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AN ODDITY IN THE OPENING CREDITS for Pier Paolo Pasolini’s Mamma Roma (1962) has gone largely unremarked, probably because it is so cursory. A minute or so into the credit sequence, which is accompanied by the stately largo from Vivaldi’s Concerto for Viola d’Amore and Lute in D Minor, a fly suddenly enters at the lower right-hand side of the frame, meanders a bit before pausing on the name of an actor (Giulio de Stephanis) as if to inspect it, and then skitters off as quickly as it had emerged, its time on-screen totaling three seconds. Was the intrusion of the insect an accident—most...

Nino La Civita’s rollercoaster life in India took him from the mansions of the rich to internment camps to finally the St Francis of Assisi Catholic Church.

World War I is the focus of an exhibition at LACMA, where its representation as perhaps the first 'media war' gets examined.

David Platzer on “Modern Paris: 1905–1925” at the Petit Palais, Paris.

Hammer prices for works by artists such as Alexander Calder, Degas, Joan Mitchell, Gauguin and Picasso failed to reach low-estimates.