten today, French academic painters were once among the most popular artists in Europe. Their realistic depictions of n**e women and classical subjects made them mainstays of the Paris Salon and also a central target of the young Impressionists who regarded their work as overly polished and conservative.
In Jules Joseph Lefebvre's "Odalisque," a woman reclines in a dimly lit interior filled with textiles, fruits, and luxury goods evocative of the Arab world. The painting's setting and title suggest the figure is a courtesan in a harem. This imagined setting—a space historically forbidden to men—provided narrative context for the n**e and appealed to the sexual and colonialist fantasies of European audiences.
See "Odalisque" (1874) on view in Gallery 223.
In this moody, quiet, and romantic painting, Chicago artist Herman Menzel employed flowing forms and flat areas of color, with a stylized tree silhouetted against an expansive red mountain and a churning sky of blue and violet.
Menzel drew inspiration from the everyday subjects around him, from city dwellers and industrial scenes to fishermen and rural landscapes. Here, the artist combined his observations of a horse from an Illinois farm with those of a visit in 1929 to the mountainous terrain of Woodstock, New York.
See "The White Horse" (1929) on view in Gallery 178.
Undergraduates are encouraged to apply to our Summer Intensive, a weeklong program where students learn more about museum professions through workshops, behind-the-scenes tours, field trips, and networking events.
Students who complete the program are eligible to apply for a part-time two-year fellowship at the museum.
For more information, visit artic.edu/summer-intensive
Deadline to apply to the Summer Intensive is February 28.
Most surviving paintings from 15th-century northern Europe served a religious purpose. They depicted Christ's infancy, his death on the cross, and the lives of the saints for display on altars in churches and chapels, or provided a focus for private devotion at home.
The patrons who commissioned these works wanted traditional images. The most innovative painters of the period—like Rogier van der Weyden or Jean Hey (the Master of Moulins)—knew how to recast authoritative devotional types of the Virgin and Child or Christ's descent from the cross into powerfully expressive new forms, exploiting the medium of oil paint to achieve rich effects of texture and light. Their compositions were repeated with variations in their workshops and by their followers.
See these devotional paintings on view in Gallery 202.
Today marks Martin Luther King Jr. Day, celebrating King’s enduring contributions to civil rights.
As part of Dr. King's Poor Peoples Campaign, the Chicago Freedom Movement sought to raise awareness about the impoverished living conditions of African Americans and other minorities as a result of the city's discriminatory housing practices. They urged change through non-violent action, including protest marches and boycotts.
This photograph by Robert Sengstacke captures a historic moment on July 24, 1965, when King spoke from the back of a truck at Robert Taylor Homes in Bronzeville on Chicago’s South Side, the largest public housing project in the world at the time.
To lead the Chicago Freedom Movement, King moved to the city with his family in early 1966, into a building in the North Lawndale neighborhood. They marched in the all-white neighborhoods of Gage Park and Marquette Park. Cameras and news reporters captured the attacks on peaceful protesters, which served as a catalyst for change and earned the sympathy and support of Americans across the country.
On April 11, 1968—one week after Dr. King was assassinated—president Lyndon B. Johnson signed the Civil Rights Act of 1968. Title VIII, known as the Fair Housing Act, banned housing discrimination under federal law.
"What I wanted was to look for beauty in the everyday world, to catch the joy and swing of modern American life." —Bessie Potter Vonnoh
Today, her name remains unfamiliar to many art enthusiasts and scholars, but at the turn of the 20th century, Bessie Potter Vonnoh made headlines. At 22 years old, she became the first named woman sculptor represented in the Art Institute's permanent collection.
Explore the fascinating story and remarkable career of this turn of the 20th-century sculptor in an article from curator Annelise K. Madsen: https://bit.ly/3Qqe5ph
NOW OPEN—"Himali Singh Soin: Static Range"
Conceived as an immersive environment, "Static Range" presents a constellation of media, including poetry, sound, video, textile, ceramic, and works on paper.
Artist and writer Himali Singh Soin presents this transnational project—exploring the intertwined histories and futures of nuclear landscapes—in her first solo exhibition in the United States.
LEARN MORE—https://bit.ly/3iZIfDn
!["[He] saw his men’s bodies, saw their conquerorHulking hugely above them and lickingTheir lamentable wounds with his blo...](https://img3.gluseum.com/998/815/10160241459988150.jpg)
"[He] saw his men’s bodies, saw their conqueror
Hulking hugely above them and licking
Their lamentable wounds with his bloody tongue."
In the ancient epic, Ovid's Metamorphosis, Cadmus arrives to find his soldiers devoured by a dragon. Vowing revenge, the prince can be see in the background slaying the beast.
The great Dutch Mannerist Hendrick Goltzius was at the height of his fame as a printmaker and publisher when he engraved this dramatic scene in 1588. Like other Netherlandish artists in his time, Goltzius studied Classical antiquity to understand the ideal representation of the human face and body and to develop his own imaginative repertoire.
See "The Dragon Devouring the Companions of Cadmus" on view in Gallery 213.
"I just let my brain rest when I paint flowers." —Pierre-Auguste Renoir
Renoir’s interest in flowers as an artistic subject can be dated to at least the early 1880s. He may have had the opportunity to admire paintings of the flower by Claude Monet made in 1878 and 1881.
First imported to France from East Asia during the French Revolution, chrysanthemums are a late summer flower appreciated for their strong scent and exceptional range of color and shape. Renoir’s "Chrysanthemums" makes no reference to setting and may represent one of the bouquets that the artist loved to keep in his home to paint when the impulse came upon him.
See "Chrysanthemums" among 11 works by Renoir now on view at the Art Institute.
Escape the cold to explore an iconic art collection. Illinois residents receive FREE weekday admission—Monday, Thursday, and Friday—now until March 24.
GET FREE TICKETS—https://bit.ly/3VIbvvK
"For years, I was terrified of ghosts. I didn’t like to walk up stairs when lights were out below me. People told me that ghosts weren’t real—common sense. Leonora Carrington had little use for common sense. She was a surrealist, a painter who summoned her ghosts and brought them to life on her canvas. To consider her paintings is to be filled with questions."
Quotes can be mantras, reflections, or warnings. Hear from our staff as they reflect on the words of artists who have inspired them: https://bit.ly/3IsBCE7
Explore Korean ceramics across the centuries, from exquisite 12th-century celadons to contemporary works that carry the artistic heritage of Korea's past into the present day—now on view at the Art Institute.
The domestic scenes, portraits, and n**es painted by John Currin have been called "American grotesque," as unsettling as they are meticulously rendered.
"Stamford after Brunch" (2000) captures the giddy camaraderie of three women with soft, childlike arms and improbably scrawny, angular legs. While the figures laugh, drink martinis, and smoke ci**rs, the winter landscape outside stands in acute contrast to the interior comforts of warm conversation and lightweight clothing.
See this painting by John Currin on view in Gallery 296.
Final days! Don't miss this vibrant exhibition of works by David Hockney, one of England’s most versatile and inventive artists.
"David Hockney: The Arrival of Spring, Normandy, 2020" closes January 9.
LEARN MORE—https://bit.ly/3yHL7Ka
Make the most of your holiday break with a visit to the Art Institute—free for kids under 14 and Chicago teens under 18.
VISIT—artic.edu
There's nothing in the world like the love of a parent. 💞
A mother and child are portrayed with vivid intensity in this compassionate rendering, contrasting the mother's direct gaze with the charming appeal of the baby's chubby face. The rapid brushwork used to describe the clothing and the swaddling blanket contributes to the freshness of this depiction.
The American artist Julius Gari Melchers studied in Paris before settling in Holland, where he specialized in depictions of peasant life, inspired by contemporary Dutch painters of the Hague School. In 1906, "Mother and Child" was exhibited at both the Paris Salon and the Art Institute.
See this painting on view in Gallery 273.
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Using Public Transportation The Art Institute is located just one block east of the Loop and is easily accessible via the city's "El" train system. The Brown, Green, Orange, Pink, and Purple lines all stop above ground at Adams/Wabash, one block west of the museum. The Red and Blue lines stop underground at Monroe, just a few blocks away. A number of bus lines also stop in front of the museum. Currently, El fare is $2.25 per adult. Visit the Chicago Transit Authority's website for route, schedule, and fare details. Metra is Chicago's commuter rail transit system. The Art Institute is accessible from both the Van Buren and Millennium stations, which are underground just one to two blocks south and north (respectively) along Michigan Avenue. Visit Metra's website for route, schedule, and fare details.
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| Thursday | 11am - 8pm |
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FINAL DAYS—"Mel Bochner Drawings: A Retrospective" Over the course of a career that has spanned nearly six decades, Mel Bochner has been at the forefront of Conceptual Art, producing thought-provoking work in nearly every medium. Explore the artist's pioneering role in redefining the traditional boundaries of drawing with thought-provoking work on view through August 22. Learn more about this exhibition at the link in the comments. #MelBochner #Drawing #ConceptualArt #ArtInstituteofChicago #ArtInstitute #Chicago
See "Cezanne"—a major retrospective critics are calling a "magnificent" and "groundbreaking" summer blockbuster—now on view at the Art Institute. TICKETS—https://bit.ly/38SExpN
"Cezanne" is now open at the Art Institute! This Memorial Day weekend, explore an extraordinary breadth of works, illuminating the pioneering trail Paul Cezanne set for generations of artists to come. EXPLORE—https://bit.ly/38SExpN
"A frame can really make or break a painting." Our conservation and curatorial teams share the fascinating story of the reframing effort of Seurat's masterpiece "A Sunday on La Grande Jatte—1884." Learn more about the reframing efforts in the article "'La Grande Jatte,' Frame by Frame": https://bit.ly/3uWctun Supported by Bank of America and Bloomberg Philanthropies
"Drawing is the way to see what I’m thinking. All one needs is something to make a mark and a surface to make the mark on." Now open at the Art Institute, "Mel Bochner Drawings: A Retrospective" demonstrates the artist's pioneering role in redefining the traditional boundaries of drawing, presenting thought-provoking work over the course of a career that has spanned nearly six decades. LEARN MORE—https://bit.ly/36rUWAS
In our latest episode of Playing Favorites, Kit Shields, assistant editor in Publishing, discusses Narcissa Niblack Thorne’s miniature rooms and how her father’s own furniture building drew her to this extraordinary example of ingenuity and craftsmanship. Collaborating with a group of skilled Chicago artisans, Thorne meticulously designed, furnished, and lit each of the 68 Thorne Miniature Rooms in the Art Institute’s collection. She designed the rooms during the Colonial Revival movement, a moment that expressed an invented American identity rooted almost exclusively in the Atlantic coast. The video is part of our Playing Favorites series, in which Art Institute of Chicago staff share their favorite works from the collection.
Sometimes a work of art invites us to see the beauty in ourselves. Kyla Thomas, manager of distribution operations, recalls encountering this bust of a black woman on a high school trip and the tremendous pull it had on her and her friends. The video is part of our Playing Favorites series, in which Art Institute of Chicago staff share their favorite works from the collection.
Discovered on the sea floor off the coast of Athens, this marble relief dates from nearly 2,000 years ago. Collection manager Liz Benge draws on her love for the sea and her experience in underwater archaeology to tell the story of this heroic Greek warrior from the ancient world. This video is part of the Playing Favorites series, in which Art Institute of Chicago staff share their favorite works from the collection.
"A Sunday on La Grande Jatte" is back on view! Get a quick glimpse of the monumental project of preparing and fitting Georges Seurat's beloved painting with a new brighter, whiter frame that is closer to the artist's original vision for his work.
Sometimes a work of art can invite us to slow down and look more carefully at the world around us. In this episode of Playing Favorites, Thomas Huston, a technician in both Architecture and Design and Modern and Contemporary, shares his sense of wonder at Robert Gober’s “Untitled,” 1998/2004. This video is part of the Playing Favorites series, in which Art Institute of Chicago staff share their favorite works from the collection.
Thanks to Time Out Chicago critics for choosing the Art Institute as "Best Museum" in their 2021 Best of the City Awards and to locals for voting us "Chicago's most-loved attraction" in the Love Local Awards. Illinois residents enjoy FREE museum admission—every weekday now through March 17. See some of the world's most beloved works of art and discover new favorites along the way.
Celadon, or green-glazed, stoneware is one of the greatest achievements of Korea’s Goryeo dynasty (918–1392). Join us as we take a closer look at an extraordinary example in "Vase (Maebyong) with Clouds, Flying Cranes, and Children amid Bamboo"—the latest episode of our Art Institute Essentials series.
In "Safety Patrol" (2018), based on a photograph taken by Charles "Teenie" Harris, artist Bisa Butler considers the potential of seven children as future caretakers of the world. Learn more in the latest episode of our Art Institute Essentials series.
Impressively rich in detail and varied in its materials, the crèche rewards close and curious looking. Explore the Art Institute's spectacular Neapolitan crèche in this artwork spotlight and experience the crèche in person now through January 9.
Once described as New York’s “most famous unknown artist,” Ray Johnson was a renowned maker of meticulous collages and a pioneering figure in the worlds of Pop, Fluxus, Conceptual Art, and performance in the 1960s. Accompanying the exhibition—now on view at the Art Institute—is a catalogue that serves as an engaging introduction to the wide-ranging work of this pioneering 20th-century artist—selected as one of the New York Times's "Best Art Books of 2021." LEARN MORE—https://bit.ly/3dLoHwh
Explore the story of our spectacular Tiffany Window, a dazzling 25-foot-tall stained glass landscape. And make sure to see this recent addition to the museum’s collection—now on view at the Art Institute.
"Color is life and light is the mother of color." —Alma Thomas Learn how artist Alma Thomas pioneered a radical new approach to abstraction and how her iconic 1972 painting was inspired by a fascination with space exploration—the latest in our Art Institute Essentials series.
André Kertész produced several portraits of German sculptor Anne-Marie Merkel. In this interactive feature, we take a closer look at these captivating works and explore the community of artists and intellectuals Kertész photographed in Paris. EXPLORE—https://bit.ly/3cJMCvD Supported by Bloomberg Philanthropies
One day left to vote! GIF IT UP is an annual GIF-making competition for the most creative reuse of digitized cultural heritage material. And this year the Art Institute is proud to be a new content partner, inviting makers around the world to engage with our digital archive of thousands of public domain images. Cast your vote today and help select a winner of this year's GIF IT UP competition. #GIFITUP2021 VOTE—http://gifitup.net 1) GIF Designer: Catarina Pereira. Image: Mary Cassatt. The Child’s Bath, 1893. 2) GIF Designer: Adelino Pereira. Image: Vincent van Gogh. Self-Portrait, 1887. 3) GIF Designer: Ionela Adriana Mogosanu. Image: Gerrit van Honthorst. A Boy Blowing on a Firebrand, 1621/22. 4) GIF Designer: Alise Grišina. Image: Juan Sánchez Cotán. Still Life with Game Fowl, 1600/03. 5) GIF Designer: Arunesh Varade. Images: Prints by Odilon Redon. 6) GIF Designer: Līva Luīze Bīmane. Image: Jacques-Louis David. Madame de Pastoret and Her Son, 1791/92. 7) GIF Designer: Simona Simanovica. Image: Katsushika Hokusai. The Mansion of the Plates (Sara yashiki), from the series “One Hundred Ghost Tales (Hyaku monogatari),” 1831/32. 8) GIF Designer: Paul Bond. Image: Edvard Munch. The Girl by the Window, 1893.
Discover the story behind the creation and excavation of this delightful figure of a young satyr wearing a theater mask, and see how it reveals the humorous side of ancient Rome. Our Art Institute Essentials video series offers the chance to get up close with some of the museum’s most iconic works of art. Supported by Bloomberg Philanthropies
CLOSING MONDAY—Don't miss the exhibition "Joseph E. Yoakum: What I Saw," on view at the Art Institute for just a couple more days! In this interactive feature, discover Yoakum’s skill as a draftsman and dramatic storyteller as we take a closer look at the artist's series of drawings of the Grand Coulee Dam. EXPLORE—https://bit.ly/3vkufGn Supported by Bloomberg Philanthropies
"Bisa Butler: Portraits" closes in less than two weeks! Explore the inspiration behind Bisa Butler's vibrant portrait quilts in this video with the artist herself. And see the show at the Art Institute through September 6. LEARN MORE—https://bit.ly/36ASJ2P
Hear Barack Obama speak on the lasting power of art and timeless moments to be found with works on view at the Art Institute. Don't miss the Obama Portraits at the Art Institute—there are just a few days left to see these groundbreaking works by Kehinde Wiley and Amy Sherald before they leave Chicago on August 15. TICKETS—https://bit.ly/2OlnyCd
Visitors to the Obama Portraits at the Art Institute share their reactions to Kehinde Wiley's and Amy Sherald's magnificent paintings and send special birthday wishes to President Obama on his 60th.
The Richard H. Driehaus Museum
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Loyola University Museum of Art (LUMA)
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Ryerson & Burnham Libraries, The Art Institut
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Intuit: The Center for Intuitive and Outsider
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National Museum of Mexican Art
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The Richard H. Driehaus Museum
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