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In Raleigh, a Tormented King Saul and Other Treasures

A great curator works wonders at the North Carolina Museum of Art.

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Alex Katz, Six Women, 1975, oil on canvas, 114 x 282 in.

North Carolina Museum of Art, Raleigh, Purchased with funds from various donors, by exchange

Last week, keeping my pledge to write about art between the two coasts, I swung not cowboy-but road-trip-style from Houston to Dallas, Fort Worth, Tulsa, and Bentonville in Arkansas. In the next few weeks, I’ll write about some new museum architecture, Rothko, Miro, Twombly, Homer, Remington, Nefertiti, Native American art, and the thrilling, inspirational Crystal Bridges Museum. My hors d’oeuvre was Saturday’s story about the Berruguete exhibition at the Meadows Museum in Dallas. The show is an essential prequel to Spanish aesthetics from El Greco to Ribera.

I have one more story about my North Carolina tour in late October, during which I spent an afternoon at the very nice North Carolina Museum of Art in Raleigh (NCMA). It’s a rare bird in that the museum is owned and run by the North Carolina state government. It’s not unique. The Virginia Museum of Fine Arts is the property of the Commonwealth. San Francisco has a superb city-owned museum system, and, blessedly, it’s not run by nuts. The Los Angeles County Museum of Art is indeed owned by the county government.

Brian T. Allen

About the Author

Brian T. Allen

Brian T. Allen is National Review’s art critic.

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