An outsize Moses dominates the scene in Michelangelo’s Tomb of Pope Julius II.
Arnold Schoenberg’s ‘Pierrot Lunaire’ (‘Moonstruck Pierre’) so defied the melodic conventions of classical music that it initially even perplexed Stravinsky.
Ornately-carved pillars and friezes from a 16th-century South Indian temple bring the stories of the Ramayana and Mahabharata to life.
Vinnie Ream’s sculpture of Abraham Lincoln, which appeared in photos from the recent Capitol riots, has long had its detractors; now the time is ripe for a positive reassessment.
Artist-explorer Albert Bierstadt’s “A Storm in the Rocky Mountains, Mt. Rosalie” looms as large in American cultural history as the towering peaks he depicts.
Jay DeFeo’s monumental ‘The Rose’ weighed 2,300 pounds when completed.
Max Weber’s ‘Athletic Contest’ features a mix of new ideas, formal experiments and theories then current in advanced art.
‘Free Jazz: A Collective Improvisation by the Ornette Coleman Double Quartet’ was and remains a radical recording thanks to an unencumbered exchange of sonic ideas among a bevy of talented musicians.
A newly finished restoration of the Empire State Building gives us the chance to again appreciate the structure’s glittering brilliance.
The 28 reliefs in Andrea Pisano’s doors for the Florence Baptistery depict the Virtues and scenes from the life of John the Baptist.
White’s ‘Stuart Little’ was unique in its departure from the predictable moralism of earlier children’s stories.
Jackson Pollock’s ‘Mural’ is a bridge from his representational to his radical work.
With his portrait of Félix Fénéon, painter Paul Signac conferred the mantle of genius on a sympathetic critic.
Three separate works combine to create the dazzling Lindau Gospels.
Henry Fuseli’s ‘The Nightmare’ bewitches the observer with its unnerving ambiguity.
Robert Penn Warren’s ‘All the King’s Men’ remains just as insightful about ambition, electioneering and governing as when first published in 1946.
A departure from his swinging dance music, Duke Ellington’s ‘Mood Indigo’ softly conveys an intimate, ruminative and melancholy mood.
Jack Lemmon and Tony Curtis get dolled up to avoid the mob in Billy Wilder’s ‘Some Like It Hot,’ an idiosyncratic comedy that blended slapstick and screwball.
William Carlos Williams’s ‘The Red Wheelbarrow’ offers an intimately human experience in its consideration of a quotidian scene.
In Wong Kar Wai’s ‘In the Mood for Love,’ when neighbors find out their spouses are having an affair, they strike up a quiet liaison of their own.