2 Million Images of Western Art, Digitized

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February 14, 2026

The Witt Library - Marc Chagall’s painting "Vase of Flowers with Angels and Reclining Figure" (c. 1928) — Marc Chagall’s painting "Vase of Flowers with Angels and Reclining Figure" (c. 1928)

Founded in 1932, the Courtauld Institute of Art is Britain’s leading center for the study of art history, holding not only an important collection of fine art but also unparalleled archival resources consulted by students, researchers, art trade professionals, and the public.

The Courtauld recently completed an 18-month project to digitize its Witt Photographic Collection (“The Witt Library”), which contains more than 2 million images of Western art spanning eight centuries. Anyone can visit the Courtauld website to explore this trove of photographs, reproductions, and clippings of artworks dating from the 13th century through today.

Founded in the 1890s by Robert Witt, one of the Courtauld’s co-founders, this holding began during his undergraduate years at Oxford, where he specialized in the Italian Renaissance. It expanded significantly in 1899 following his marriage to Mary, a fellow collector of photographs of Western art. Their brainchild was acquired by the Courtauld in 1944, and now is arranged into 26 different national “schools” categorized by artist and subject.

Since the 1890s, its sturdy cardboard sheets have been pasted up with clippings from auction cataogues, books, newspapers, and periodicals, even with original photographs and prints.

Previously stored in more than 19,000 boxes occupying almost a mile of shelf space, in 2023 the collection was shipped to the Dutch firm Picturae BV, where every item was photographed in high resolution. A useful example is illustrated above, showing Marc Chagall’s painting “Vase of Flowers with Angels and Reclining Figure” (c. 1928). Everything on this card was clipped from the catalogue of a Sotheby’s Tel Aviv auction held in 1993, the same year the card was created by a librarian, who annotated it by hand with the name of the seller. Even today, finding such obscure information online is difficult, so it’s no wonder the Witt Library features regularly as a filming location on the BBC’s hit television series Fake or Fortune.

Soon the Courtauld staff will begin transcribing all of the cards’ information and creating keywords so online users can search the entire collection by title, subject matter, and concept. In 2023, a team of 14,000 volunteers completed a similar five-year-long campaign for the Courtauld’s Conway Library of photographs of world architecture, architectural drawings, sculpture, decorative arts, and manuscripts. Also in 2023, the Courtauld Gallery launched its searchable website cataloguing its more than 33,000 original artworks.

Resources like these are expensive to create and maintain, but priceless for users who no longer must travel to London to study them by appointment. The Courtauld deserves much praise, and financial support, for sharing its riches with the public in these ways.

Virtual Gallery Walk for February 24th, 2026

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Fine Art Today

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February 13, 2026

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As part of our effort to continue to help artists and art galleries thrive, we’re proud to bring you this week’s “Virtual Gallery Walk.” Browse the artwork below and click the image itself to learn more about it, including how to contact the gallery.

Legacy of the Lamar, Peter Mathios, acrylic, 16 x 16 in; Celebration of Fine Art

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Skimming The Cambria Coast, Marian Fortunati, oil on canvas, 24 x 24 in; Marian Fortunati Fine Art

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Summer Silence, Jean Schwartz, 36 x 36 in., oil on linen available at Calloway Fine Art and Consulting

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Cold Blood, Brooke Bartholomew, 34 x 34 in., oil on linen; Wausau Museum of Contemporary Art.

Want to see your gallery featured in an upcoming Virtual Gallery Walk? Contact us at [email protected] to advertise today. Don’t delay, as spaces are first come, first served, and availability is limited.

Collecting Art: A Moment of Pure Connection

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Peter Trippi, Editor-in-Chief, Fine Art Connoisseur Magazine

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February 9, 2026

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On Collecting Art > Lynn and Dan Tarrence live in Milwaukee, where she works as an interior designer and he helps investors support environmentally sustainable companies.

Their collecting journey began with a shared love of vintage black-and-white photographs featuring such iconic figures as Frida Kahlo, Jacqueline Kennedy, and Paul McCartney. In 2016, when Dan was serving on a nonprofit board, he was invited by a fellow trustee to visit his newly opened Lily Pad West Gallery. Through the friendships the Tarrences formed with this Milwaukee gallery’s owners, Alan Perlstein and Terry Hamann, “we soon embarked on an inspiring journey into the art world.”

Dan McCaw (b. 1942), “Waiting,” 2016, oil on board, 24 x 18 in.

During their first visit to Lily Pad West, Lynn was immediately captivated by Dan McCaw’s painting “Waiting,” illustrated above. “In fact,” the Tarrences recall, “she couldn’t take her eyes off it, overwhelmed by the poignancy of its solitary figure. A week later, we returned, and ‘Waiting’ still held the same magic. On our third visit, Lynn made up her mind, pulled out her checkbook, and purchased the painting with her own money. It was a moment of pure connection and the start of our art collection.”

Since then, the Tarrences have acquired pieces by Peter Layne Arguimbau, Peter Batchelder, Jeff Faust, Guido Garaycochea, Susan Hall, France Jodoin, Dan McCaw, John Robert McDonald, Tim Meyerring, Andy Newman, David Patterson, and Christopher Pierce. They enjoy attending gallery shows featuring new work by these artists, and over the years they’ve had the pleasure of meeting Faust, Garaycochea, Jodoin, McDonald, and Patterson in person. “Hearing directly from artists about the inspiration and thought processes behind their creations is always inspiring,” Lynn notes.

The Tarrences enjoy participating in Milwaukee’s lively Gallery Night events, held four times per year, which “provide an engaging way to explore and celebrate the local art scene.” Other venues they visit include the Saint Kate Arts Hotel, student shows at the Milwaukee Institute of Art and Design, and various plein air shows, but they buy primarily through Lily Pad West.

Art has enriched their lives in other ways: “Now our travels take us to famous art destinations such as Amsterdam’s Rijksmuseum, and those visits often inspire us to purchase art there when we have the opportunity.” Visiting Tucson, for example, the Tarrences acquired two 1953 pieces by the French artist and writer Jean Cocteau, who was deeply influential on the surrealist and Dada movements.

Speaking of surrealism, “When we bought our second painting by Jeff Faust,” Lynn observes, “it was the first time we had decided to collect a particular artist as a conscious choice. Previously, it had all been by heart.” One of their Faust works, “Clouds for the Poets,” is illustrated below; Dan says, “We loved it so much that Lynn designed our entire kitchen around it. Jeff even came to see the painting in its new home, and we hosted a small cocktail party to mark the occasion.” Of course, one is unlikely to see a cow resting with a cloud-filled rowboat floating above it, and that delightful streak of magic realism appeals to the Tarrences and can also be seen in two other Lily Pad West artists, Guido Garaycochea and H.M. Saffer II.

Jeff Faust (b. 1952), “Clouds for the Poets,” 2016, acrylic on canvas, 60 x 44 in.

As for displaying their treasures, the couple face the same logistical challenges other collectors do: “When Lynn likes a painting she sees at the gallery, Dan usually says all our wall space is taken. Yet somehow Lynn can always find space for a new one!”

View more artist and fine art collection profiles here at FineArtConnoisseur.com.

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The Best & Brightest in Scottsdale

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Fine Art Today

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February 8, 2026

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Scottsdale Artists' School - Laura Krusemark (b. 1977), "Desert Fireworks," 2025, oil on panel, 12 x 12 in. — Laura Krusemark (b. 1977), "Desert Fireworks," 2025, oil on panel, 12 x 12 in.

Scottsdale Artists’ School: Best & Brightest
Scottsdale, Arizona
scottsdaleartschool.org
Through March 12, 2026

Now in its 42nd year, the Scottsdale Artists’ School is set to present “Best & Brightest,” the annual juried art show and sale highlighting artworks created by its top students and alumni living around the world.

All artists who have taken a workshop, program, or online class through the school since 2019 were invited to submit their works for consideration.

The official opening reception and awards announcement ceremony is set for February 12. First and second place awards will be presented in each of six categories: drawing, oil painting, pastel, water media, sculpture, and small work.

The school’s executive director, Trudy Hays, is quick to praise the “professional quality of Scottsdale Artists’ School students” and laughs that she does “not envy the team assembled to jury the pieces because they have a difficult assignment.”

Among the works to be offered is the one illustrated above, “Desert Fireworks.” Its creator, Laura Krusemark, explains: “During my walks in the Scottsdale area, I was inspired by these bright fuchsia cacti blooms saying hello to me under the afternoon sun while their petals cast fanned-out shadows, like a dance across the sand. This piece captures the resilience and brilliance of the Southwest, where beauty thrives in light, movement, and unexpected places.”

For those who cannot attend in person, be sure to view and buy works directly from the school’s website.

Virtual Gallery Walk for February 6th, 2026

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Fine Art Today

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February 6, 2026

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As part of our effort to continue to help artists and art galleries thrive, we’re proud to bring you this week’s “Virtual Gallery Walk.” Browse the artwork below and click the image itself to learn more about it, including how to contact the gallery.

The Concertmaster, Barbara Rudolph, oil, 20 in. x 16 in; Celebration of Fine Art

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Want to see your gallery featured in an upcoming Virtual Gallery Walk? Contact us at [email protected] to advertise today. Don’t delay, as spaces are first come, first served, and availability is limited.

Endless Sun-days: A Solo Show by Xevi Solà

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Fine Art Today

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February 6, 2026

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Figurative art - Xevi Solà, "Dimanche 2," 2025, oil on canvas, 51.2 x 63.8 in | 130 x 162 cm — Xevi Solà, "Dimanche 2," 2025, oil on canvas, 51.2 x 63.8 in | 130 x 162 cm

Contemporary figurative art / narrative paintings on view >>>

“If I had to define this series, I would say it’s a kind of collective psychological portrait,” said Xevi Solà. “These figures are trying to relax in a bright and colorful environment, but gray clouds lurk behind their sunglasses.”

Exhibition Detail at a Glance:
“Xevi Solà: Endless Sun-Days”
Opera Gallery
New York, New York
February 12 – March 7, 2026
operagallery.com

Xevi Solà, "Dimanche 4," 2025, oil on canvas, 51.2 x 63.8 in | 130 x 162 cm — Xevi Solà, “Dimanche 4,” 2025, oil on canvas, 51.2 x 63.8 in | 130 x 162 cm

From the gallery:

Influenced by fashion photography, film stills, and mugshots, Solà creates portraits with a cinematic dimension and suggestive storytelling. “As a child,” he says, “I was very much a homebody, and my source of inspiration for landscapes was cinema.”

Figurative art - Xevi Solà, "Dimanche 1," 2025, oil on canvas, 51.2 x 63.8 in | 130 x 162 cm — Xevi Solà, “Dimanche 1,” 2025, oil on canvas, 51.2 x 63.8 in | 130 x 162 cm

In “Dimanche 1,” four figures sit by a pool, lost in silent contemplation, time seemingly suspended. While echoes of David Hockney’s iconic pool scenes can be perceived, Solà’s incisive, contemporary, and psychologically charged approach lends this moment a unique authenticity.

One can cite, for example, the glamour and tension of Mid-century French Riviera cinema, which Solà’s paintings evoke, particularly the psychological atmosphere of the 1969 film La Piscine (The Swimming Pool), in which Alain Delon, Romy Schneider, Maurice Ronet, and Jane Birkin grapple with latent desire and jealousy during a summer in the South of France. The leisurely ideal and mid-20th-century elegance of Slim Aarons’s Poolside Gossip series find a similar resonance in Solà’s compositions, which are both familiar and dreamlike.

Xevi Solà, "Dimanche 3," 2025, oil on canvas, 51.2 x 63.8 in | 130 x 162 cm — Xevi Solà, “Dimanche 3,” 2025, oil on canvas, 51.2 x 63.8 in | 130 x 162 cm

Working from spontaneous, single-stroke sketches, Solà paints quickly to preserve the immediacy and spontaneity of his creative process, thus placing his practice in the lineage of contemporary figurative painters such as Alice Neel, Lucian Freud, Alex Katz, Chantal Joffe, and Elizabeth Peyton.

Presented together, the works in ‘Endless Sun-days’ read like an intimate, colorful, and cinematic visual diary. Viewers are invited to enter Solà’s suspended summer world and imagine the stories unfolding just beyond the frame.

Painting of a man with a dog - Xevi Solà, "Bro," 2025, oil on canvas, 45.7 x 35 in | 116 x 89 cm — Xevi Solà, “Bro,” 2025, oil on canvas, 45.7 x 35 in | 116 x 89 cm

Xevi Solà in his studio in Girona, Spain, 2025. ©Enrique Palacio

Xevi Solà (b. 1969) is a Spanish painter who lives and works in Girona, Spain. He was born in Santa Coloma de Farners in Catalonia and he graduated from the Faculty of Fine Arts at the University of Barcelona in 2007. He has exhibited widely in galleries and museums across Europe, the United States, and Asia, including solo exhibitions at Voltz Clarke Gallery in New York, Alzueta Gallery in Barcelona, the Cuperior Collection and YIRI ARTS in Taipei. In 2024, he had his first solo exhibition with Opera Gallery at their Geneva, Switzerland location.

Rembrandt Drawing “Roars” to $17.9 Million at Auction

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Fine Art Today

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February 5, 2026

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Rembrandt van Rijn, "Young Lion Resting," ca. 1638-42, black chalk, white chalk heightening, and gray wash, on brown laid paper, 11.5 x 15 cm; Image courtesy The Leiden Collection

The Leiden Collection and Panthera today are celebrating the landmark sale of Rembrandt van Rijn’s “Young Lion Resting” for $17,860,000 at Sotheby’s “Master Works on Paper from Five Centuries” auction in New York.

More from Sotheby’s:

This historic event represents a “full-circle” moment for the masterpiece — originally the first work of art by Rembrandt acquired by Dr. Thomas S. Kaplan and his wife Daphne Recanati Kaplan, all proceeds from its sale will be donated to Panthera and employed to secure the future of the very species the drawing so vividly depicts.

Panthera was co-founded in 2006 by the Kaplans and the late renowned wildlife biologist Dr. Alan Rabinowitz. Now chaired by the drawing’s co-owner, philanthropist and wild cat conservationist Jon Ayers, it is the only organization of its kind exclusively devoted to the protection of the world’s 40 species of wild cats and their ecosystems.

Celebrating its 20th Anniversary this year, Panthera will use the funds generated to support science-directed initiatives fostering human-wild cat coexistence and critical landscapes protection in some 40 countries across four continents. The organization’s proven conservation models and award-winning programs will be scaled globally, rooted in local partnerships and traditional knowledge, and implemented to combat wild cats’ greatest threats — from poaching for the illegal wildlife trade and conflict with communities to habitat loss.

Dr. Thomas S. Kaplan, co-founder of both The Leiden Collection and Panthera, said: “To see this masterpiece, which began our journey with collecting Rembrandt some twenty years ago, now provide the resources to protect big cats around the world is a deeply moving moment of symmetry for us. Uniting art and wildlife, this sale marking the 20th Anniversary of Panthera was meant to transform cultural heritage into conservation action. Its incredibly successful outcome evinces both the enduring power of the Master and the crucial importance of safeguarding biodiversity for future generations.”

“The pulse of life that Rembrandt captured in this lion’s gaze continues to beat today through our conservation field programs,” said Jon Ayers, Board Chair of Panthera and co-owner of the work. “This sale provides Panthera with critical resources to combat poaching and habitat loss globally, ensuring that the majesty Rembrandt admired in the 17th century survives well into the 21st and beyond.”

Prior to auction, Panthera, The Leiden Collection, and Sotheby’s unveiled “Young Lion Vanished” as a visual warning and a statement in conservation — replacing Rembrandt’s lion with empty space to reflect the accelerating loss of lions across Africa. While lions have undergone a catastrophic range reduction of 95 percent over the last century, with only about 24,000 lions remaining, down from an estimated 200,000, Panthera’s recent, replicable success stories have demonstrated that the recovery of lion populations is possible.

“Young Lion Resting” encapsulates Rembrandt’s preternatural skill as a draftsman. To convey the animal’s languid power, he juxtaposed loose, confident strokes, seen in the modeling of the lion’s paws, with the controlled shading that brings its gaze to life. The sheet is also an incredible rarity. Only six drawings of lions by Rembrandt are currently known, with two being held at the British Museum and one in each of the collections of the Louvre in Paris, the Rijksmuseum in Amsterdam and the Museum Boijmans Van Beuningen in Rotterdam. “Young Lion Resting” is also the first to come to the market in a century. The $17.9 million result places this exquisite work among the most significant Old Master drawings ever sold at auction and sets a new record for a drawing by Rembrandt, surpassing the artist’s previous auction record for a work on paper of $3.7 million in 2000.

Learn more about Panthera at panthera.org.

How a Brooklyn Couple Built an Art Collection that Reflects a Lifetime of Creativity

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Peter Trippi, Editor-in-Chief, Fine Art Connoisseur Magazine

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February 2, 2026

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Fine Art Collection Profile >

Jack Esterson AIA and Hon. Richard Montelione of Brooklyn have collected art throughout their 40 years together. Now the co-founder and principal of Think! Architecture & Design, Esterson declares that “Art has always been in my DNA.” As a young artist from Syracuse, he was lured by the irresistible pull of New York City, and while studying architecture at Brooklyn’s Pratt Institute found himself surrounded by artists, designers, and art historians. “I had no money to collect,” he recalls, “so I made art and bartered with my artist friends.”

Art collectors Jack Esterson and Richard Montelione

Esterson continues, “What I had learned rubbed off on Rich, who is a brilliant legal intellect [in fact, the native New Yorker is now a State Supreme Court judge] but once lacked self-confidence in assessing art. Today, after four decades of visiting galleries, museums, and fairs — not to mention deep immersion in a creative community — Rich has definitely found a wide frame of references for experiencing art in all its modalities.”

As time went on, the couple started collecting from the many artists working in the lively Brooklyn neighborhoods of Fort Greene and Clinton Hill, as well as ones associated with Pratt Institute. “Sadly,” Esterson notes, “most of them have passed away, left the area, or been priced out, and that has dramatically affected how and what we acquire now.”

Esterson still has the bug, though: “When asked what I want for Christmas or a birthday, I always reply ‘Art, please.’ Rich says there is no more wall space, but this does not deter me. We rearrange.”

The large painting at right was painted by Ella Yang, and the others by Doug Madill.

Hundreds of artworks adorn the couple’s three locations — a 19th-century Brooklyn brownstone, a 200-year-old farmhouse in Columbia County (three hours north of New York City), and Montelione’s three-room judicial chambers. The collection ranges widely in date and media. The oldest pieces are 19th-century American and British landscapes, which look at home in the historic rooms of the renovated farmhouse upstate. Displayed throughout the Brooklyn house are WPA-era prints and an array of abstract paintings and collages dating from the 1950s through the Hip Hop era. Esterson’s own drawings and paintings also adorn these walls. He has designed some of the homes’ furniture, and at one point he caught what he laughingly calls GPS (Gay Pottery Syndrome), which has resulted in a plethora of studio ceramics, mostly American and European, plus the occasional piece of Arts & Crafts metalwork.

Confident that the contrast of great modernism and great classicism creates a compelling visual experience, Esterson has arranged most of the figurative work on the brownstone’s garden level, which contains Arts & Crafts furniture brought to Brooklyn from a now-sold summer cabin in Woodstock. The modernist pieces are concentrated on the parlor floor, with its grand scale and classical detailing.

Robert Goldstrom (b. 1952), “7:25 a.m.,” 2017, oil on linen, 33 x 22 in.

Esterson and Montelione are proud to own paintings by Audrey Frank Anastasi, Sandra Jones Campbell, Sarah Hall, Susan Rowland, J.D. Siazon, and Lois Silver; collages by Keith Maddy; and sculpture by Woody Pantilla. Pride of place, however, is given to a triumvirate of gifted painters who offer what Esterson calls “an intimate take on urban documentation”: Robert Goldstrom and Ella Yang of Brooklyn, and Doug Madill of Jersey City. The couple own at least 30 Goldstrom views of the distinctively shaped tower of downtown Brooklyn’s Williamsburgh Savings Bank, which many locals still use as a landmark while moving around the borough. Esterson is particularly fond of Goldstrom’s studies and drawings, admitting “they are like an addiction for me; I just cannot resist them.” Also here is a variety of Goldstrom’s male nudes, usually shown as portions of the body rather than in full.

Another star in the collection is Esterson and Montelione’s close friend Harvey Wilson, who arrived at Pratt in 1957 and has remained in Brooklyn ever since, still admired for his joyful abstract paintings. Now living in a nursing home nearby, Wilson has closed his studio and loaned all 450 of its works to Esterson, who recently designed a low-income residential complex in Brooklyn’s Brownsville neighborhood. Stretching between its two buildings is a long, climate-controlled passageway that the architect has always called “The Gallery.” This season its inaugural show is a large Wilson retrospective that Esterson curated for the visual delight of the hundreds of people living there.

“Our collection is sprawling; it’s everywhere, but looking back,” Esterson concludes, “Rich and I see a through-line in it — an emotional connection to audacious color and dynamic movement. There’s also a virtuosity that resonates deeply for both of us” — and surely for anyone lucky enough to visit their art-filled spaces.

View more artist and fine art collection profiles here at FineArtConnoisseur.com.
Story prepared for the web by Cherie Dawn Haas, Editor of Fine Art Today

Subscribe to Fine Art Connoisseur magazine here for expert art collection advice, gallery exhibition news, and more.

Rembrandt: Masterpieces in Black and White

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Fine Art Today

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February 2, 2026

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The Taft Museum of Art in Cincinnati, Ohio presents “Rembrandt: Masterpieces in Black and White—Prints from the Rembrandt House Museum,” February 7–May 17, 2026. Co-organized by the Rembrandt House Museum (the artist’s former home and studio in Amsterdam) and the American Federation of Arts, this is the first time in 27 years that this exquisite collection of etchings will be displayed outside of the Netherlands.

The show includes nearly fifty rarely exhibited works, presenting the depth and breadth of Rembrandt’s etching subjects, including portraits, self-portraits, scenes from daily life, landscapes, narrative scenes, and still lifes. The exhibition also demonstrates his centuries-long impact on the field of printmaking through a select group of etchings by his contemporaries, as well as later admirers including James McNeill Whistler and Pablo Picasso.

Rembrandt van Rijn, “Self-Portrait, Wearing a Flat Cap,” about 1642, etching, 3 11/16 x 2 7/16 in. Rembrandt House Museum, Amsterdam

Rembrandt van Rijn (Dutch, 1606–1669) is widely regarded as one of the greatest artists of all time. His innovation, creativity, and influence is evident not only in his paintings, but also in the more than 300 etchings he made during his career. At a time when most saw etching primarily as a vehicle to reproduce famous works of art, Rembrandt utilized the medium to create groundbreaking compositions. Filled with delicate lines and velvety shadows, his etchings often convey the same psychological intensity seen in his oil paintings.

Rembrandt van Rijn, “The Return of the Prodigal Son (etching plate),” 1636, copper, 6 1/8 x 5 3/8 in. Rembrandt House Museum, Amsterdam

“We at the Rembrandt House Museum are delighted to bring Rembrandt’s fascinating prints to audiences outside of the Netherlands,” says Epco Runia, Head of Collections at the Rembrandt House Museum and the show’s curator. “With this exhibition we hope to demonstrate that each of Rembrandt’s prints is a work of art in its own right. If you take the time to look at them closely, a whole world opens up to you: a world in black and white, but with enormous visual richness.”

Rembrandt van Rijn, “The Hog,” 1643, etching and drypoint, 5 11/16 x 7 1/4 in. Rembrandt House Museum, Amsterdam

In the exhibition, forty-five etchings—many among his most well-known—demonstrate Rembrandt’s pioneering approach to printmaking. Eight sections examine themes including the artist’s working directly from life, creating emotional impact through the use of light and dark, and shaping identity through portraits and self-portraits. A special part of the exhibition focuses on how he made his etchings, through video, etching tools and materials, and copper plates used by the artist himself. Finally, fifteen etchings by later artists show Rembrandt’s impact across generations. Throughout, Rembrandt’s innovative visual storytelling emerges in powerful details of human expression, and his lasting legacy becomes evident.

Rembrandt van Rijn, “The Angel Appearing to the Shepherds,” 1634, etching, burin, and drypoint, 10 5/16 x 8 9/16 in. Rembrandt House Museum, Amsterdam

“This is an exciting time to showcase the pioneering techniques of one of the world’s most famous artists,” says Tamera Lenz Muente, curator, who will oversee the presentation of the show at the Taft Museum of Art. “One of the Taft’s most significant and beloved paintings is Rembrandt’s ‘Portrait of a Man Rising from His Chair’, so it’s wonderful to be able to further highlight his artistic achievements. In 1999, the Taft debuted etchings from the Rembrandt House Museum to critical acclaim in the U.S., and we are thrilled to be one of three museums on their second American tour. It’s an opportunity to introduce a new generation to Rembrandt’s remarkable creative vision. The intimacy of his etchings, their awe-inspiring draftsmanship, and their emotional impact make these works still very relevant today.”

Rembrandt van Rijn, “The Star of the Kings: A Night Piece,” about 1651, etching and drypoint, 3 11/16 x 5 5/8 in. Rembrandt House Museum, Amsterdam

“Rembrandt: Masterpieces in Black and White—Prints from the Rembrandt House Museum” debuted on March 5, 2025, at Birmingham Museum & Art Gallery in Birmingham, UK. Subsequently, this exhibition will travel to the Gibbes Museum of Art in Charleston, South Carolina (October 24, 2025–January 11, 2026), then the Taft Museum of Art in Cincinnati, Ohio (February 7–May 17, 2026), and will be followed by the Naples Art Institute, Naples, Florida (October 10, 2026–January 17, 2027).

Curator
Epco Runia is Head of Collections at the Rembrandt House Museum and a specialist in seventeenth-century Dutch art, particularly Rembrandt. Runia began his career at the Rijksmuseum in Amsterdam, worked at the Frans Hals Museum in Haarlem, and served as a curator and educator at the Mauritshuis in The Hague.

Learn more about ticketing, programs, and visitor information at taftmuseum.org/Exhibitions/Rembrandt.

Featured Artwork: Bill Farnsworth

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