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This year's fair was fully digitized, with virtual walk-throughs that opened access to art lovers around the world.

At this year's TEFAF Maastricht fair, women artists take center stage. Attendance is way up, boosted by museum groups.

The hidden history of women artists continues to generate some ground-breaking exhibitions that contribute to a radical re-assessment of art and cultural history.  This is a welcome trend, though not entirely without risk, as a new show in Paris demonstrates, and as other exhibitions have managed less convincingly.

The hidden history of women artists continues to generate some ground-breaking exhibitions that contribute to a radical re-assessment of art and cultural history.  This is a welcome trend, though not entirely without risk, as a new show in Paris demonstrates, and as other exhibitions have managed less convincingly.

Childhood Albert was the son of a successful fabric merchant, Sylvan Gleizes (himself a keen amateur painter). His maternal uncle was Léon Commerre, an academic painter who won the Prix de Rome in 1875, while his father's brother, Robert Gleizes, was a successful collector-dealer specializing in eighteenth century paintings. The Gleizes' lived a comfortable life in Courbevoie in the Paris suburbs. Albert was very close to his two sisters, Suzanne and Mireille (he had an elder brother who sadly died in infancy), and they frequently appeared in his first paintings. Albert did not take to acad...