Disposal of objects from museum collections aids in the creation of dynamic and sustainable institutions but can be perceived as a betrayal of public trust and professional duty. Written by an experienced museum professional and researcher, Jennifer Durrant delves into the historical development of disposal to offer insight into the fundamental transience of museum collections. Durrant explains the ethical timeliness and social responsibility of object removal, presenting real‑life examples and practical models for transparency creation to show how deaccessioning can be brought to public view and understanding. Emphasising the interaction between professional practice, personal action, and the centrality of conscious reflection, Durrant helpfully investigates what ‘open and honest’ working entails and explores the creation of transparency to museum practices through the lens of disposal.

Dior is part of the collective imagination. It is embedded in culture and popular culture. Initiating the recoding according to the view of Creative Director Jonathan Anderson – inside a room modeled on the velvet-lined interiors of Berlin’s Gemäldegalerie – is a programmatic act that speaks a language of understatement and poise. On the walls hang two modest yet beautiful paintings by Jean Siméon Chardin (1699-1779). At a time when art was often concerned with excess and spectacle, Chardin revered the everyday, trading grandeur for sincerity and empathy. A museum is a public space where conversations happen and history becomes part of the everyday. Museum rooms, occasionally, also host breathless, liberating and joyful runs amidst masterpieces.

“When it came to the artwork, we are not a museum, that is not our business, and we don’t have the talent or the controlled environment for artwork,” she said in an interview. “It’s outside of our mission. So my feeling is, look, we should sell the artwork to people where it is their mission. They can take care of the artworks and do it right.” The college is working with area institutions that can preserve regionally significant artworks, she said, so she’s unable to say how much of the collection will be offered for sale.

But she guesses that the sale will likely only net a few hundred thousand dollars. This sale, she acknowledged, “isn’t going to save the school.”

I can confirm the lots you mention are currently being sold on behalf of the hospital trust.

We appreciate your interest in the provenance of the artworks featured in our catalogue. I can confirm that several of the paintings listed in our auction are being consigned by the Hull and East Yorkshire Hospitals NHS Trust. These works have been officially deaccessioned by the Trust. In addition, we have received further consignments of artworks and silver from private estates.

We invite proposals on any topic, but are particularly interested in the following themes:

Curating Turner now: What do audiences want? What do they already know about Turner? What impact does staging a Turner exhibition have on public engagement and attendance?

Turner’s contemporaries: Who were his peers, and who has been overshadowed?

Turner contemporary: Artists inspired by Turner or responding to his legacy in their own work.

Researching Turner in an age of climate crisis / eco-critical turn.

The artist’s bequest / the monograph: What opportunities and challenges come with an artist’s bequest or a concentrated focus on a single figure?

Jan van Eyck’s diptych for Philip the Good - By Emma Capron

A Saxon in Hamburg: a leaf from the lost tournament book of Duke John the Steadfast - By Alexandra Burger

Sibylla von Freyberg’s prayer book - By Clarck Drieshen

Putting a name to a face: ‘Portrait of a lady’ at Parham House - By Bianca Arthur-Hull,Elise Effmann Clifford,Elizabeth Goldring,Sakeenah Teal Montanaro

Frans Hals’s portraits of Jan van de Poll and Duijfje van Gerwen: new identifications - By Jonathan Bikker

A ‘Salvator Mundi’ at Dulwich reconsidered - By Lucy West,Nicole Ryder

A ‘Flagellation of Christ’ in Zagreb from Dirck Santvoort’s Passion series - By Ivan Ferenčak

Germany’s celebration of Caspar David Friedrich’s 250th anniversary - By Christian Scholl

The exhibition at the Musée Jacquemart-André will offer a new interpretation of Georges de La Tour’s career, attempting to shed light on the questions that still surround both his work and the path he followed. Despite the scarcity of surviving originals, the art of Georges de La Tour has left a profound mark on the history of art. Through his subtle naturalism, and the spiritual intensity and purity of form in his compositions, he created a pictorial language of great emotional power that has endured for centuries. This exhibition will therefore provide an opportunity to rediscover one of the most fascinating artists of the « Grand Siècle », in all the richness and complexity of his work.

Bringing together some thirty paintings and graphic works on loan from French and foreign public and private collections, the exhibition adopts a thematic approach designed to capture Georges de La Tour’s originality. The exhibition route will explore his favourite subjects — genre scenes, figures of penitent saints, artificial lighting effects — whilst placing his life and work in the wider context of European Caravaggism, particularly the influence of the French, Lorraine and Dutch Caravaggists.

This is an exciting opportunity for an early career researcher to be develop their curatorial practice around British Art (1700-1950). The post holder will have the opportunity to build partnerships in the University of Cambridge and beyond, and participating in research networks such as the Collections-Connections-Communities initiative. We particularly encourage applicants who will seek to bring new perspectives to these collections, including from under-represented audiences and considering collection histories.

The post holder will gain skills and experience in all aspects of curatorial work and museological practice, including temporary displays and exhibitions, communication skills and public programming, and collaborating. They will support the Senior Curator, Prints & Drawings, including with collections enquiries and access, and work with other curators, collections management staff, photographers, the documentation team, conservators, scientists, learning staff and other colleagues across the Museum and the wider University.

The Yale Center for British Art (YCBA) seeks a distinguished curator, strategic thinker, and collaborative leader as Chief Curator and Director of Curatorial Affairs (Chief Curator). Reporting to the Paul Mellon Director of the YCBA, this senior role will be a key member of the YCBA's Executive Leadership Team (ELT), bringing passion, ambition, and vision to one of the country's preeminent collections. The Chief Curator will amplify the reach and impact of YCBA's curatorial and publishing programs, while upholding the museum's artistic vision and direction. A deep appreciation for YCBA's renowned collections-and a commitment to interpreting, activating, and expanding their relevance for today's audiences-will be essential.The Chief Curator will be a leader knowledgeable about institutional stewardship and development, working in close partnership with the Director to build and cultivate excellent relationships with the museum's supporters, advisors, and faculty partners. The successful candidate will be deeply committed to the educational mission of the YCBA, helping to position the museum as a vital teaching and research resource across the university. 

Until 11 January 2026, Room 60 of the Villanueva Building at the Museo Nacional del Prado will host selected works by Antonio Muñoz Degrain (1840–1924), one of the most original Spanish artists of the 1800s.

The ten paintings on display—five of them recently restored—illustrate the thematic variety, technical skill and aesthetic vision of the Valencian painter. A nearby showcase contains the acceptance speech “on sincerity in art” given when he was inducted into the Academia de San Fernando (1899), a drawing donated to the collections, and a photograph of his portrait by the sculptor Miguel Blay.

This show is part of a programme that aims to promote the museum's nineteenth-century collections, the most numerous group of paintings at the Prado, which since 2009 has featured different artists, media and contexts in small single-theme exhibitions.

Eckersberg (1783-1853), the 'Father of Danish painting', was the preeminent artist of his era, who laid the foundation of the so-called Golden Age of Danish Painting. His work is currently little-represented in UK public collections, with the majority of his works held in Denmark.

The drawing depicts harbour workers standing on the Nyhavn waterfront in Copenhagen, overlooking the wall of the botanical gardens. Eckersberg indulges in describing the beautiful, long shadows cast by the three figures, captured here at the end of a long day. It is both a typical subject for the artist, and a superb example of his mastery of light and shadow.

[President] Macron believes that expanding the museum will allow it to welcome up to 12 million art lovers each year—a number first announced as a target back in 2014, before the pandemic saw figures around the world drop.

The plan to give the Mona Lisa a dedicated gallery where guests can better appreciate the relatively diminutive painting has been in discussion with the nation’s Ministry of Culture for some time.

The expansion project will be largely funded by admission proceeds—last raised in 2024—and sponsorships. Last fall, French Culture Minister Rachida Dati suggested charging a €5 ($5.40) surcharge to museum visitors from countries outside the EU. Macron confirmed in January that he would introduce such a fee.

To mark the centenary of Jo van Gogh-Bonger’s death (1862–1925), the Van Gogh Museum presents Captivated by Vincent. The Intimate Friendship of Jo van Gogh-Bonger and Isaac Israëls, a small-scale exhibition exploring her special relationship with the painter Isaac Israëls (1865–1934). Jo, who was married to Vincent van Gogh’s brother Theo, played a pivotal role in preserving and promoting Vincent’s legacy.

Between 1915 and 1920, Jo lent Israëls several of Van Gogh’s masterpieces – including Sunflowers, The Bedroom, and The Yellow House (The Street) – which Israëls then used as backdrops in at least seventeen of his own works. He even coined the verb "Vincenting” to describe this creative process.

The exhibition shows ten of these paintings, from Dutch museum and private collections. Two of the works with the Sunflowers are in the collection of the Van Gogh Museum. There is also a special drawn study on display, in which Van Gogh's works can be seen.