In All the Beauty in the World, Patrick Bringley revisits the many ways that art meets life, and life art, and how death is often the bridge between them.

Bridget Quinn
Bridget Quinn is a writer, art historian, and critic living in the Bay Area. Her most recent book is Portrait of a Woman: Art, Rivalry & Revolution in the Life of Adèlaïde Labille-Guiard. You can find her on her website.
The Art World “Darling” Who Went Rogue
Joan Brown resented the easy commodification of her work, and the incessant demand for her to create something just so others could own it.
Rosa Bonheur’s Animal Instinct
Her art demonstrates a grasp of animal nature beyond picturesque figures in a landscape or sentimental stand-ins for human emotion.
Pastels Are Damned Beautiful
An exhibition spanning the 16th century to the present displays pastels in all their lush, radiating color.
Joan Mitchell, a Brilliant Painter and Contrarian at Heart
If painting was Mitchell’s sickness, it was also her salvation.
The Many Feminisms of Contemporary Art
After years in the making, New Time opens at the Berkeley Art Museum and Pacific Film Archive.
Hilma af Klint Gets an Exquisite Seven-Volume Catalogue Raisonné
The latest volume of af Klint’s catalogue raisonné reveals the artist exploring the spiritual world with quasi-scientific deliberation.
What Should We Call the Great Women Artists?
Imagine if Berthe Morisot had been known as Berthe Manet.
In Knausgaard’s Essays on Art, No Thought Goes Unexamined
In the author’s latest book “In the Land of the Cyclops,” I want to see what Knausgaard sees, even when I’m overwhelmed by it or disagree.
Roni Horn’s Memories and Meditations About Weather
Prosaic and profound, Horn’s book “Island Zombie” feels like standing before art again.
Rereading Georgia O’Keeffe’s Biography in a New Light
Roxana Robinson’s biography of the artist features letters from a young O’Keeffe to a lover, which offer some unexpected art historical insights.
A Witty and Refreshingly Feminist Look at Artemisia Gentileschi
The art historian Mary Garrard’s lively account of Artemisia Gentileschi is timely in its exploration of her art which was composed of anger, accusation, and even humor.