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yourdailyartview, Princeton, NJ (2026)

05/02/2026

Thomas Hart Benton, “The Apple of Discord” [1949] at Philadelphia Museum of Art. It was part of the exhibit, “A Nation of Artists,” photographed during a visit on May 2, 2026.

🖼️ Tempera glazed with oil on gessoed mahogany board

📜 Two famous tales in which an apple unleashed a disastrous chain of events are here interwoven: the Greek myth of the Judgment of Paris and the biblical story of Adam and Eve and the serpent. Benton, a painter known for his depictions of rural and regional life, transports a scene familiar in grand European painting to a midcentury American farm.

By making the central exchange ambiguous, the artist leaves the viewer uncertain as to which story is being depicted. Which figure is giving the apple? Is it Paris, declaring Aphrodite the fairest goddess? Or is it Eve, presenting Adam with the forbidden fruit?—from the exhibit’s display label

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04/24/2026

Leonardo da Vinci, “Portrait of the Lady with an Ermine” [1490] at the Czartoryski Muzeum, Krakow. Photographed during a visit on April 24, 2026.

🖼️ Oil on walnut panel
54.8 cm × 40.3 cm (21.6 in × 15.9 in)

📜 The painting was painted in oil on a walnut board; it is rather well preserved in spite of several small retouching treatments and the background having been repainted from the original grey to black. It was unquestionably painted by Leonardo, probably during his stay at the court of Duke Lodovico il Moro in Milan ca. 1490. The model is thought to have been the Duke’s mistress, the educated and talented in literature - Cecilia Gallerani (ca. 1473 - 1536).

On par with the novel compositional technique of depicting the beautitul sitter turned en trois quarts and captured as if performing a half turn, our attention is drawn to the pet she is holding. Disproportionately large and characteristically astir, it conveys allegorical meaning, alluding both to the Duke (referred to as ermellino bianco after receiving the eponymous order) as well as to the surname of the portrayed maid (galé -ermine [Gr.]).

The earliest history of the painting is uncertain; what we do know is that it was purchased ca. 1800 by Prince Adam Jerzy Czartoryski, who donated it to the Gothic House in Putawy, where it was identified as the portrait known as La Belle Ferronière, depicting a mistress of Francis I, King of France.—from the museum’s display label

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01/23/2026

Michelangelo Buonarotti, “The Dream” [ca. 1533] at Teylers Museum, Haarlem, The Netherlands. It was part of the exhibit, “Michelangelo an Men,” photographed during a visit on December 26, 2025. It was in loan from The Courtauld Institute, London.

🖼️ Black chalk on paper

📜 One of the finest Renaissance drawings, The Dream is amongst The Courtauld’s greatest treasures. The meaning of this enigmatic work is elusive, but its title, given just a few years after the artist had died – a rare occurrence for a Renaissance drawing – provides some clues.  

The highly finished drawing shows a winged spirit swooping down to trumpet a message to a muscular n**e youth leaning on a globe, both perched upon a box containing a pile of masks. In the background, groups of writhing bodies blend into, or emerge from, a cloudy haze. Most commonly, the main figure has been interpreted as the human mind being awakened, as if from a dream, and summoned back to virtue from the vices.

Showcasing Michelangelo’s exceptional drawing skills and imaginative composition, this drawing exemplifies his distinctive method of modelling flesh with virtually invisible strokes, while firmly defining the contours of the figures.—from The Courtauld’s website

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01/20/2026

René Magritte, “The Idea” [1966] at Fuji Art Museum, Tokyo. Photographed on January 18, 2026.

🖼️ Oil on canvas
41.0 x 33.0 cm

📜 In Magritte’s work, the image of a man in a mountain-high hat appears. In the early works, men just stand without doing anything, but as the age progresses, they appear to represent nothingness and disappearance, such as their faces being erased or represented only by silhouettes as in this work. In this work, the character is dressed in ready-made clothes with no characteristics and is represented as an existence whose face has been erased. In the same way, the individuality of the apple floating in the air has been erased. The two objects do not have a connection with each other, and only in the painting can they meet. “Depaysman”, which brings “an encounter that is impossible in everyday life”, is typical of the method of surrealism, which penetrates normal consciousness and causes a surreal feeling mixed with surprise.—from the museum’s display (translated)

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01/19/2026

William Adolphe Bouguereau, “Jeune Fille Tricotant (Young Knitting Girl)” [1874] at Matsuoka Art Museum, Tokyo. Photographed on January 18, 2026.

🖼️ Oil on canvas
48 x 69 cm (18,7 x 27,2 inches)

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01/18/2026

Edgar Degas, “Family Portrait (The Bellelli Family)” [1858-69] at the National Museum of Western Art, Tokyo. It was part of the exhibit, “Intérieurs Impressionistes: Intimité, Décoration, Modernite,” photographed during a visit on January 19, 2026. The painting is owned by Musée d’Orsay, Paris.

🖼️ Oil on canvas
200 cm × 253 cm (79 in × 100 in)

📜 The painting shows Degas’s aunt and her family, who had fled Naples because of his uncle Baron Bellelli’s political activities and were living in exile in Florence. The aunt stands with dignity in a black mourning dress, beside a portrait of her recently deceased father (Degas’s grandfather). The elder daughter gazes out demurely, while the younger, seated with one foot on the chair, appears more tomboyish. The uncle, by contrast, slumps in a chair in the corner of the room, looking ill at case. Rather than presenting an image of a united family, Degas frankly captured each member’s distinct character and inner state. Despite its formal appearance, the painting lays bare the reality of a family life that was not always joyous.—from the exhibit’s display label

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01/10/2026

Constantin Brancusi, “Princess X” [1915-1916] at H’Art Museum, Amsterdam. It was part of the exhibit, “Brancusi: The Birth of Modern Sculpture,” photographed during a visit on January 6, 2025. It was on loan from The Centre Pompidou, Musée national d’art moderne, Paris.

🖼️ Plaster on plaster base

📜 On catching sight of Princess X (Princesse X) just before the
official opening of the 1920 Salon des Indépendants, a fellow artist
- reportedly ether Picasso or Matisse - exclaimed “Here it is: the phallus!” Despite a letter of support signed by over 70 prominent figures and friends, the piece was ultimately excluded from the show. The successive titles given to it by Brancusi (Princesse Marie Bonaparte in 1917, Princesse X in 1920) add to the mystery surrounding the model.—from the exhibit’s display label

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12/04/2025

Horace Vernet, “Academic study of adolescent boy, seen from behind,” [ca. 1807-10] at Princeton University Art Museum. Photographed on November 15, 2025.

🖼️ Oil on canvas
100.5 × 81 cm (39 9/16 × 31 7/8 in.)
Frame: 120.6 × 101 × 10.5 cm (47 1/2 × 39 3/4 × 4 1/8 in.)

📜 The model for this life study was posed to recall sculptures of the god Apollo, who in antiquity was often given a youthful, even androgynous, form. Vernet’s image is hardly idealized or historicizing, however. The artist shows the model’s dirty fingernails and includes the props-stacked boxes and an old, frayed pillow-used to help the young man hold his classical stance.

This painting reflects the academic training required of students at the Ecole des Beaux-Arts in nineteenth-century Paris. First, they learned to draw using prints and other drawings as their guides. Then, they graduated to drawing after sculpture, often using ancient works or plaster casts as models; finally, they drew or painted from live models.—from the museum’s display label

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**estudy **e **eart **eart **epainting

11/29/2025

Johannes Vermeer, “The Girl with the Wine Glass” (“Das Mädchen mit dem Weinglas” or “Dame en twee heren”), [c. 1658/59] at the Herzog Anton Ulrich Museum, Braunschweig. Photographed on November 28, 2025.

🖼️ Oil on canvas
78 cm × 67.5 cm (31 in × 26.6 in)

📜 In the soft daylight, objects glow with their colored shadows. The intense, rich palette is seductive. Seduction is also the theme of the scene. But Vermeer only hints at the relationship between the figures, leaving room for our personal interpretation. By imagining the action ourselves, the painting comes alive for us.—from the museum’s display label (translated)

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11/25/2025

Claude Monet, “Sunset on the Seine at Lavacourt, Winter Effect” [1880] at Petit Palais, Paris. Photographed during a visit on November 22, 2025.

🖼️ Oil on canvas
101.5 x 150 cm

📜 Lavacourt is a village near Paris. It sits on the left bank of the River Seine, opposite to Vétheuil, where Monet moved in September 1878. As winter ended, Monet observed the gradual thawing of the Seine, and portrayed it in around twenty paintings. The skyline of the village emerges in shadowy forms, while the use of colour gives full prominence to the air and water. The cold mist effect is achieved using fluid strokes, in contrast to the water and riverbanks, painted in thick strokes. The orange sun breaking through at the centre of the composition is reminiscent of Monet’s famous 1872 canvas, Impression, Sunrise (Paris, Musée Marmottan), whose title gave name to the term
‘Impressionist.—from the museum’s display label

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11/24/2025

John Singer Sargent, “Fumée d’ambre gris (Smoke of Ambergris)” [1880] at Musée d’Orsay, Paris. It was part of the exhibit, “Sargent Dazzling Paris,” photographed during a visit on November 22, 2025. It normally hangs at The Clark Institute, Williamstown, MA.

🖼️ Oil on canvas
139.1 cm (54.7 in); width: 90.6 cm (35.6 in)

📜 In the winter of 1879, Sargent left Spain and travelled down to Morocco (then, an independent sultanate). He stayed in Tangier where he wrote: «The place is striking, the costumes grand and the Arabs often magnificent.» The artist produced numerous studies there and collected «ethnographic» photographs of North African peoples. From these elements, he created a major composition for the Salon, drawing on a blend of his observations and his imagination.

On a secluded terrace with white walls, a young woman wearing silver Berber jewellery, black eyeliner and henna on her face, captures the smoke of ambergris from an incense burner. Here Sargent creates a striking visual effect using a monochromatic palette of shades of white. Started in Tangier and completed in Paris, the work was exhibited at the Salon of 1880.—from the exhibit’s display label

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yourdailyartview

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