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Features the art exhibition, 'The Spanish Portrait: From El Greco to Picasso,' at the Prado Museum in Madrid, Spain, through February 6, 2005. Range of paintings featured in the exhibit; Artist credits; Implications on art.

Previews the art exhibition "Ralph Eugene Meatyard," at the International Center of Photography in New York City. Kind of expressions on Ralph Meatyard's subjects; Practice of taking pictures of his family; Other aspects of Meatyard's photographs; Characteristics of his self-portraits.

Previews the art exhibition "Retratos: 2,000 Years of Latin American Portraits," at the El Museo del Barrio in New York City. Schedule; Admission prices.

Reports that a George W. Bush portrait made by artist Christopher Savido was taken down in an exhibit at the Chelsea Market in New York City due to complaints from market managers. Use of tiny images of chimpanzees in the portrait; Expression of reservations on the portrait by a market director; Efforts to develop talents of artists.

Highlights the exhibition of the works of Raphael at the National Gallery in London, England in fall 2004. Comparison of the differences of the two historical Raphaels; Evolution of the works of Raphael; Comparison between the "Madonna of the Pinks" and the gnarly portrait of Pope Julius II.

Provides information on the exhibit "Gilbert Stuart," at the Metropolitan Museum of Art in Manhattan, New York City. Stuart's portraits of several presidents and celebrities of his time; Price of admission.

The article reviews the exhibition "Moroni: The Riches of Renaissance Portraiture" at the Frick Collection in New York City in 2019.

The article focuses on African artist Kehinde Wiley who is known for his portrayal of young African people in an stylized way. It mentions that Wiley whose works include the 2005 "Napoleon Leading the Army Over the Alps," will portrait former U.S. President Barack Obama in a painting for the Smithsonian National Portrait Gallery in Washington DC.

The article reviews the exhibition "Edvard Munch: Between The Clock and The Bed" at the Met Breuer museum in New York City till February 4, 2018.

The article reviews the exhibition "Drawn to Greatness: Master Drawings from the Thaw Collection" held at the Morgan Library & Museum, New York from 8 January, 2018 and "Ai Weiwei: Good Fences Make Good Neighbors" in Washington Square Park from 11 February, 2018.

This article is discusses the art exhibition "Cézanne in Provence," at the National Gallery of Art in Washington D.C. The show consists of portraits and still lifes but much of it is given over to the landscapes of Provence, a department in the south of France. Cézzane's role as a revolutionary role as a forerunner of the Modernist movement in art is discussed.

THE Courtauld Gallery holds one of Britain's most important repositories of old master, Impressionist and early modern drawings, and for the first time a substantial number of the works will be making a trans-Atlantic crossing, for ''MANTEGNA TO MATISSE,'' a selection of 58 masterpieces that begins Tuesday at the Frick Collection. Between the two artists of the exhibition's title lie many more that require no more than a single name -- Leonardo, Dürer, Pontormo, Michelangelo, Rubens, Guercino, Rembrandt, Gainsborough, Goya, Turner, Degas, Cézanne, Van Gogh, Picasso. The Courtauld's single most celebrated work on paper, often described as one of the finest drawings of the Italian Renaissance drawing -- Michelangelo's ''Il Sogno'' or ''The Dream'' -- will be among the loans, as will Leonardo's pen-and-ink ''Studies for St. Mary Magdalene.'' Another masterwork from the collection will be Rubens's chalk portrait of his second wife, Helena Fourment, which includes one of the most lovingly wrought depictions of a single hand -- the right one, of course, raised and articulated with great sculptural flourish -- in all of Western art. Through Jan. 27, 1 East 70th Street; (212) 288-0700, frick.org. [ABSTRACT FROM PUBLISHER]

In the Surrealist parlor game exquisite corpse, artists build a figure on an absurd assembly line. Typically a piece of paper is folded into sections and passed around; the challenge is that each artist must work on one particular segment without having seen the others. The results are often monstrous, or at least mismatched. In one example from the late 1920s by Yves Tanguy, Joan Miro, Max Morise and Man Ray, a head with donkey ears descends into a snail's torso, sprouts women's legs and ends in a pair of pointed stumps that balance on snowshoes. [ABSTRACT FROM AUTHOR]

If you were hosting a dinner party for great artists of the past, you probably would not seat Rembrandt and Degas together. It's hard to imagine the hot-tempered humanist Rembrandt and the coldblooded formalist Degas having much to say to each other. But who knows? Here they are hanging like old pals at the Metropolitan Museum of Art in a small, lovely show focused on self-portraits and prints. Organized by the Rijksmuseum in Amsterdam, in association with the Sterling and Francine Clark Art Institute in Williamstown, Mass., and the Met, ''Rembrandt and Degas: Portrait of the Artist as a Young Man'' proposes that Rembrandt influenced Degas more profoundly than anyone has suspected. In that regard, the show is illuminating but not wholly convincing. [ABSTRACT FROM PUBLISHER]

''Hide/Seek: Difference and Desire in American Portraiture,'' a diligent exhibition centering on 20th-century portraits and self-portraits of or by gay artists, is now at the Brooklyn Museum, and it is more or less intact. Which is to say that once again, nearly a year after it was first mounted at the Smithsonian's National Portrait Gallery in Washington, it includes ''A Fire in My Belly,'' a four-minute excerpt from a video made in 1986-87 by David Wojnarowicz, who died of AIDS in 1992, at 37. Early in its run at the Portrait Gallery, ''Hide/Seek'' was abruptly divested of the Wojnarowicz (pronounced voy-nah-ROH-vitch) video, whose spliced-together imagery reads as a sometimes furious pictorial lament about human suffering. A brief close-up showing ants crawling frantically over a small plastic crucifix offended Republicans in Congress, who made threatening noises about the Smithsonian's financing. G. Wayne Clough, the Smithsonian's director, evidently agreeing that art should never offend anyone, immediately had the video removed from the show. (He later indicated that he regretted acting so quickly, which was small comfort.) That video, along with the longer version from which it had been excerpted by the show's organizers, became widely available on the Internet, and was in all likelihood viewed by many, many more people than saw the actual show. [ABSTRACT FROM AUTHOR]

Portraits were not just a popular genre in the early days of this nation; they were among the only art that patrons would pay for. As a result, many American artists went abroad, hoping to test their abilities on juicier subjects, like allegorical or historical epics. But portraiture has remained an important American genre, something that can serve as a springboard to larger ideas. This is evident in some of the works in ''American Portraits: Treasures From the Parrish Art Museum'' in Southampton. Rather than proceeding chronologically, the exhibition moves through the human life cycle, a tack that feels appropriate for portraiture. The show also emphasizes the importance of a sense of place -- something that can get lost in the white-wall art space of a museum or gallery -- by featuring lots of local landscapes and East End artists. [ABSTRACT FROM AUTHOR]

Three puzzling artworks welcome visitors to ''Youth and Beauty: Art of the American Twenties,'' an expansive and exhilarating exhibition at the Brooklyn Museum. A large self-portrait by Thomas Hart Benton pictures the bare-chested, muscular artist standing heroically at the beach with his wife sitting before him, Jane to his Tarzan, in a black one-piece bathing suit. On a pedestal nearby is a sandstone sculpture of a nude male torso by Cecil de Blaquiere Howard that could be mistaken for an ancient Roman artifact. And on a wall adjacent to the Bentons is a grisaille painting of a 1928 Ford Trimotor airplane, its body of corrugated metal rendered in Precisionist style by Elsie Driggs. Just how appropriate this odd threesome is as an introduction to the show becomes clear to viewers who have read the informative catalog essay by Teresa A. Carbone, the curator of the exhibition and of the museum's American art collection. [ABSTRACT FROM PUBLISHER]

The jewel-box repository of German and Austrian art known as the Neue Galerie has organized ''Focus: Oskar Kokoschka,'' a nice, small exhibition of works by this Viennese Expressionist. More a taste-whetter than a substantial introduction, it presents six of the early oil-on-canvas portraits that made his reputation before World War I and about 40 works on paper, including book illustrations, drawings, watercolors and posters. The show's cumulative effect is a feverish mix of hope and despair, an anguished reaction to humanity's plight in the tightening grip of modernity. That tension is vividly suggested in a wood-paneled room where the portraits preside over a lavish display of tableware, furniture and jewelry designed by Josef Hoffmann, Dagobert Peche, Koloman Moser and other players in the Wiener Werkstatte movement. [ABSTRACT FROM PUBLISHER]

The article reports that the painting "Portrait of Luis María de Borbón y Vallabriga," by Spanish painter Francisco José de Goya y Lucientes will be exhibited in Saragossa, Spain. The portrait has never been earlier exhibited in public. The portrait if of 6-year old nephew of King Charles III. The painting was recently acquired by authorities in Aragon for $13 million.

The article presents an art exhibition "Holy Madness: Portraits of Tantric Siddhas" at the Rubin Museum of Art in Chelsea, New York.

Reviews the art exhibition "The Travelers," by Elizabeth Heyert at Edwynn Houk Gallery in New York City.

Previews the art exhibition "Blue," at the American Folk Art Museum in New York City.

Previews the art exhibition "Retratos: 2,000 Years of Latin American Portraits," at the El Museo del Barrio in New York City through March 20, 2005.

Looks into the restoration work on a portrait of David Hosack, the surgeon who took care of Alexander Hamilton on his deathbed, shown at the New York Historical Society in New York. Amount of money the exhibition "Alexander Hamilton, the Man Who Made Modern America;" Discussion of the events that led to the repair work; Name of the person responsible for restoring it.

Focuses on an exhibition of portraits made by artist Gary Schneider in Cambridge, Massachusetts. History of Schneider's career as an artist; Late-Victorian portraits; "Genetic Self-Portrait" series of Schneider.

Focuses on the exhibition 'Elizabeth,' at the National Maritime Museum, Greenwich, England. How Queen Elizabeth I of England marketed her image through her portraits; Use of the royal image to assert, consolidate and maintain her grip on power; Historical background; Highlights of the show; Why Elizabeth's marital status and the question of succession was central to Elizabeth's image.

Discusses the self-portraiture of Rembrandt, in light of a summer 1999 exhibition, `Rembrandt by Himself,' at the National Gallery in London, England. Speculation about the artist's motive for frequent self-portraiture; The genre known as tronies; Biographical details and chronology of his work; Analysis.

Reports on an exhibition of portraits, `Face Value: American Portraits' at the Parish Art Museum, the `Moulin-Rouge-de-Paris Cabaret' benefit for the Hampton Library, and relocation of Ross Bleckner's benefit for the Community Research Initiative on AIDS to the grounds of Bridgehampton Winery.