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Who is Emily Kam Kngwarray?

One of Australia's most revered artists only began making art in her 60s. Her works are portals into her Country.

By Annie Yi
INTERACTIVE ARTICLE

Paul Revere, Artist of the American Revolution

You’ve heard about the revolutionary’s midnight ride. But did you know Revere was a master silversmith and engraver?

By Mary King , Isabella Bulkeley
INTERACTIVE ARTICLE

Sublime Light

J. M. W. Turner transforms a gritty scene of the Industrial Revolution into a mesmerizing vista bathed in light.  

We hover over a flax-yellow body of water lined with ships to our left and right, which are silhouetted against a moonlit, cloud-veiled sky in this horizontal landscape painting. The horizon comes about a third of the way up the composition. The moon hangs to our left of center in the sky, its light reflecting on the clouds in a bright, hourglass shape to create a tunnel-like effect. The sea below turns from a gold color close to us to pale blue along the horizon. To our left, one ship with gray sails is cut off by the edge of the canvas and another, also with gray sails, is situated farther from us. A small, dark rowboat with two passengers moves between them. Light from the windows in buildings along the distant horizon to our left reflect in the water, and another building, a factory, spouts white flame from its chimney. More dark ships line the waterway to our right, their spiky masts black against the sky. Three flames, one orange between two pale yellow fires, flare in the darkness in front of the ship closest to us. The forms of men shoveling coal, crates, and barges are dark silhouettes against the firelight and smoke. More rowboats float among the boats in the distance. Near the lower right corner of the canvas, a broad, flat fragment of wood floats close to us. The hot orange and black on the right side of the painting contrasts with the silvery gray, light blue, and white that fills much of the rest of the composition. The painting was created with thick, blended brushstrokes throughout, giving the scene a hazy look. The texture of some of the brushstrokes is especially noticeable, as where the moon casts white light onto the water and in the clouds. The artist signed a buoy floating to our left with his initials, “JMWT.”
INTERACTIVE ARTICLE

The Mysterious Fantasy

Trace the beloved painting’s hidden history and bold brushwork.

By Alex Dean
Shown from the lap up, a young woman with pale skin, wearing a goldenrod-yellow dress, sits reading a small book, facing our left in profile in this vertical painting. The deep, scooped neckline of her rich yellow gown is edged with lace and decorated with a mauve-purple bow at the bust. Her chest is covered by sheer white fabric under a ruffled, pleated collar. The ruff is tied at the back with another mauve bow, and a ribbon of the same color ties up her chestnut-brown hair. She has a delicate nose and rosebud mouth, and she tips her head down to read the book she holds in one hand. She sits against an oversize pillow streaked with pale lilac and deep rose pink. Her left arm, closer to us, is draped over a railing that extends across the width of the canvas. The background behind her is streaked with tan and muted teal blue. A vertical strip of light caramel brown along the right edge of the canvas suggests another wall against which the pillow rests. The artist’s loose, lively brushstrokes are visible throughout.
INTERACTIVE ARTICLE

Horns, Scales, and Armor

At a time when few Europeans had ever seen a rhinoceros, Albrecht Dürer seized the moment after the king of Portugal received a rhino as a gift.

Printed with black lines on cream-white paper, a rhinoceros facing our right in profile fills this horizontal woodcut. The rhinoceros’s horn touches the border to the right and its hindquarters the left. Its left foot, farther from us, stands slightly ahead of its right hoof. Its front feet are close together and its head is lowered. Chunky, armor-like plates covering its body are patterned in some areas, especially on its legs and belly, with rings and dots, creating a mottled effect. The skin on its legs is scaly like a fish or reptile. A short, twisted, unicorn-like horn grows from between its shoulders, and the animal’s lower lip and the ear we see is fuzzy with short hairs. Near the upper right, in the corner near the animal's shoulders, the print is inscribed, “1515 RHINOCERVS.” Below, the artist’s initials appear as a monogram, with an upper case D tucked within the legs of an A. Five rows of tightly spaced German writing runs across the top edge of the paper, above the single-line border framing the animal. It reads, "Nach Christus gepurt. 1513. Jar. Adi. 1. May. Hat man dem groszmechtigen Kunig von Portugall Emanuell gen Lysabona pracht ausz India ein sollich lebendig Thier. Das nennen sie Rhinocerus. Das ist hye mit aller seiner gestalt Abconderfet. Es hat ein farb wie ein gespreckelte Schildtkrot. Und ist von dicken Schalen uberlegt fast fest. Und ist in der grösz als der Helfandt Aber nydertrechtiger von paynen und fast werhafftig. Es hat ein scharff starck Horn vorn auff der nasen Das Begyndt es albeg zu werzen wo es Bey staynen ist. Das dosig Thier ist des Helffantz todt feyndt. Der Helffandt furcht es fast ubel dann wo es In ankumbt so laufft Im das Thier mit dem kopff zwischen dye fordern payn und reyst den Helffandt unden am pauch auff un erwürgt In des mag er sich nit erwern. Dann das Thier ist also gewapent das Im der Helffandt nichts kan thun. Sie sagen auch das der Rhynocerus Schnell Fraydig und Listig sey."