Museum of Fine Arts, Boston

This Japanese Buddhist sculpture was once vividly painted ???? During extensive conservation work on seven Japanese Buddhist sculptures from our beloved Temple Room, conservators and conservation scientists closely examined and researched traces of remaining polychrome and gilded decorations on this sculpture of Bishamonten, the Guardian of the North. Analytical and imaging techniques provided a visual of what the original surface of Bishamonten may have looked like! Brandeis University student Jalon Kimes worked with MFA staff to map the color and designs onto a 3D model. In many cases, only parts of the original patterns were remaining and the missing elements had to be recreated. The digital color recreation is accompanied by a "confidence heat index" on a second 3D model where red represents areas of high confidence and blue indicates regions of low confidence. You can see this sculpture on view in our Japanese Buddhist Temple Room!

John Wilson made this drawing in 1965, a year which saw events including the assassination of Malcolm X, the voting rights march from Selma to Montgomery, the passage of the Voting Rights Act, the centennial of the 13th Amendment abolishing slavery, the arrival of U.S. troops in Vietnam, and in Boston, Martin Luther King, Jr.'s march from Roxbury to Boston Common—all of which resulted in public protest. The image depicts a Black man standing on an elevated platform in the center of a crowd, clenched fists raised to the sky. Wilson was inspired in part by the National Memorial African Bookstore, a landmark in Harlem, run by civil rights activist Lewis Michaux. For decades, it was the center of Black literary life and the Civil Rights Movement. Wilson spoke of how the central figure in this composition embodied the collective spirit of Harlem’s Black Nationalists and was an amalgamation of leading Black American writers like James Baldwin, Langston Hughes, and Richard Wright. See the work up close in "Witnessing Humanity: The Art of John Wilson," now on view. The largest-ever exhibition dedicated to the Roxbury native is sponsored by the JLH Fund and the Carl and Ruth Shapiro Family Foundation: https://ms.spr.ly/6045q1LoL ??: John Wilson (1922–2015), "Oracle" (1965), Yale University Art Gallery. ? Estate of John Wilson. Black ink, black chalk, and collage on paper.

"Miss Ellen Hale displays a man's strength in the treatment and handling of her subjects—a massiveness and breadth of effect attained through sound training and native wit and courage." That's what an art critic said about Hale's paintings, including this one, when he saw them on display in Boston in 1887. But what was so unconventional about her self-portrait, and why did he think Hale showed "a man's strength"? Women artists were most often praised for delicacy, their attention to detail, and their careful rendering of form—and often for their sentimental approach to their subjects. Not here. There can be no doubt that the woman in this painting takes herself seriously. She looks determined, staring out from the canvas directly at the viewer. She demonstrates her own skill at rendering the human form, both in the carefully modeled face and the brightly lit, powerful hand. None of these attributes were conventional for female portraiture at that time. The bold strokes of paint add to our perception of power and concentration. ?? This #WomensHistoryMonth, discover extraordinary women artists from many cultures and eras on our brand-new Art by Women audio tour on MFA Mobile on Bloomberg Connects, which you can explore at home or in the Museum.

Who is this woman, gazing out of the painting under a furrowed brow? We do not know her name, whether she was enslaved or free, or even anything about the artist who carefully rendered her likeness. Her ruffled day cap dates to the late 1830s, and her red shawl, draped over her shoulders under a lace fichu, could be cashmere. Her cap and closely cropped gray hair suggest elderhood; her eyes well up with memories of a long, enigmatic life. #BlackHistoryMonth ??: Artist once known (American, mid-19th century), "Lady with a Red Shawl" (about 1840), oil on canvas). See this painting on view in our Art of the Americas Wing.

Read more in Boston Globe Media about the MFA's musical instruments collection and preparations for Art in Tune, our annual celebration of art and music taking place on February 27!

"He was a good father, a good man, always there for his children." —Erica Wilson, youngest daughter of artist John Wilson Erica recalls how her father would draw anywhere or anytime—even at the kids' doctor appointments—either in a small sketchbook or any other available surface. As a young child she would often find herself acting as his model, with him insisting that she "stay still—don't move." Her brother Roy was a teenager at the time, "doing what teenagers do," but was keenly aware of his dad's need to create. Now on view, "Witnessing Humanity: The Art of John Wilson" is the largest-ever exhibition dedicated to the Roxbury native. We're incredibly grateful to the Wilson family—in particular the artist's widow Julie and surviving children Erica and Roy—for their support. You can find portraits of the family and their friends among the approximately 110 works on view, which also include rare loans lent by the Wilsons for the exhibition.

Masterpieces in progress ?? The Museum is filled with lots of little ones with February Vacation Week in full swing! Join us through Saturday for drop-in activities throughout our galleries—there's something for everyone. ???: Claude Monet (French, 1840–1926), “Water Lilies, Reflections of Weeping Willows” (about 1916-19, private collection) and "Water Lilies" (1907)

Ansel Adams is one of the best-known and most beloved American photographers, born #OnThisDay in 1902. His images of the American West constitute an iconic visual legacy—one that continues to inspire and provoke ?? He made this photograph during the summer of 1936 in Yosemite Valley, a few years after the completion of the famous Wawona Tunnel. For many visitors to Yosemite, emerging from the tunnel is their first opportunity to take in the awe-inspiring view of the national park. This was a favorite vantage point for Adams and one he returned to in different seasons and weather conditions over the course of his long career. ??: Ansel Adams (American, 1902-1984), "Valley View from Wawona Tunnel, Yosemite Valley, Summer" (1936), photograph, gelatin silver print. See this photograph on view in our Art of the Americas Wing. ? The Ansel Adams Publishing Rights Trust.

"Of course, museum shows matter. This one [...] finally establishes Wilson in a canon, where he rightly belongs. But his legacy was cemented decades before. The community he cared for most has felt the dignity and grace of his work for generations; it’s in their DNA. Wilson didn’t live to see this exhibition. But he didn’t need to, to know he mattered." ?? Boston Globe Media critic Murray Whyte's review of our exhibition "Witnessing Humanity: The Art of John Wilson":

Just in time for Valentine’s Day, we have a very special new addition to our Monet Gallery! Never before on display in New England, “Water Lilies, Reflections of Weeping Willows” (about 1916-19) is a late work by the artist. Increasingly large and abstract compositions like this one defined the last years of Monet’s career. This painting was made about 10 years later than any other Monet painting in our collection, so having it on display is a unique opportunity for our visitors to see his work in a new light! On loan from a private collection, the large-scale painting joins over a dozen others on view in our Monet Gallery in a newly installed display that underscores his unparalleled ability to convey the light and atmosphere found in nature.