How feverish selling and infighting built the buzziest artist of 2020.

For decades, the artist’s Saturday Evening Post covers championed a retrograde view of America. This is the story of the politically turbulent 1960s, a singular painting, and Rockwell’s unlikely change of heart.

On the life and legacy of Canadian artist Matthew Wong.

I used to believe the art world was at war with itself, that money was fighting art and vice versa. But I’ve been living in my own ambivalence about things for a decade now, or more, and I’m starting to think it’s not a war but a new equilibrium state, defined by that ambivalence.

An argument on the meaning of Cubism settled.

A profile of the painter.

What we get wrong about the opioid crisis.

On race and risk in American culture.

He left China at 10 and would never see his mother again. He lived in extreme poverty once he arrived in America. He found his calling in art, became the creative force behind one of Disney’s iconic films, but didn’t get recognition for his brilliance until late in his life, when in addition to painting and illustrating he began to make fantastical kites.

The legendary artist has radically upended his distinctive style of portraiture—and his entire life. Why?

No contemporary artist has used natural history to tell the kind of stories that painter Walton Ford tells.

Pimp, brawler, Old Master.

An interview with painter Chris Martin.

A young assistant causes strain and conflict between a writer and a painter.

"We took her with us when we went out. It was startling when a waitress at the Forest Diner mistook Evvie for our daughter. I had just turned 38 that fall, and Colin was 46. We were both on our second marriages, and had both agreed that children would get in the way of our art. Colin was old enough for a 22-year-old daughter—I certainly wasn’t. It was something like having a child, though, without the trouble of rearing one. Evvie was devoted to Colin. If she’d been more attractive, I might have felt threatened, but I didn’t. She was almost a daughter, in those early months."

A profile of Kehinde Wiley, a painter who inserts the “brown faces” that have historically been relegated to the background in Western art.

Lessons from the 1913 International Exhibition of Modern Art.

A conversation with the 88-year-old abstract painter.

PALTROW: Did you design camouflage while in the army?

KELLY: I did posters. I was in what they called the camouflage secret army. This was in 1943. The people at Fort Meade got the idea to make rubber dummies of tanks, which we inflated on the spot and waited for Germans to see through their night photography or spies. We were in Normandy, for example, pretending to be a big, strong armored division which, in fact, was still in England. That way, even though the tanks were only inflated, the Germans would think there were a lot of them there, a lot of guns, a whole big infantry. We just blew them up and put them in a field.

What happens when a decades old video, featuring the artist Larry Rivers’ prepubescent daughters bare-chested, is claimed both as child pornography and as an important part of the archive of a major American painter.

The man who keeps finding famous fingerprints on uncelebrated works of art.