Artist Robert Longo reflects on Jackson Pollock's _Autumn Rhythm (Number 30)_ in this episode of The Artist Project.

Photographer Robert Polidori reflects on Jules Bastien-Lepage's _Joan of Arc_ in this episode of The Artist Project.

Inclined by training and temperament toward endeavors that brought together the fields of painting and chemistry, Robert was among the earliest French artists to take up paper photography, around 1850.

Robert Rauschenberg probed The Met collection to create a striking print in celebration of the Museum's 100th anniversary.

Casa Susanna brings together photographs and publications created by and for a community of cross-dressers who met regularly in New York City and the Catskill Mountains throughout the 1960s. Two modest resorts run by Susanna Valenti and her wife, M…

Listen to sculptor Robert Laurent (1890–1970) tell his story of emigrating from Brittany, France to New York City in the early twentieth century.

The miniatures and cuttings from medieval and Renaissance manuscripts in the Robert Lehman Collection represent the major schools of illumination that flourished in Europe from the fourteenth to the sixteenth century. Robert Lehman must have considered illuminations above all an extension of his great collection of Italian, French, German, and Netherlandish paintings. In a broader sense, they manifested one more facet of the interest in early European art that led him also to collect exceptional Netherlandish and German drawings of the fifteenth and early sixteenth centuries. Among the small but choice selection of illuminations catalogued here are a leaf painted for the Hours of Étienne Chevalier by Jean Fouquet, the most celebrated French painter of the fifteenth century; a miniature by the "prince d'enluminure," Simon Marmion, painted for a Breviary for Charles the Bold and Margaret of York; and, among the Italian cuttings, a Last Judgment in an Initial C by the great Florentine painter Lorenzo Monaco and an Adoration of the Magi by Francesco Marmitta that is accompanied by a letter attesting to its sixteenth-century papal provenance. A Self-portrait by Simon Bening and a Virgin and Child signed by Francesco Morone are early instances of small paintings on parchment conceived as independent works of art rather than illustrations for manuscripts. A miniature Holy Face by Gerard David may have been meant as an independent devotional image, or it could as easily have illuminated a book. A biography of each artist and copious illustrations supplement the extensive catalogue entries, which place each of the illuminations in an art historical context that is as specific as possible.

The Robert Lehman Collection at The Metropolitan Museum of Art houses one of the finest collections of frames in the world. Robert Lehman's interest in picture frames set him apart from other collectors of his era. The collection he bequeathed to the Museum includes nearly four hundred frames, most of them Italian and French and dating from the fourteenth to the eighteenth century. Although he bought most of these frames to display his paintings and drawings, a number of them could only have been acquired as works of art in their own right. Like nearly all other European frames, the ones Robert Lehman collected have now been taken entirely out of context, the exception being the engaged moldings on early Italian panels. Most of the Italian frames, both the engaged moldings and the small cassette and astragal frames they inspired, probably hung in palazzi; the finest of the French frames were originally displayed amongst the gilt furniture and heavy fabrics that decorated luxurious northern European rooms. Using the documentary evidence that survives and his wide knowledge of comparable examples, Timothy Newbery has attempted to place these frames on the pictures and in the interiors for which they were intended. For each frame he has provided a profile drawing that is a key to its design, origin, date, and application. Newbery, a frame historian and frame maker who lives in London, is one of the world's few experts on the subject of frames. His scholarship represents the state of the art in this still relatively narrow field. The volume includes a glossary, a bibliography, and an index.