Getting Italy’s Most Popular Museum Under Control

“Overseeing the Uffizi, with its world-class holdings and public-sector staffing, is a bit like running the Metropolitan Museum of Art and the Metropolitan Transportation Authority at the same time. … As [new director Eike Schmidt] fights to manage the crowds, generate more revenue and improve the museum experience – including its chaotic ticketing system and long lines – will he continue to marshal popular support and prevail against a morass of bureaucratic restraints, vested interests and political intrigue?”

Sculptor To Place 55 Enormous Horses In Front Of Colosseum In Rome (It’s All About Refugees)

“Fifty-five monumental statues of horses are to be placed in front of the Colosseum and at Trajan’s Market in Rome next month. The works, by the Mexican artist Gustavo Aceves, are made from a variety of materials including bronze, marble, wood, iron and granite. The horses are shown in fragments; some of them are standing in boats, others are positioned on top of classical columns.”

Why This Van Gogh Painting Was Stolen Not Once But Twice

“Given the prominence of some of the museum’s collection—including works by the likes of Monet, Renoir, and Degas—one would think an epic failure of security on such an extreme level would be impossible. But the negligence goes even deeper. According to Egyptian officials, at the time of the theft, only seven of the museum’s 43 security cameras were operational and none of the security alarms were actually active. “

Was Alec Baldwin Duped Into Buying The Wrong Painting?

Mr. Baldwin said that something about the painting always gave him unease. The colors weren’t quite the same. It smelled, somehow, new. In fact, he said, just a few months ago he discovered that he had not bought the painting he pined for. Instead, he said, for reasons that remain disputed, Ms. Boone sent him another version of the painting. He claims she passed it off as the original.

The Greatest American Cubist

“Within the almost cloisonné compartments from which Davis’s images are assembled, rich, expansive tides of buttery pigment lap up against the bounded margins of shapes, allowing liquid oil paint—rather than the painter’s psyche—to speak for itself. He was a hedonist to the core but also a materialist.”