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Valentin de Boulogne, Soldiers Playing Cards and Dice, c. 1618/20 A magnificent exhibition of Caravaggio and His Followers at the Kimbell Museum in Fort Wort h features the Washington National Gallery of Art's Soldiers Playing Cards and Dice by Valentin de Boulogne. The painting tells a story of deception. Caravaggi o had also painted Card Sharks with fewer figures. Boulogne, a Frenchman working in Rome, may have known of his composition. Boulogne's painting is a tight, close-up composition with masterfully chosen areas of ligh t. Two simultaneous episodes are taking place: dice throwing on the right and cheating card players on the left. The card sharks are the first to demand our attention, as they look startlingly real. Behind the central fig u re, who is in the process of cheating, a nother drama is happening. A man on the r ight l ooks down and covers his dice, perhaps hiding something while his adversary with the red hat seems about to erupt in anger. Although

St Anthony Torment by the Demons, c. 1487, was painted by Michelangelo when he was only 13. The panel, 18 x 12 inches, is warped as happens to many panels over time. The Torment of Saint Anthony is a small panel painting which was recently discovered to have been painted by Michelangelo in 1487/88. Intensive cleaning in 2008/9 led experts to believe that Michelangelo painted it when he was 12 or 13 years of age. Only four easel paintings by Michelangelo are known, and this one of is in North America, at Fort Worth's Kimbell Art Museum. Michelangelo's St. Anthony looks remarkably calm despite the demons who are scratching him St. Anthony was an early Christian of the 4th century who lived as a hermit for many years. According to his biographer, the rigorous asceticism practiced by St Anthony in the Egyptian desert allowed him to float in the air, where he was attacked by devils trying to beat him to the ground. Anthony defeated these demons on more than one occasion, but n

The Newseum in Washington, DC, opened near the Mall in 2008. This 7-floor, 653 square-foot building on Pennsylvania Avenue is a museum of photographic, print and broadcast journalism. Its architecture combines ul tra-sleek glass with reinforced concrete. Instead of going to the National Gallery's exhibition, Andy Warhol: Headli nes, a trip to the Newseum across the street to learn abo ut real headlines and the history of journalism w ould be more worthwhile . Warhol had a need for publicity, but that does not make his art interesting and r eal li fe news deserves more of the public's attention. The 14 galleries and 15 theaters involve many historic events. A few news programs are broadcast here, including This Week . S eeing a Warh ol in person offers nothing new, unless the colors are wrong in reproduction. Size is the only difference between a real Warhol and a reproduction, but big does not make the art good. A concurrent Wa rhol exhibition at the Hirshhorn has very

Georgia Nassikas's triptych , Stone Wall, is in the very old technique of encaustic. . McLean Project for the Arts is currently exhibiting three contemporary artists whose techniques involve layering. I was initially attracted there to look at Georgia Nassikas' paintings made in an encaustic technique. In this medium, paint pigment mixes with beeswax to create a very thick and rugged texture, as seen in Stone Wall, above. Paint must be kept hot during application and it sets quickly. The technique was introduced in Egypt during the Roman Empire, in portraits of the deceased encased in mummies. Nassikas uses the wax from the hives of bees she keeps, as it is necessary to cover the large areas of the multi-layered canvases she paints. Many diverse, uneven shades of color show through the wax in both abstract and landscape paintings. Carolyn Case has small intimate paintings of oil which also feature layering of a different kind. Her exhibition is called Accidently, On Purpose,