New York City
An interview with Kathy McLauchlan
Kathy McLauchlan will be leading tours to two of the great capitals of modern art; Paris and New York. We spoke with Kathy to particularly ask her why she is drawn to New York and her personal thoughts on the city.
What was your inspiration for designing this itinerary?
I have been visiting New York for many years and have grown to love it – it’s one of the most exciting and inspiring cities in the world. I wanted to design a trip that tells the story of modern art from the late 19th to the early 20th century, a time when New York itself emerged as a leading global art centre. The itinerary combines visits to some of the city’s outstanding museums with opportunities to experience the sheer spectacle of New York itself.
Are there any hidden gems or personal favourite works you're especially excited to show us?
Absolutely—there are works I return to every time. Among the ‘must sees’ are portraits by Ingres at both the Frick and the Metropolitan Museum of Art. From the 20th century, I’m especially looking forward to sharing Edward Hopper’s work at the Whitney Museum of American Art, followed by a stroll through his home turf (Greenwich Village) including the studio in Washington Square where he produced some of his most iconic works.
What makes New York such an important city for an art history tour compared to others?
New York is particularly strong in art from the turn of the 19th and 20th centuries, the starting point for European modernism. The Museum of Modern Art, for example, houses masterpieces by some of the era’s most celebrated artists – including Picasso’s Les Demoiselles d’Avignon (1907), often cited as the starting point for Cubism.
What makes New York such an important city for an art history tour compared to others?
New York is particularly strong in art from the turn of the 19th and 20th centuries, the starting point for European modernism. The Museum of Modern Art, for example, houses masterpieces by some of the era’s most celebrated artists – including Picasso’s Les Demoiselles d’Avignon (1907), often cited as the starting point for Cubism.
What do you personally think of Frank Lloyd Wright’s design of the Guggenheim?
Wright’s Guggenheim can be a dizzying experience if you are prone to vertigo - which I am. But the building’s design has the great virtue of clarity. Starting at the top and working your way downwards means that you don’t need to worry about finding your way – you can concentrate on the story the pictures tell. I approve of that!
Are there artworks in the Cloisters that you think visitors often miss or underappreciate?
Yes—don’t miss the collection of boxwood miniatures from the early 16th century. These are remarkable, intricately carved objects that reward close and careful inspection.
How has your own relationship with these museums and works evolved over the years?
Over time, I’ve come to feel at home in certain places - above all the Metropolitan Museum of Art. Its collections and displays have evolved to reflect new perspectives on art history, ensuring that there is always something new to learn, and as well as old favourites to revisit.
Which moment or site during the tour do you think will be the most memorable for clients?
A trip around Manhattan on the Circle Line is a great introduction to the city. You experience the dramatic skyline and discover a remarkable diversity among the city’s neighbourhoods – from the financial district in the south to the almost pastoral areas remaining in the north. And the unfolding drama of a walk across Brooklyn Bridge is always unforgettable.
