• Marsden Hartley, Mountains in Stone, Dogtown, 1931, oil on board, 18 x 24".

    Marsden Hartley

    Wadsworth Atheneum Museum of Art
    600 Main Street
    January 17–April 20, 2003

    Nelson-Atkins Museum of Art
    4525 Oak Street
    July 19, 2013–January 11, 2004

    The Phillips Collection
    1600 21st Street NW
    June 7–September 7, 2003

    It’s too bad this retrospective of Hartley’s paintings is confined to US venues. Like other early-twentieth-century Americans (Sheeler, Demuth), he should be better known beyond his own shores. A restless, brooding, but also childlike sensibility informs all of his stylistic wanderings, culminating in the late grand paintings of mountainous landscapes and of the fishermen of Nova Scotia (portraits tense with Hartley’s sexual longing). Curated by Elizabeth Mankin Kornhauser of the Atheneum, the show brings together eighty-five paintings and twenty drawings and features a multiauthor scholarly catalogue.

  • Misia and Valloton at Villeneuve, 1899.

    Edouard Vuillard

    Royal Academy | Burlington Gardens
    6 Burlington Gardens
    July 24, 2013–April 18, 2004


    May 15–August 24, 2003

    Grand Palais
    3 avenue du Général Eisenhower
    September 23, 2003–January 4, 2004

    National Gallery of Art
    Sixth Street and Constitution Avenue, NW
    January 19–April 20, 2003

    In 1954 Fairfield Porter wrote of Edouard Vuillard, “We have not yet caught up with the extreme sophistication of his successes.” This exhibition of some 200 works, coupled with the simultaneous publication of a catalogue raisonné by Antoine Salomon and Guy Cogeval of the Montreal Musée des Beaux-Arts, should at the very least aid us in gaining ground on the great intimiste (Cogeval, along with a team of National Gallery curators, is responsible for the selection here). In addition to paintings and mural decorations, there are prints, drawings, and photographs (as museumgoers will discover, Vuillard was a master of the Kodak).

  • Dancing Couple, 1909.

    Ernst Ludwig Kirchner

    Royal Academy | Burlington Gardens
    6 Burlington Gardens
    July 24, 2013–September 21, 2003

    National Gallery of Art
    Sixth Street and Constitution Avenue, NW
    March 2–June 1, 2003

    The most haunting and seductive of the German Expressionists, Kirchner was a founder of the Dresden-based Die Brücke in 1905 and the group’s most ardent apologist. With thirty-five paintings, five sculptures, and eighty-plus works on paper, this retrospective curated by Jill Lloyd, Magdalena Moeller, Andrew Robison, and Norman Rosenthal is the artist’s first in the US since 1968 and the first in Britain ever. Look for naturist bacchanals, primitivist totems, out-there bohemian studio scenes, scarecrow-chic Berlin women, grim self-portraits as a soldier, and eerie Alpine snowscapes. Having lived to see the Nazis destroy his art, Kirchner committed suicide at age fifty-eight in Switzerland—an incalculable loss for modern art.

  • Margaret Bourke-White, Oliver Chilled Plow: Plow Blades, 1930, black-and-white photograph, 13 3/16 x 9 1/4".

    Margaret Bourke-White

    The Phillips Collection
    1600 21st Street NW
    February 15–May 11, 2003

    “I want to become famous, and I want to become wealthy,” wrote Margaret Bourke-White in a 1927 diary entry. Within a decade, she was both. Bourke-White was the first foreigner authorized to shoot scenes of industrialization in the USSR and one of Life magazine’s “Founding Four” photographers. In this show organized by curator Stephen Bennett Phillips, some 140 photos taken during the formative period of 1927–36 trace the evolution of Bourke-White’s signature style, from her earliest industrial subjects and stylized corporate commissions to her apotheosis as a photojournalist—the cover story she shot for Life’s 1936 debut issue.