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An unflinchingly honest “body” of work.
By Lauren Palmor
See artworks by Bay Area artists, and submit your own.
Gothic cathedrals, guns, and the details that matter.
By Al Farrow, Jane Williams, and Céline Chrétien
Given the striking visual similarity of Fog over San Quentin State Prison, San Quentin, California to nineteenth-century American landscapes, viewers may be surprised to learn that the painting was created in the twenty-first century.
By Emma Acker
Learn about artworks in FAMSF’s collections by self-taught Black artists born in the South, and the Museums’ effort to curate with a conscience.
By Timothy Anglin Burgard
Thiebaud’s Ponds and Streams offers a disorienting, aerial view of a patchwork of intensely cultivated fields and bending waterways spread across farmland in the Sacramento–San Joaquin River Delta.
This portrait illustrates how elite families telegraphed status and power through their children.
Both John Singleton Copley and his patrons wanted to present themselves in a certain way through portraiture.
The Scream (1966), a diptych by Mike Henderson is now part of the permanent collection of the Fine Arts Museums of San Francisco.
Hiram Powers’s (American, 1805 – 1873) full-length nude Greek Slave was the most famous sculpture of the 19th century.
By Janna Keegan
Diebenkorn used an aerial perspective in many of his abstract and representational works.
