Previous Posts: September 2025

Pallant House Gallery is seeking a proactive and ambitious Curatorial Assistant (F/T, permanent contract) who is passionate about making the arts accessible to the widest possible audience.

The Curatorial Assistant will contribute to the care, research and interpretation of Pallant House Gallery’s internationally important collection of Modern British art; provide support for the Gallery’s programme of temporary exhibitions and collections displays; and work in close collaboration with other Gallery departments and a variety of external stakeholders and partners. This is an excellent opportunity for an individual to learn more about collections care and exhibition making.

Showcasing the deep collection of Constable’s work at the Yale Center for British Art, this lavishly illustrated volume situates the artist within the culture of his time and considers his rich legacy. Constable features engaging essays that chronicle the painter’s life and late-blooming career, explore how the reception of his work evolved across the nineteenth and twentieth centuries, and reveal the significance of his vision to contemporary discussions on art and climate science.

The Museum is seeking a dedicated and knowledgeable curator to lead on its renowned collection of British prints and drawings by artists born between 1500 and 1775. This remarkable group includes works by figures such as John White, William Hogarth, Mary Delany, Thomas Gainsborough, and James Gillray.

The successful postholder will be responsible for deepening public and scholarly understanding of the collection through innovative research, exhibitions, and publications, while also advancing its digital accessibility through improved records and imaging. You’ll respond to enquiries, support acquisition efforts, and share your expertise with a wide range of audience, such as researchers and students to patrons and the public.

Award winning art critic Waldemar Januszczak explores three of art’s most controversial and important subjects in a hair-raising international journey.

Art’s Most Erotic sees him travelling from Japan to India to find the most explicit art ever made and to ask why art has always been so interested in sex.

In Art’s Most Horrific Waldemar confronts terrifying displays of blood, gore and death, and wonders why art is so obsessed with horror.

Finally, in Art’s Most Satanic, he goes looking for the Devil, the ultimate shape-shifter, who keeps popping up in art in a wicked assortment of disguises.

It is not the only expensive Klimt from Lauder’s holdings headed to Sotheby’s, either. Two landscapes from Klimt—one depicting a meadow and dated 1906, the other showing a forest and dated 1917—will come to auction, too, with estimates of $80 million–$100 million and $70 million–$90 million, respectively.

Beyond the Klimts, the Lauder sale will also include six bronzes by Henri Matisse collectively worth $30 million, a $20 million Edvard Munch painting, and an Agnes Martin painting valued at more than $10 million.

We celebrate one of the most fascinating artists of the seventeenth century: Michaelina Wautier, most exciting rediscovery of the past decade in art history. This comprehensive exhibition offers for the first time an opportunity to discover the nearly complete Œuvre of this extraordinary painter – and to experience it on a par with masters like Peter Paul Rubens and Anthony van Dyck.

Raphael: Sublime Poetry is the first comprehensive exhibition on Raphael in the United States, bringing together more than 200 of the artist’s greatest masterpieces and rarely seen treasures to illuminate the brilliance of Raphael’s extraordinary creativity. The son of a painter and poet, Raphael engaged with the foremost writers and thinkers of his age in Rome, displaying a poetic sensibility that captivated his peers and generations that followed. Follow the full breadth of his life and career, from his origins in Urbino to his rise in Florence, where he began to emerge as a peer of Leonardo da Vinci and Michelangelo, to his final, prolific decade at the papal court in Rome.

Building on Koenraad Jonckheere’s seminal monographs from 2007 and 2011, this book offers fresh insights into the works of Willem and Adriaen Thomasz. Key, two prominent 16th-century painters. Through an examination of newly attributed pieces and an analysis of their artistic evolution, it further enhances our understanding of their thriving workshop, a pivotal force in Antwerp’s artistic scene.

The book explores the distinctive stylistic approaches of both artists, from Adriaen Thomasz. Key’s austere yet meticulous portraiture to Willem Key’s diverse body of historical and devotional works. Drawing on extensive provenance research and keen visual analysis.

Featuring around 80 artworks, this catalogue raisonné further positions Willem and Adriaen Thomasz. Key as key masters of their era.

In a paper shared with Artnet News, Büttner said it was “striking” that a painting of this calibre could have remained unnoticed for such a long time. He noted that the artwork at one time belonged to the 19th-century academic painter William Bouguereau, but if he knew its significance, he did not reveal it.

The scholar admired how “Christ is shown isolated, standing out brightly against an ominous, dark sky,” noting also how “in a painfully realistic manner, Christ’s upper body arches forward, its weight shown by the strain on the arms” stretched overhead. “Behind the green and overgrown rocky backdrop of Golgotha is a view of Jerusalem illuminated, but apparently under a rainstorm,” Büttner added. This kind of accuracy was very typical of Rubens.

A spokesperson from Bristol & Weston Hospitals Charity said: “The charity held a collection of heritage assets, such as paintings and furniture, which had been generously donated over the years. While the Trust is very grateful for these donations, they were unable to find a permanent home for them at their hospitals.

“In partnership with UHBW, we made the decision to auction these assets with the proceeds being used to fund projects within the Trust, with a particular focus on supporting arts and culture in the hospitals.”

Nearly a century has passed since Dr. Abraham Wassenbergh’s first significant contribution to the field. He defended his dissertation on sixteenth-century Frisian portraiture at the Sorbonne in France in 1934, and published a volume on seventeenth-century Frisian portraits in 1967.

Het Friese Portret aims to build upon Wassenbergh’s important work by creating a comprehensive follow-up publication. Thanks in part to the digitization of artworks, a large number of portraits have been rediscovered in recent years. The foundation’s new standard work will incorporate these newly identified pieces, along with the latest knowledge about painters working in the region. Attention will be paid to numerous aspects, such as the artists, the subjects and their networks, the clothing and jewelry depicted in the portraits, and the social and economic context in which the portraits were created.

Known primarily as a caricature artist, Thomas Patch (1725-1782) in fact engaged in a much wider array of activities. He was a landscape painter, experimental printmaker, and a dealer of antiquities and old master paintings. He was also among the first scholars of early Renaissance art. This exhibition will explore the many aspects of Patch’s art, life, and associations with the British community of diplomats, tourists, artists, and collectors in Italy.

The Whitworth is one of the UK’s leading university art galleries, renowned for its national and international programmes and social impact. We are looking for a senior curatorial leader to join our management team and help deliver the gallery’s programme, mission, and strategic priorities. The postholder will play a leading role within our curatorial team, embedding transcultural perspectives across our programmes, contributing to the Whitworth’s strategic priorities to acknowledge the diversity and global interconnectedness of art and their histories. They will lead the development and delivery of specific programme strands, collaborate on shaping collection displays, exhibitions, and their interpretation, shaping research agendas, and helping develop international partnerships. The role will contribute to acquisition and interpretation strategies, curatorial practices, public programmes, and digital initiatives — all through a transcultural lens.

Parisian patrons collected Boucher's drawings during his life, and Boucher may have made sheets like this as works of art in their own right. The artist collaborated with printmakers to disseminate his compositions to a wider clientele. This composition was translated into a print by Gilles Demarteau using the innovative technique of red chalk engraving. To the Goncourt brothers—famed art critics and collectors of the nineteenth century—“Reclining Shepherdess” (“La Bergère au coeur”) was one of the most beautiful studies made by Boucher.

Graduate Internships are offered in the four programs of the J. Paul Getty Trust—the Getty Museum, the Getty Conservation Institute, the Getty Research Institute, and the Getty Foundation—and in Getty Publications, Getty Digital, Communications, and Development. Placements are typically available in areas such as curatorial, education, conservation, research, publications, web and new media, public programs, digital projects, and grantmaking.