“Sargent and Paris” at The Metropolitan Museum of Art

Before John Singer Sargent became the preeminent portraitist of the Gilded Age—synonymous with elegance, surface, and society—he was a young painter in Paris, steeped in the traditions of the Salon and the innovations of Impressionism. The Metropolitan Museum of Art’s exhibition Sargent and Paris offers a rare chance to explore the artistic formation of this American painter during the years he spent in the French capital between the late 1870s and early 1880s.

This is not the Sargent of stately English portraits or aristocratic bravura. This is Sargent learning to see. The exhibition reveals how, long before Madame X caused a scandal and sealed his reputation, Sargent was absorbing the influence of Velázquez and Van Dyck, studying under Carolus-Duran, and walking a line between academic precision and painterly innovation. He was ambitious and searching—experimenting with composition, gesture, and light.

What’s remarkable here is how modern the young Sargent already was. Works like The Luxembourg Gardens at Twilight and his daring early portrait of Carolus-Duran capture a sense of atmosphere and immediacy that anticipates his later brilliance. And yet these are not merely exercises in style. Sargent's early Paris paintings reveal an artist attuned to human presence and emotional undercurrents—even when portraying scenes of leisure, fashion, or music.

 
 

At the heart of the show is Madame X—reunited here with studies and related works in a room that lets us re-examine the painting not just as a cultural flashpoint but as a declaration of artistic intent. Sargent’s decision to submit the portrait to the 1884 Salon, knowing it might provoke, speaks to a painter who understood the power of perception and the tensions between beauty, reputation, and artistic freedom.

Sargent and Paris is more than a biographical chapter—it’s a study in ambition, refinement, and risk. For anyone interested in the evolution of a major artist, this is essential viewing. It reminds us that mastery doesn’t appear fully formed. It’s shaped—in the studio, in the streets of a city, and in the eyes of those who dare to see differently.

If you visit, take time in the galleries—hopefully without crowds. Spend time with his surfaces, his compositions, the confidence and restraint, the subtle influence of Velazquez, Van Dyck, Manet. This is history, yes—but it’s also a reminder of how an artist uncovers his own voice.

The exhibition is on view through August 3, 2025: https://www.metmuseum.org/exhibitions/sargent-and-paris

Julia Pedrick
Reading the Art World: Ian Wardropper

Photograph by Richard Renaldi

Listen on Spotify and Apple Podcasts

Listen to our latest podcast episode featuring Ian Wardropper, author and former director of The Frick Collection and author of The Fricks Collect: An American Family and the Evolution of Taste in the Gilded Age, published by The Frick Collection in association with Rizzoli Electa.

Wardropper traces the remarkable journey of Henry Clay Frick, who evolved from a hard-edged Pittsburgh industrialist into one of America’s most discerning collectors. He describes how Frick spent two decades developing his eye—beginning with contemporary American paintings before advancing to the rarefied world of Old Master acquisitions at the highest level of the market.

Our conversation delves into Frick’s distinctive collecting philosophy: a relentless emphasis on quality over quantity and a clear vision for creating refined settings in which masterworks of painting and decorative arts could coexist. For collectors and anyone curious about the making of great collections, this episode offers rare and valuable insights.

“Frick was much more careful, studious, looked for the great work coming on the market, did his research and was willing to spend quite a lot of money to get something if he really believed that it was by one of the best artists of great quality, good provenance and good condition.

These were the factors of particular interest to him.”

– Ian Wardropper


Listen to this podcast on Spotify and Apple

Order the book here

Learn more about the podcast Reading the Art World here.


About the Author

Ian Wardropper served as the Anna-Maria and Stephen Kellen Director of The Frick Collection for 14 years, leading the institution through its most transformative period, including the first comprehensive renovation in nearly 90 years and the innovative Frick Madison project. Previously, he held curatorial positions at the Metropolitan Museum of Art as Chairman of European Sculpture and Decorative Arts and at the Art Institute of Chicago for twenty years. A specialist in European decorative arts and sculpture, Wardropper oversaw ambitious exhibitions, a major capital campaign that raised $242 million, and pioneering digital initiatives including the acclaimed "Cocktails with a Curator" series. He holds a Ph.D. in art history from NYU and was named a Chevalier de l'Ordre des Arts et Lettres by the French Minister of Culture.

Amid uncertainty over Trump’s tariffs, many collectors pause purchases while others ‘hold their noses and pay’

Megan Fox Kelly spoke with Daniel Grant for The Art Newspaper about the market impact (or lack thereof) of the Trump tariffs.

“The only conversations I’m having with clients right now are about whether they want a particular work of art, whether it is the right fit for their collection or overall collection plan, and if so, what is the right amount to pay ‘all-in’.”

Read the rest of the piece here.

Julia Pedrick
“Amy Sherald: American Sublime” at the Whitney Museum of American Art

Mama Has Made the Bread (How Things Are Measured) (2018), If you surrendered to the air, you could ride it (2019), Michelle LaVaughn Robinson Obama (2018)

When I first encountered Amy Sherald’s portraits, I was struck by their quiet power—the way her subjects, painted in grayscale against vibrant backdrops, command attention with a presence that feels both deeply personal and universally resonant. Seeing American Sublime, her first major museum retrospective, at the Whitney Museum of American Art, is an opportunity to experience the full arc of her artistic vision.

Sherald’s evolution is fascinating. From her early works in 2007 to her most recent paintings, her approach to portraiture has expanded in complexity, balancing meticulous realism with painterly abstraction. One revelation in this exhibition is how she subtly shifts between intimate storytelling and broader cultural narratives, exploring Black identity, leisure, and representation in ways that feel both timeless and urgent.

Since her portrait of Michelle Obama catapulted her into international recognition, the market for her work has soared. But beyond its market significance, American Sublime arrives at a crucial moment—offering a profound meditation on contemporary American life and who gets to be seen in art history.

For those visiting, take your time with this show. Certain works invite extended contemplation—Sherald’s large-scale portraits have a way of revealing more the longer you look. Think about what draws you to certain works and how Sherald's approach to portraiture might shift your own perspective on the people she so devotedly depicts.

https://whitney.org/exhibitions/amy-sherald

My Reading the Art World podcast interview with curator Sarah Roberts is now live on Spotify and Apple.

Julia Pedrick
Reading the Art World: Sarah Roberts

Listen on Spotify and Apple Podcasts

Listen to our latest podcast episode featuring Sarah Roberts, curator of the landmark exhibition Amy Sherald: American Sublime, and editor of the accompanying catalog published by Yale University Press in association with the San Francisco Museum of Modern Art.

In our conversation, Sarah reflects on the distinctive formal and conceptual qualities of Sherald's portraiture—from her considered use of posture and gaze to the symbolic role of clothing, props and settings. She deliberately turns the focus from outward racial identities to her subjects' interior lives. Sarah discusses how these elements in Herald’s paintings operate together to invite a deeper, slower form of looking, where each subject is rendered with quiet dignity and strength.

We discuss the meaning behind the exhibition’s title, "American sublime" in Sherald's work, and how Sherald’s paintings expand our understanding of who deserves to be seen—and remembered—in American art. Sarah Roberts offers insights into her inclusion of Sherald’s portraits of Michelle Obama and Breonna Taylor in the exhibition, placing them in the context of the artist’s broader practice and showing how they remain consistent with her vision while subverting conventions of official portraiture..

“I think something similar is at work in Amy's portraiture, the stillness of the bodies, the stillness of the faces creates an expectation that we will bring our own thoughts, preconceptions, associations, to the act of looking.”

– Sarah Roberts


Listen to this podcast on Spotify and Apple

Order the book here

Learn more about the podcast Reading the Art World here.


About the Author

Sarah Roberts is Senior Director of Curatorial Affairs at the Joan Mitchell Foundation where she oversees the Foundation's Artwork and Archival Collections and the Joan Mitchell Catalogue Raisonné project. Since 2004, she has served in progressive leadership roles in the Department of Painting and Sculpture at the SFMOMA, and since 2020 as Andrew W. Mellon Curator and Head of Painting and Sculpture. A specialist in post-war American art, Roberts has organized significant exhibitions including major presentations of Robert Rauschenberg, Louise Bourgeois, Frank Bowling, and co-curated the Joan Mitchell retrospective that traveled internationally. Roberts holds degrees from the University of Texas at Austin and Brown University, and has contributed to numerous publications on contemporary art.

Frieze Forecast: Will Jeff Koons’s Hulks Smash a ‘Cautious’ Market?

Jeff Koons, Hulk (Tubas), 2004-2018. © Jeff Koons, Incredible Hulk ™, and © Marvel. All rights reserved. Photo: Ela Bialkowska, OKNOstudio. Courtesy Palazzo Strozzi and Gagosian.

Megan Fox Kelly spoke with Brian Boucher at Artnet News about the upcoming spring New York art fairs, specifically Frieze.

“The broader economic climate feels distracting to a lot of people, more than necessarily disruptive,” said Kelly. “I am seeing more collectors being more thoughtful, more attuned to value or a long-term decision, maybe because there isn’t the pressure to act quickly. I’m not feeling that frenzy anymore. And that feels more appropriate. My clients have not retreated from the pursuit of collection building. It’s just more selective and discerning.”

Read the rest of the piece here.

Julia Pedrick
Art Abounds in New York This May Amid Market Uncertainty

The Park Avenue Armory, which will host TEFAF New York from May 9 to 13.Credit...Clark Hodgin for The New York Times

Megan Fox Kelly spoke with Andrew Russeth for The New York Times about the spring art season in New York.

These days, the art adviser Megan Fox Kelly said, after art fairs, “it may take not just weeks, but sometimes months of follow-up to get things sold, and that’s a change.”

Read more of Megan’s thoughts and the rest of the piece here.

Julia Pedrick
Celebrating Richard Diebenkorn’s Legacy

Richard Diebenkorn, Ocean Park #41, 1971.

Critic Robert Hughes once called Diebenkorn's Ocean Park paintings “among the most beautiful declamations in the language of the brush.” Ocean Park #41 shows us why— a masterwork of restraint and revision, mood and structure, memory and sensation.

Ocean Park #41 is part of Diebenkorn’s celebrated Ocean Park series, a body of work he developed over nearly two decades while living and working in Santa Monica. With each canvas, he explored not just form and color but the act of painting itself—erasing, reworking, and layering until he arrived at a composition that felt, as he put it, “right.”

Here, you can see that process in motion: lines are drawn and redrawn, planes of color scraped and overlaid, all leading to a calm yet complex balance of geometry and atmosphere.  It’s a painting that remembers its own making—ghosts of earlier decisions shimmer beneath the surface—a visual map of thought, revision, light, and place.

To me, what makes Ocean Park #41 exceptional is how it captures both a specific light and a way of seeing. The luminous palette—grays, greens, soft blues, punctuated by vivid touches of red and gold—mirrors the wash of California light as if through the windows of Diebenkorn’s studio.

This work marks a shift in the Ocean Park series: away from crisp diagonals and saturated contrasts toward something more diaphanous, open, and meditative. Looking closely, the painting seems to build on abstraction, but it behaves like a landscape, one you sense rather than see. It’s an abstract painting with the sensibility of a place—a poetic rendering of how time and light pass through a room by the sea.

This painting, part of the estate of an exceptional private collector, was brought to auction by Megan Fox Kelly Art Advisory and sold at Sotheby’s New York in 2015.

Julia Pedrick
The Art of Legacy: How Collectors Can Preserve and Protect Their Collections

From gifting to trusts to building a private own museum, art collectors can keep the collection—and the peace—intact with strategic estate planning. Alexi Rosenfeld/Getty Images

Picture this: A dedicated collector, after decades of building a distinguished art collection, passes away, leaving behind an extraordinary group of artworks with no clear instructions. The family is left navigating a complex set of decisions: which works to keep, whether to sell (and if so, where and how) or to donate (and if so, to whom)? ⁠

Without a plan or an idea of the collector’s intentions and hopes, the art collection—carefully curated over a lifetime—risks being fragmented, undervalued or even sold under financial duress.⁠

Effective planning ensures that a collection remains an enduring part of a collector’s vision—whether through family inheritance, philanthropic gifting or strategic sales. ⁠

Read the full piece in Observer here.

Julia Pedrick
UK’s new sanctions reporting regime tightens screws on struggling dealers

Diverging routes: UK foreign secretary David Lammy (left) and prime minister Keir Starmer head to Washington, DC; Britain is strengthening its AML policies while the US takes a more relaxed approach. Photo: Simon Dawson/No 10 Downing Street; Crown copyright

Megan Fox Kelly spoke with Riah Pryor at The Art Newspaper about the UK’s new sanctions and the impact on the broader market.

“The announcement hasn’t had time for proof of any ‘real-world’ implications, but I expect there will be questions as the spring auction and art fair season gets under way.”

Read the rest of the piece here.

Julia Pedrick
The Best-Seller Lists: Experts Analyze Trophy Lots Across 6 Categories

Claude Monet’s Nymphéas goes on view at Sotheby's on October 4, 2024 in London, England. Photo by Michael Bowles/Getty Images for Sotheby's.

As part of the Artnet Intelligence Report, Megan Fox Kelly reflects on the Modern and Impressionist art market.

“Overall, the market remains dynamic, supported by a mix of public and private activity.”

Read the highlight from Artnet here.

Julia Pedrick
The Artnet Intelligence Report: The Year Ahead 2025

Image courtesy of Kristina Reischl and Village Green.

Megan Fox Kelly spoke with journalist Eileen Kinsella about the Impressionist and Modern art market over the past year.

“The November auctions confirmed a stable but highly selective market for Impressionist and Modern art, with collectors focusing on works that combine rarity, quality, and strong provenance,” advisor Megan Fox Kelly said. “Overall, the market remains dynamic, supported by a mix of public and private activity.”

Read the full report from Artnet here.

Julia Pedrick
The Unique Challenge That Distinguishes Art From Typical Investments

Photo by Linda Nylind. Courtesy Frieze / Linda Nylind.

Megan Fox Kelly spoke with the CFA Institute about the delicate balance between emotional connection and financial value in art collecting. "Unlike with traditional investments, collectors are deeply influenced by their emotional connection to the works they purchase," Kelly explained. "The emotional satisfaction of ownership is a critical factor, which often makes it difficult to treat art like a purely transactional asset unless it is purchased solely for storage and future sale."

For those building or expanding collections, understanding this dynamic is crucial. "People want the works they love to also be good investments, and they hope the works that are good investments will align with their tastes. Unfortunately, that's not always the case."

The article addresses how collectors can approach this tension while considering various market segments. While trends fluctuate, the fundamental principles of thoughtful collecting remain constant.

Visit our Services to learn how we support both new and established collectors.

Julia Pedrick
Reading the Art World: Michael Findlay

Listen on Spotify and Apple Podcasts

Listen to our latest podcast episode featuring Michael Findlay, influential art dealer, director at Acquavella Galleries, and author of Portrait of the Art Dealer as a Young Man, published by Prestel.

His memoir offers a captivating, firsthand account of New York's vibrant downtown art scene in the 1960s and '70s, when Findlay directed one of SoHo's first galleries. Through personal stories and vivid anecdotes, he shares his encounters with Andy Warhol, John Baldessari, Hannah Wilke, and numerous creative figures who defined this transformative era in American art.

Throughout our conversation, Findlay shares previously untold stories about the birth of SoHo's gallery scene and offers rare insights into how today's art market evolved from those experimental beginnings. For collectors, artists, and anyone interested in cultural history, Findlay's perspective on what made this era so distinctive is invaluable.

“The memoir is actually not so very different from [my other books, The Value of Art and Seeing Slowly]. It's perhaps telling the story of how I got to have the opinions or the feelings, or to put it pretentiously, the philosophy, that I expressed in the first two books.

That comes from active seeing, not from an academic background.”

– Michael Findlay


Listen to this podcast on Spotify and Apple

Order the book here

Learn more about the podcast Reading the Art World here.


About the Author

Michael Findlay is a leading art dealer who has directed Acquavella Galleries in New York since 2000. Previously, he was International Director of Fine Arts at Christie's and ran his own influential SoHo gallery. He introduced American audiences to Joseph Beuys and Sean Scully while launching the careers of numerous contemporary artists.

Icons, Innovators and Legacies: The Art Books Defining 2025

Originally published in Observer.

In 2025, the world of art publishing offers a remarkable lineup of books that invite readers to explore the lives and legacies of groundbreaking artists, visionary collectors and transformative movements. From John Singer Sargent’s formative years in Paris to Ruth Asawa’s pioneering sculptures, this curated list highlights stories that illuminate the personal, cultural and historical forces shaping the art world. These books blend scholarly insight with compelling narratives, offering fresh perspectives on icons like Georgia O’Keeffe, Caravaggio and Leonardo da Vinci, while celebrating the innovative spirit of contemporary figures such as Shahzia Sikander.

As an avid reader of art books, I’m especially excited to dive into these titles—they promise to inspire, challenge and deepen our understanding of art and its enduring impact. Whether you're drawn to the glittering world of Gilded Age collectors or the spiritual intensity of Caravaggio’s final masterpiece, these volumes are more than beautiful additions to your shelves—they’re windows into the creativity, resilience and ambition that define the art world’s legacy. I can’t wait to share this journey with you.

Sargent and Paris

By Stephanie L. Herdrich

Publication: 4/29/25

Stephanie Herdrich provides a meticulously researched account of John Singer Sargent’s formative years in Paris, a city that deeply influenced his development and rise in the art world. This work offers fresh insights into how Sargent’s Parisian experiences shaped his masterful approach to portraiture and social observation, making it a must-read for anyone interested in the intersections of place and artistic identity. The traveling exhibition will be on view at The Metropolitan Museum of Art, New York (April 27–August 3, 2025) and the Musée d’Orsay, Paris (September 22, 2025–January 11, 2026).

 

Ruth Asawa: Retrospective

Edited by Janet Bishop and Cara Manes

Publication: 4/15/25

In this sweeping retrospective study, Bishop and Manes capture the breadth of Ruth Asawa’s innovative and wide-ranging career, from her delicate wire sculptures to her transformative public works. The authors provide us with an intimate look at Asawa’s process and legacy, bringing Asawa’s legacy to life and underscoring her role as a pioneering figure in 20th-century American art. The associated traveling exhibition will be on view at the San Francisco Museum of Modern Art (April 5–September 2, 2025), The Museum of Modern Art, New York (October 19, 2025–February 7, 2026), Guggenheim Museum Bilbao, Spain (March 20–September 13, 2026) and Fondation Beyeler, Riehen/Basel, Switzerland (October 18, 2026–January 24, 2027).

 

Georgia O'Keeffe: The Late Work

By Randall C. Griffin
Publication: 2/25/2025

Griffin’s study of O'Keeffe’s later works is a revelation, opening new dimensions of this iconic American modernist as she grappled with age and creative evolution. Through thoughtful analysis, Griffin illuminates the quiet power of O’Keeffe’s late artistic expressions, making this a must-read for those captivated by her enduring legacy and the resilience of her creative drive.

 

The Last Caravaggio

By Francesca Whitlum-Cooper

Publication: 1/7/2025


Whitlum-Cooper’s study of The Martyrdom of Saint Ursula, Caravaggio’s final masterpiece, delves into themes of mortality, spirituality and Caravaggio’s shifting stylistic innovations. By weaving together historical insight and close analysis, Whitlum-Cooper sheds light on Caravaggio’s legacy and offers an illuminating look at the artist's bold treatment of complex themes.

 

Leonardo da Vinci: An Untraceable Life

By Stephen J. Campbell

Publication: 2/4/25

Image courtesy Princeton University Press


Campbell’s An Untraceable Life is a bold re-evaluation of Leonardo da Vinci, challenging the myths surrounding one of history’s most iconic figures. Campbell’s intelligent re-contextualization presents Leonardo not as an unreachable genius but as a deeply human artist of his time, making this a thought-provoking read for those drawn to the nuances of Renaissance art.

 

Shahzia Sikander

By Jason Rosenfeld

Publication:  5/29/2025


Rosenfeld’s comprehensive portrait of Shahzia Sikander presents an artist whose work bridges continents, histories and artistic traditions. With nuanced insight, he captures Sikander’s journey from Lahore to New York, revealing an artist who redefined the possibilities of contemporary art and left a lasting mark on the global art scene.

 

The Fricks Collect: An American Family and the Evolution of Taste during the Gilded Age

By Ian Wardropper, Foreword by Julian Fellowes

Publication: 3/11/2025

Wardropper’s examination of the Frick family’s collecting story is an illuminating study in taste and ambition at the height of the Gilded Age. With elegant prose and careful detail, Wardropper traces the Fricks' evolving vision, offering readers a glimpse into the making of one of America’s most refined collections, a cornerstone of cultural heritage.

Julia Pedrick
Collectors Covet Dorothea Tanning’s Surrealist Work. The Best Is in Short Supply

Dorothea Tanning, Musical Chairs, 1951. Photo by Glen Cheriton. Image courtesy of Gallery Wendi Norris

Megan Fox Kelly spoke with Eileen Kinsella at Artnet News about the factors contributing to the market growth of Dorothea Tanning.

“What we’re seeing now is a broader trend of recognition not only within the market but also curatorially in Surrealism and also in female artists. I think the confluence of those two things is contributing to some growth in her market.”

Read the rest of Megan’s thoughts here.

Julia Pedrick
Reading the Art World: Sebastian Smee

Listen on Spotify and Apple Podcasts

Listen to our latest podcast episode featuring Sebastian Smee, Pulitzer Prize-winning art critic for The Washington Post and author of Paris in Ruins: Love, War, and the Birth of Impressionism, published by W. W. Norton.

His book explores how the violent political upheavals of 1870-71 Paris influenced Impressionism, impacted the lives of artists—including Degas, Manet, Morisot, Renoir and Pissarro, who survived those dramatic days—and inspired the movement's revolutionary spirit.

Through rigorous research into personal letters and historical documents, Smee illuminates the human context behind familiar masterpieces of light created during this dark period. He offers a fresh perspective on why the Impressionists, with their newfound sense of the fragility of life, turned toward transient subjects of modern life, leisure, fleeting moments and the impermanence of all things in the aftermath of such devastating events.

“ If you look at one of the characteristics of Impressionism, there is this sense of wanting to capture a certain feeling of transience, fugitive light, ever changing light conditions, but also changing social relations and a sense of flux in everything.”

– Sebastian Smee


Listen to this podcast on Spotify and Apple

Order the book here

Learn more about the podcast Reading the Art World here.


About the Author

Sebastian Smee is an art critic for the Washington Post and winner of the 2011 Pulitzer Prize for Criticism. His previous works include The Art of Rivalry and books on Mark Bradford and Lucian Freud. He was awarded the Rabkin Prize for art journalism in 2018 and was a MacDowell Fellow in 2021.

Here are some of the top museum shows coming to New York in 2025

Lorraine O'Grady, "Art Is…(Girlfriends Times Two)," part of the inaugural season at the Studio Museum in Harlem. Photo by John Berens / Courtesy of the Studio Museum in Harlem

Journalist Ryan Kailath spoke with Megan Fox Kelly about upcoming New York City art gallery and museum exhibitions to see in 2025.

“Whether you’re drawn to historic masterpieces or contemporary innovations, there’s something extraordinary for everyone,” wrote art advisor Megan Fox Kelly in an email.

Read the rest of the article at Gothamist here.

Julia Pedrick
The Art Market’s Dynamic Year: Insights from 2024 and Strategies for 2025

Courtesy Art Basel

The 2024 art market has been a study in contrasts—a year that showcased resilience, selectivity and recalibration. As an art advisor, I’ve witnessed shifts in collector behavior, dealer strategies and auction dynamics that reveal both challenges and opportunities. Looking ahead to 2025, my advice is simple: think strategically, focus on quality and resist the temptation to treat the art market as a monolith.

Find out more by reading the article here.

Julia Pedrick