German painting’s arch-traditionalist has a brush with controversy.

Long before the likes of Kim Kardashian, Marie Bashkirtseff sought to secure celebrity through curation of “personal brand.”

Florian Henckel von Donnersmarck’s new movie, inspired by Gerhard Richter, blurs the line between fiction and biography. Richter says that it goes too far.

Then there’s Mark Kostabi, the former New York gossip column fixture and self-professed “con artist” who everybody remembers but nobody talks about. Christie’s and Sotheby’s have no comment. Neither does the MoMA, the Guggenheim, or the Met, despite the curious fact that they all have Kostabis in their permanent collections. As for quotes from some highfalutin critics expounding on the semiotics of cone hats, cash registers, and the Sony Walkman in Kostabi’s work? Not a chance.

The last days of Jean-Michel Basquiat.

From his arrival in New York as a penniless 22-year-old Dutch stowaway through years of obscurity until emerging as a major artist in his 50s.

The story of Levine’s father and his involvement in the legal battle over the 798 finished paintings Rothko had in his studio when he was discovered there in a pool of blood. The case spawned a feature film, Legal Eagles, and hinged on an unusual question; was Mark Rothko an artistic genius?

When they met, he was 45 and she was 17. In her 14 years as his mistress, she appeared in countless paintings, including Guernica.