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Through its fellowship program, the CNA nurtures future generations of scholars and specialists in Netherlandish Art. The 2022–23 fellows have written…
“Since birth we get accustomed to seeing and thinking at the same time. But I think that if you can turn off the mind and look at things only with…
In partnership with the Museum of Fine Arts, Bank of America is proud to sponsor Fashioned by Sargent , which offers a unique look at the use of…
Jell-O’s presence in contemporary art is an extension of its visual and cultural history. Since its invention in 1897 the cheap yet luxurious pantry…
The phrase “thinking small” describes an act of deep engagement with art—a specific kind of encounter in which a viewer considers, perceives, and acts…
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Share your knowledge about transportation design Twentieth-century transportation design is a new area of collecting and research for the MFA, and for…
JENNIFER SWOPE: I think of the color wheel as a model or a diagram of all the colors we can see. The color wheel is really well designed for teaching about color, because it breaks things down into primary and secondary colors, and really shows you how colors combine, or the basic colors, what we call the primary colors, which are red, yellow, and blue, are combined to make the secondary colors, which are green, orange, and purple.
GERALD ROY: A very important quilt in the exhibit is the Yellow and White Baskets. Through my years of teaching color, yellow has always been probably the most difficult, not the most important, but the most difficult color to use. And it’s because the light refractive quality of yellow is greater than any of the other colors in the color wheel. Yellow green, yellow orange, orange, have strong, strong refractive qualities. But yellow has the greatest.
Conservation of an Egyptian minbar door, Mamluk period, 1382–98: December 2013