A revelatory exhibition in Amsterdam on Vincent’s landscapes from the outskirts of Paris—along with those of his avant-garde colleagues
The party-loving tax adviser and Titian fan, who sponsors an annual prize for emerging artists, dedicates his time at Frieze London to the Focus section
The sculptor’s light touch reveals heavily political themes
The artist’s rocket sculpture explores Black influences on the Western world
Plus, we speak to the artist Hildigunnur Birgisdóttir, who will be representing Iceland in Venice next year, and pick a work from the Matisse show at the Metropolitan Museum in New York
Newly discovered clothes from the attic of the fashion photographer, Surrealist and war correspondent alongside 35 of her best-known works

Van Gogh Museum concludes its 50th anniversary year with “Van Gogh along the Seine”
From October 13, 2023 through January 14, 2024, the Van Gogh Museum concludes its 50th anniversary year with the exhibition “Van Gogh along the Seine”
Source: Van Gogh Museum · Image: Vincent van Gogh, Bridges Across the Seine at Asnières, 1887, Oil on canvas, 53.5×67 cm Emil Bührle Collection, on long-term loan at the Kunsthaus Zürich
In the nineteenth century, Parisians were increasingly drawn to leisure activities along the Seine. New train stations and bridges made the suburbs of Paris more accessible, and along with that more popular. And yet factories and their smoking chimneys were steadily gaining dominance on the horizon.
Between 1881 and 1890, five ambitious artists – Van Gogh, Seurat, Signac, Bernard and Angrand – walked to the banks of the Seine to paint. With their easel positioned amongst the greenery, they captured the radical contrasts that characterised the area, from day trippers enjoying various water sports to the burgeoning industry. They found new, modern motifs, and developed their use of colour and painting techniques.
The works that Van Gogh made in the area around Asnières have been studied as a separate group for the first time, and compared with the work of four contemporaries who worked at the same locations. The exhibition unites 75 works, many of which have never before been on display at the Van Gogh Museum, or even in the Netherlands.
Highlights are Van Gogh’s “Fishing in Spring”, the “Pont de Clichy (Asnières)” (1887), Oil Sketch for “La Grande Jatte” (1883) by Georges Seurat and “Two Women on the Asnières Footbridge” (1887) by Emile Bernard.

Van Gogh Museum concludes its 50th anniversary year with “Van Gogh along the Seine”
From October 13, 2023 through January 14, 2024, the Van Gogh Museum concludes its 50th anniversary year with the exhibition “Van Gogh along the Seine”
Source: Van Gogh Museum · Image: Vincent van Gogh, Bridges Across the Seine at Asnières, 1887, Oil on canvas, 53.5×67 cm Emil Bührle Collection, on long-term loan at the Kunsthaus Zürich
In the nineteenth century, Parisians were increasingly drawn to leisure activities along the Seine. New train stations and bridges made the suburbs of Paris more accessible, and along with that more popular. And yet factories and their smoking chimneys were steadily gaining dominance on the horizon.
Between 1881 and 1890, five ambitious artists – Van Gogh, Seurat, Signac, Bernard and Angrand – walked to the banks of the Seine to paint. With their easel positioned amongst the greenery, they captured the radical contrasts that characterised the area, from day trippers enjoying various water sports to the burgeoning industry. They found new, modern motifs, and developed their use of colour and painting techniques.
The works that Van Gogh made in the area around Asnières have been studied as a separate group for the first time, and compared with the work of four contemporaries who worked at the same locations. The exhibition unites 75 works, many of which have never before been on display at the Van Gogh Museum, or even in the Netherlands.
Highlights are Van Gogh’s “Fishing in Spring”, the “Pont de Clichy (Asnières)” (1887), Oil Sketch for “La Grande Jatte” (1883) by Georges Seurat and “Two Women on the Asnières Footbridge” (1887) by Emile Bernard.
The auction house’s The Now sale of ultra-contemporary art was a success, but its marquee contemporary art sale came up well short of expectations
The auction house’s The Now sale of ultra-contemporary art was a success, but its marquee contemporary art sale came up well short of expectations

