Monday, October 26, 2026

The sky in Van Gogh’s The Starry Night matches the pre-dawn sky of around July 22, 1889

Star patterns in Van Gogh’s paintings compared with the real sky

Caption

(a) The central cluster of stars in The Starry Night (1889), left, and the Hyades cluster in Taurus, center. At right, the five stars in the painting (orange) are overlaid on the real stars (blue) after matching for size, orientation and position; red dashed lines show the residual differences.
(b) The stars in Café Terrace at Night (1888), left, and the stars around the Summer Triangle, center. The panel at right follows the same layout as in (a).

Credit

Kim et al., Scientific Reports (2026), Figs. 2, 4 and S1

Research published in Scientific Reports, a Nature Portfolio journal, finds that the sky in Vincent van Gogh’s The Starry Night (1889) matches, in both observation and shape, the pre-dawn sky over Saint-Rémy around 22 July 1889. In the early hours of that period, a waning crescent moon, Venus and the Hyades star cluster in Taurus appeared close together. The study was carried out jointly by SLLAB, a South Korean space-science company, and the School of Space Research at Kyung Hee University.

Astronomical readings of The Starry Night began with Albert Boime at UCLA (1984) and Charles Whitney at Harvard (1986). Because the two reached conflicting conclusions, however, neither displaced the prevailing religious and symbolic interpretations of the painting. In the roughly 40 years since, no study has treated its sky with observational geometry.

First author Elijah Jeong-hyun Kim, CEO of SLLAB and a Ph.D. candidate at Kyung Hee University’s School of Space Research, describes what drew him to the question. “To an observational astronomer, the cluster of stars in The Starry Night is the Hyades in Taurus. But the moment I read the earlier studies explaining it as Aries, I heard the painting calling to me.” Having built many telescopes and spent years observing the night sky, the team judged Aries an unlikely source of inspiration for the painter. The research began with two field trips to France in 2019 and builds on Kim’s popular-science book published in 2025, gathering additional evidence and extending it with quantitative data.

The painting has conventionally been dated from a letter Van Gogh wrote to his brother Theo around 18 June 1889. Yet the waning gibbous moon of that period cannot account for the slender crescent in the painting. Around 22 July, by contrast, the Hyades rose in the east alongside Venus, and the moon’s shape was close to the crescent on the canvas.

That date, however, has long been assumed to fall within one of Van Gogh’s seizures. By cross-analysing the original French and Dutch letters, contemporary weather records and the letters’ remarks on cicadas, the team proposes that the seizure began in late July.

In Arles, the team verified the painter’s field of view in Starry Night over the Rhône (1888) with photographs taken on site. In Saint-Rémy, they located the spot from which Van Gogh drew the landscape beneath The Starry Night and reconstructed his view from there. Procrustes shape analysis then confirmed the correspondence between the five central stars of The Starry Night and the Hyades, with an even closer match in the pen drawing Van Gogh made after the painting. These results suggest that the sky in the painting was grounded in actual observation rather than pure imagination. Using the same method, the team also proposes that the stars in Café Terrace at Night (1888) may be the Summer Triangle.

“I hope this work prompts a renewed, multidisciplinary look at the sequence and working methods of the Saint-Rémy paintings, and at Van Gogh’s movements that summer,” Kim said. “Our conversation with Van Gogh’s other skies is still ongoing. We plan to tell those stories one by one.”

The article “The actual sky of Van Gogh’s Starry Night: a multidisciplinary reconstruction” is authored by Elijah Jeong-hyun Kim, Suna Kang, Jungwoo Song and Ho Jin. Scientific Reports (2026). DOI: 10.1038/s41598-026-73025-5
Code and data: GitHub sllabinc/StarryNight; Zenodo 10.5281/zenodo.21175816

A waning crescent Moon, Venus and the Hyades cluster all within the painter’s field of view — the first astronomical re-examination in roughly 40 years

Sunday, October 25, 2026

IN SEARCH OF THE ETERNAL: AMEDEO MODIGLIANI’S 'TÊTE'

Phillips is honored to present Tête by Amedeo Modigliani as the centerpiece of the New York Evening Sale of Modern & Contemporary Art on 18 November 2026

One of the largest examples from the artist's defining sculpture series comes to auction for the first time ever, after more than five decades in an esteemed private collection.
AMEDEO MODIGLIANI, Tête, 1911–1912. Estimate: $28,000,000–$35,000,000. Modern & Contemporary Art Evening Sale, New York.
Phillips is honored to present Tête by Amedeo Modigliani as the centerpiece of the New York Evening Sale of Modern & Contemporary Art on 18 November. The sculpture has remained in the same important private collection for over half a century and Phillips will bring the work to auction for the first time in its history. Carved from a single block of limestone between 1911 and 1912, Tête belongs to Modigliani's celebrated series of heads, a group widely recognized as the pinnacle of his sculptural achievement and among the defining monuments of early Modernism.

Of the approximately 28 stone sculptures created by the artist during his lifetime, the vast majority are now housed in museum collections, including The Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; Tate, London; and the Musée National d'Art Moderne, Centre Georges Pompidou, Paris. Tête is among the most significant from the series and, at nearly 30 inches tall, it is among the largest of the few remaining examples in private hands. Following a tour to London (13–15 October) and Paris (17–21 October), it will be on view at 432 Park Avenue from 7–18 November ahead of the auction, where it will be offered with an estimate of $28–35 million.
Jeremiah Evarts, Deputy Chairman, Americas, Senior International Specialist, Modern & Contemporary Art, said: “It is an extraordinary privilege to bring this masterpiece to auction. Fresh to the market after almost half a century in the same important private collection, Tête embodies everything that makes Modigliani's sculpture so revered, including its profound art historical importance. Drawing on influences ranging from ancient Egyptian, Cycladic, and African art to the radical innovations of early 20th-century Modernism, the work bridges millennia of artistic tradition while remaining unmistakably Modigliani. As one of only a handful of examples still outside museum collections, it represents a once-in-a-generation opportunity for collectors.”
AMEDEO MODIGLIANI, Tête, 1911–1912. Estimate: $28,000,000–$35,000,000. Modern & Contemporary Art Evening Sale, New York.
Tête was created during a brief but transformative period in Modigliani's career, when he dedicated himself almost exclusively to direct carving, freeing the image out of the stone in the manner of Michaelangelo and inspired by his close friendship with Constantin Brancusi. As one of the most significant artists to be influenced by the true breadth of artistic creation, Modigliani developed a radically new sculptural language defined by elongated forms, restrained geometry, and spiritual intensity. Tête is among the earliest and most fully realized expressions of this vision.
The offering arrives amid sustained international demand for Modigliani's sculptural works, which are universally regarded as among the artist's rarest and most important creations. Conceived as part of Modigliani's unrealized vision for what he described as a “temple of beauty,” the sculpted heads were to serve as columns of caryatids and occupy a central place within the artist's oeuvre, bridging the ancient traditions that inspired him and the revolutionary artistic language of Modernism. More than a century after its creation, Tête remains one of the foundational achievements of 20th-century sculpture and an enduring testament to Modigliani's singular artistic ambition.

Saturday, October 24, 2026

Charles Burchfield: Elemental

The Whitney Museum of American Art presents Charles Burchfield: Elemental, an exhibition exploring Charles Burchfield’s (1893–1967) lifelong pursuit of what he described as the “tremendous force of nature.” Drawn entirely from the Whitney’s collection, the presentation brings together nine watercolors created between 1916 and 1960, tracing more than four decades of the artist’s singular engagement with the natural world and his transformation of landscape into an expression of emotion, atmosphere, and spiritual intensity.

Opening October 22, 2026, Charles Burchfield: Elemental spans Burchfield’s career, from the radical experimentation of his early works to the expansive, visionary landscapes of his later years. Flowering meadows, insects, storms, rain, changing seasons, and turbulent skies become more than observations of the environment in Burchfield’s work. Through heightened color, rhythmic forms, and an intensely personal visual language, the artist rendered nature as something alive, psychologically charged, and continually in motion.

“As we contend with a vulnerable planet, the watercolors in Charles Burchfield: Elemental are important and resonant today,” said Caroline Webb, Curatorial Assistant. “Burchfield's attention to the dynamic cycles of the natural world and the care and reverence with which he articulated his unique perspective on nature in its most expansive sense reveals, as he once put it, ‘how vital nature is, besides being beautiful.’”

Among the works on view are Cricket Chorus in the Arbor (1917), An April Mood (1946–55), and Cold September Rain (1957). Together, the works reveal Burchfield’s remarkable ability to translate sensory experiences—the sound of insects, the movement of wind, fluctuations of light, or the arrival of a storm—into compositions that approach the transcendent.

Rather than representing landscape as a fixed setting, Burchfield envisioned the natural world as an elemental force capable of reflecting states of memory, wonder, solitude, and awe. Burchfield began developing this distinctive approach to watercolor early in his career. His works from the 1910s demonstrate an already unconventional understanding of landscape, in which trees, flowers, weather, and sound seem to possess their own emotional and spiritual presence. Across the decades that followed, he continually returned to these subjects, expanding upon earlier compositions and developing increasingly immersive visions of the environment.

The works gathered in Elemental demonstrate the extraordinary continuity of this pursuit across his career. The exhibition also marks seventy years since the Whitney organized Burchfield’s landmark 1956 retrospective, an important moment in the Museum’s longstanding engagement with the artist.

The Whitney has collected Burchfield’s work for generations, establishing a significant representation of his practice within its holdings of twentieth-century American art. Charles Burchfield: Elemental offers a new opportunity to consider that history while examining the continued resonance of his deeply personal interpretations of the American landscape. American art of our time and serve a wide variety of audiences in celebration of the complexity and diversity of art and culture in the United States.

Images

A winding path leads through lush, swirling green foliage toward a small wooden bridge.

Charles Burchfield, Cricket Chorus in the Arbor, 1917. Transparent and opaque watercolor, brush and ink, and wax crayon on paper mounted on board, 22 1/8 × 18 3/16 × 1/8 in. (56.2 × 46.2 × 0.3 cm). Whitney Museum of American Art, New York; gift of Anne and John Straus 2009.203. Reproduced with permission from the Charles E. Burchfield Foundation and the Burchfield Penney Art Center

Colorful watercolor landscape showing rolling hills, scattered trees, and a cloudy sky with sunlight.

Charles Burchfield, Cold September Rain, 1957. Watercolor, chalk and charcoal on paper mounted on board, 29 15/16 × 39 3/4 in. (76 × 101 cm). Whitney Museum of American Art, New York; Charles Simon Bequest 96.60.10. Reproduced with permission from the Charles E. Burchfield Foundation and the Burchfield Penney Art Center Publicity

Tall dark tree trunks rise through a pale forest with a bright sunburst above.

Charles Burchfield, The Tall White Sun, 1917. Watercolor, colored pencil, and graphite pencil on paper, 22 × 18 in. (55.9 × 45.7 cm). Whitney Museum of American Art, New York; purchase 31.410. Reproduced with permission from the Charles E. Burchfield Foundation and the Burchfield Penney Art Center

A snowy backyard scene with a tall bare tree, shrubby bushes, and distant red church.

Charles Burchfield, Winter Light, Backyard, 1949-60. Watercolor on board, 39 7/8 × 25 13/16 in. (101.3 × 65.6 cm). Whitney Museum of American Art, New York; gift of Mr. and Mrs. Solomon K. Gross 76.34. Reproduced with permission from the Charles E. Burchfield Foundation and the Burchfield Penney Art Center

Dark storm clouds release bright vertical sunbeams over rolling hills and swaying grassy fields.

Charles Burchfield, Overhanging Cloud in July, 1947-59. Watercolor on paper mounted on board, 39 7/8 × 36 in. (101.3 × 91.4 cm). Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 60.23. Reproduced with permission from the Charles E. Burchfield Foundation and the Burchfield Penney Art Center

A sunflower among a row of plants in front of a brown house

Charles Burchfield, August Evening, 1916. Watercolor and graphite pencil on paper, 19 15/16 × 14 in. (50.6 × 35.6 cm). Whitney Museum of American Art, New York; gift of Mr. and Mrs. Lesley G. Sheafer 55.43. Reproduced with permission from the Charles E. Burchfield Foundation and the Burchfield Penney Art Center

Large snow-covered tree with hanging icicles stands beside a house and iron fence.

Charles Burchfield, Wet Snow and Ice, 1947-55. Transparent and opaque watercolor on paper, 37 7/8 × 30 in. (96.2 × 76.2 cm). Whitney Museum of American Art, New York; gift of Vincent B. Murphy, Jr. 95.89. Reproduced with permission from the Charles E. Burchfield Foundation and the Burchfield Penney Art Center

Twisted leafless trees stand by a swollen stream under dark storm clouds over harvested fields.

Charles Burchfield, An April Mood, 1946- 55. Watercolor and fabricated chalk on paper, mounted on board, 40 × 54 in. (101.6 × 137.2 cm). Whitney Museum of American Art, New York; purchase with partial funds from Mr. and Mrs. Lawrence A. Fleischman 55.39. Reproduced with permission from the Charles E. Burchfield Foundation and the Burchfield Penney Art Center

Plants and flowers next to a fence and house.

Charles Burchfield, Noontide in Late May, 1917. Opaque and transparent watercolor, and graphite pencil on paper, 22 × 18 in. (55.9 × 45.7 cm). Whitney Museum of American Art, New York; purchase 31.408. Reproduced with permission from the Charles E. Burchfield Foundation and the Burchfield Penney Art Center

Friday, October 23, 2026

Artemisia Gentileschi in Florence

From October 21, 2026, to April 4, 2027, the Museo degli Innocenti , for the first time, an extraordinary exhibition dedicated to Artemisia Gentileschi’s Florentine period.

In Florence, Artemisia reached her artistic maturity: she was the first woman to be admitted to the Academy of Arts, received prestigious commissions from the Medici family, associated with Galileo Galilei and her contemporary artists, and was at the center of the cultural life of the time. Here, Artemisia established herself as an artist, free from the intrusive media attention that had forced her to leave Rome, and found her own path—one that would lead her to take her rightful place among the great masters of art history.

The exhibition aims to explore a crucial and formative phase in the painter’s personal and artistic journey, marked by her departure from Rome and her deep integration into the cultural, intellectual, and artistic fabric of 17th-century Medici-ruled Tuscany.

The exhibition, titled *Artemisia Gentileschi in Florence* and curated by Costantino D’Orazio, Cristina Acidini, and Sandro Bellesi, focuses on Artemisia’s stay in Florence, which marks the moment when the artist reached her creative maturity. Having left behind the complex and oppressive media attention that had marked her time in the capital, the painter found in the Tuscan city the ideal conditions to assert her talent. It was precisely in Florence that she achieved institutional milestones of exceptional significance for the time: Artemisia became, in fact, the first woman ever to be admitted.to the Academy of the Arts of Drawing. During her years in Florence, she attracted the attention and esteem of the Medici court, receiving highly prestigious commissions from the grand ducal family, forming friendships and associations with leading intellectuals such as Galileo Galilei, and engaging with the city’s foremost contemporary artists.

The exhibition also features two masterpieces by Caravaggio.

IMAGES

Judith and Her Maidservant with the Head of Holofernes (c. 1623–1625

Artemisia Gentileschi, Allegory of Inclination (1616; oil on canvas, 152 x 61 cm; Florence, Casa Buonarroti)

Artemisia Gentileschi, Bathing Bathsheba (circa 1645–1652; oil on canvas, 286 x 214 cm; Florence, Uffizi Galleries, Palatine Gallery, Berenice Room)

Artemisia Gentileschi, Susanna and the Elders (1652; oil on canvas, 200.3 x 225.6 cm; Bologna, National Art Gallery, Emilia-Romagna Museum Complex). Courtesy of the Ministry of Culture—Photographic Archive of the National Museums of Bologna—Regional Directorate of National Museums of Emilia-Romagna

Shannon’s 2026 Fall Fine Art Auction October 29th

Shannon’s 2026 Fall Fine Art Auction Featuring Quality American Masterpieces

Shannon’s will host their annual Fall Fine Art Auction on Thursday, October 29th at 6PM ET. The auction, featuring roughly 200 lots, will showcase several examples of quality American Art.

Shannon’s excels at attracting quality 19th century American paintings and this sale is no exception. Quality still-life paintings are led by a Severin Rosen, Still Life with Fruits, estimated at $15,000-25,000. Originally sold by Shannon’s in 1999, this work has been in a private collection since.

A Thomas Worthington Whittredge depicting a picnic scene on the banks of the Hudson River will be offered at $20,000-30,000. The painting dates to ca. 1860 when the artist transitioned his European training into a distinctly American style. Whittredge expert Anthony Jansen identified the scene as likely Grand View just below South Nyack. Other 19th century American art including a group of works by Fidelia Bridges will be prominently featured in the auction.

American Impressionist works are led by a mother daughter painting by Charles Courtney Curran estimated at $25,000-35,000. The figure group framed by a blossoming rhododendron illustrates the artists expertise in painting both flowers and people. The sunlit composition is a beautiful dual portrait of a mother and daughter in the garden.

Contemporary American Impressionist Laurence A. Campbell will be featured with three paintings of New York City subjects. The largest of three, “Broadway in Winter”, 24 x 20 inches depicts American flags lining a busy New York City street scene. Shannon's is excited to offer Campbell's patriotic painting this year as a highlight of the broader 250th anniversary celebrations. The painting is estimated to bring $30,000-50,000.

Modernist paintings will be featured as well including a Henrietta Mary Shore titled Beach Flower. This abstract shell-like composition illustrates the influence of Georgia O’Keefe on the artist. Estimated at $40,000-60,000 this work will likely attract interest from both private collectors and museums. Shore was a Canadian-born artist who spent most of her artistic career working in Los Angeles and New York.

Other artists featured in the October 29th auction include Luigi Lucioni, Emile Albert Gruppe, Lester Johnson, Jane Peterson, Carrie Mae Weems, Aaron Douglas, and more.

Shannon’s will host a public preview at their gallery beginning on October 19th through October 28th (weekdays from 11AM-5PM) and on Saturday, October 24th (from 10AM-3PM). Sign up to receive periodic sale updates via email on shannons.com or follow Shannon’s on social media. Quality consignments are accepted year-round. For questions about the October 29th auction or consignments at Shannon’s, contact the gallery at 203-877-1711 or at info@shannons.com.