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Pittsburgh’s Carnegie Museum of Art announced today that it has tapped Eric Crosby, the associate curator of visual arts at the Walker Art Center in Minneapolis, to be its new Richard Armstrong Curator of Modern and Contemporary Art. He starts in the new role in October.

Crosby had been at the Walker since 2009, where his curatorial credits included Liz Deschenes’s first solo museum outing and a rehang of part of the Walker’s permanent collection that focused on its extensive Fluxus holdings.

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In 1913, Edward Hopper—then 30 years old—sold his first painting ever at the inaugural Armory Show in New York to Thomas F. Vietor, a merchant from New Jersey. The piece, titled Sailing, is now in the permanent collection of the Carnegie Museum of Art, along with 16 other Hopper paintings, drawings, and etchings.

For the first time, the Pittsburgh museum is displaying its Hopper collection in its entirety as part of the new exhibition “CMOA Collects Edward Hopper.”

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Even though it just opened July 25, “CMOA Collects Edward Hopper” is already the top exhibit worth seeing at the Carnegie Museum of Art.

Not since 1937 has the museum mounted an exhibition dedicated solely to the iconic American artist, known best for his painting “Nighthawks” (1942), which portrays people in a New York City diner late at night. It is Hopper's most famous work and is one of the most recognizable paintings in American art.

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His “Normandie” pitcher is one of the prime examples of Art Deco streamlining, sleek as a funnel on that great steamliner and elegant as one of its staterooms. And yet Peter Muller-Munk himself, who designed it in 1935, has passed largely from view.

Now the Carnegie Museum of Art in Pittsburgh has announced its intention to make us notice him: On Nov. 21, the museum opens “Silver to Steel: The Modern Designs of Peter Muller-Munk,” the first survey of the designer.

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It's hard to believe that this gorgeous bit of painting by Francisco de Goya, held at the Carnegie Museum of Art since 1965, has only been on view now and then. But that's because it hasn't always been acknowledged as the Spaniard's work. This is about to change, as new research just about proves that the Pittsburgh painting is by him.

The prestigious "Burlington Magazine" is getting ready to publish an article, by the late art historian John Williams, that shows that Goya used the Carnegie piece to help him paint his great fresco around the base of the dome at the chapel of San Antonio de la Florida in Madrid, where he finished working in 1798.

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The Carnegie Museum of Art, which discovered an operating deficit of $300,000 in its annual operating budget of $10 million, announced Thursday that a staff reorganization forced it to eliminate six full-time positions and one part-time job.

Lynn Zelevansky, the museum’s director since August 2009, met with museum trustees Thursday afternoon.

“We deeply regret that positions of current staff members are being affected,” Ms. Zelevansky said in a telephone interview.

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Dan Byers is leaving as curator of modern and contemporary art at the Carnegie Museum of Art to join the Institute of Contemporary Art/Boston as senior curator.

Mr. Byers co-curated the 2013 Carnegie International and organized “Ragnar Kjartansson: Song,” which was on view at the ICA in Boston from December 2012 to April 2013.

He led the department of contemporary and modern art at the Carnegie beginning in 2009, and was appointed the Richard Armstrong Curator of Modern and Contemporary Art in 2012.

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In a single gallery at the Carnegie Museum of Art, sacred and scandalous stories unfold.

"Faked, Forgotten, Found," which runs through Sept. 15, reveals how five Renaissance paintings were altered and documents the twisted paths each artwork has traveled. Four of the works belong to the museum.

On one wall is Isabella, an Italian princess from the Medici family who took multiple lovers before her powerful brother and husband plotted to have her strangled. To add insult to murder, a Victorian-era restorer painted over Isabella's portrait to make her face prettier and her hands daintier. Thankfully, this picture has undergone cleaning, and museumgoers will be able to appreciate the full character of her distinctive face.


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A painting that was “targeted for removal” from the collection of the Carnegie Museum of Art in Pittsburgh won a last-minute reprieve after a technical examination determined that it was not a “modern fake”, but a 16th-century Florentine portrait that was significantly “tarted up” in the 19th century.

“I was convinced it was a total modern fake,” says Lulu Lippincott, the institution’s curator of fine arts, referring to what was purportedly a portrait of Eleanor of Toledo by the Italian Mannerist Bronzino. “One look at the picture and I thought, ‘you’ve got to be kidding—this is not a Bronzino’,” she says. Convinced that the work was not the Old Master it claimed to be, Lippincott sent the picture to the conservation studio with a note asking Ellen Baxter, the museum’s chief conservator, to confirm that it was a fake.

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Around the middle of the 15th century, as the development of the printing press in the West led to an unprecedented exchange of ideas, artists began to make prints. By the year 1500, a new art form and a new means of communicating ideas was widespread—one that had as great an impact in its time as the Internet has had in our own.

Carnegie Museum of Art holds an exceptional collection of prints from this period, from the masterful innovations of Albrecht Dürer and Rembrandt in 16th- and 17th-century Northern Europe to the fantastical prints of Canaletto, Tiepolo, and Piranesi in 18th-century Italy. Small Prints, Big Artists, opening this summer, presents more than 200 masterworks from the museum’s collection of over 8,000 prints. The intimately scaled woodcuts, engravings, and etchings reveal the development of printmaking as a true art form. Due to their fragility, many of these prints have not been on view in decades.

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