David D'Arcy

1 week ago | theartnewspaper.com | Martin Bailey |David D'Arcy

London’s Imperial War Museum owns a highly sensitive painting: one of the most important official portraits of Adolf Hitler, a work by the Nazi artist Heinrich Knirr. Last month The Art Newspaper viewed the work, which is currently off view and held on a rack in the museum’s art storeroom. In 1937 the Nazis entitled the portrait Adolf Hitler, Creator of the Third Reich and Renewer of German Art. Today, the museum now simply calls it Der Führer (The Leader).

3 weeks ago | theartnewspaper.com | Benjamin Sutton |David D'Arcy |Linda Yablonsky |Roger Bevan

Robert Rauschenberg, the tirelessly experimental and collaborative American artist who died in 2008, would have turned 100 this year on 22 October. In honour of his centenary, the New York-based Robert Rauschenberg Foundation is spearheading a globe-spanning programme of exhibitions, publications, performances and more, beginning this spring and continuing well into 2026.

1 month ago | theartnewspaper.com | Carlie Porterfield |David D'Arcy |Milton Esterow

Tuesday, 18 March marks the 35th anniversary of the day thieves entered the Isabella Stewart Gardner Museum and seized 13 works of art. The robbery is believed to be not only the world’s largest art heist, but also the largest single instance of property theft by value. In the early hours of 18 March 1990, two men disguised as police officers entered the museum, handcuffed the two security guards on duty and took off more than an hour later with 13 works.

1 month ago | theartnewspaper.com | Martha Lufkin |David D'Arcy

The US Supreme Court has sent a Nazi-looted art claim over a painting at the Museo Nacional Thyssen-Bornemisza in Madrid back to the lower federal appeals court to reconsider who owns the work, after a new California statute changed the governing law of the case. The new statute applies the property law of California to lawsuits over art stolen during the Holocaust.

1 month ago | theartnewspaper.com | Anna Brady |Simon Bainbridge |David D'Arcy

“I am dead already. I just haven’t been buried yet,” says Jean-Claude Saintilus at the beginning of The Sculptors of Grand Rue, Leah Gordon’s 2008 documentary. Claude (as he was known) Saintilus is speaking at the beginning of November and it’s Fèt Gede, a time of celebration, a Haitian festival of the dead. Framed in the shadow of his yard against the backdrop of his assemblages, he is explaining the connection between his ancestors, the Vodou spirit world and his artworks.