painters
Florence Hallett
Painted in c.1640, David Teniers the Younger’s Boy Blowing Bubbles depicts a theme that would have been entirely familiar to his wife’s great-grandfather, the founder of one of art’s most illustrious dynasties, Pieter Bruegel the Elder (c.1525-1569). Indicating the fleeting nature of life, the motif carries proverbial associations, its moral message one that in the 17th century was understood principally as memento mori. While Bruegel the Elder included depictions of proverbs in his panoramic scenes of peasant life, their meanings discussed and puzzled over by guests in the dining-rooms of Read more ...
Marina Vaizey
The Other Room, dating from the late 1930s, is the largest painting in Dulwich Picture Gallery's landmark retrospective, the first show to be dedicated to Vanessa Bell since a posthumous Arts Council show in 1964. In it, three women inhabit a space crowded with sofa and armchair, flowers and a vase, a comfortable interior and yet also oddly mysterious: their body language hints at complex relationships. A great window looks out at a view of misty greens, slashes of warm pink somehow unify a complex composition.It is a quietly dazzling summary of her preoccupations as a committed, even Read more ...
Marina Vaizey
Drifting, floating, running, crowding: all these feelings of movement and stasis apply in a mesmerising selection of scenes, imagined and observed over 40 years by a true original. Michael Andrews (1928-1995), born and brought up in Norwich, studied at the Slade School during a golden period. His teachers included William Coldstream and Lucian Freud, and a highly individual cohort of fellow students who were to inhabit the heart of the art world, from Paula Rego to Craigie Aitchison. Quiet and shy, Andrews nevertheless easily inhabited the Soho art scene, especially Soho’s Colony Room, its Read more ...
Sarah Kent
The nine artists in this exhibition mainly paint large, eye-catching canvases; yet the most arresting image on show is a tiny, rather tentative picture of an unprepossessing man with yellow hair. It is hard to say why Richard Aldrich’s ethereal Future Portrait no 49, 2003 (main picture) is so compelling.The forlorn figure leans into the space and cushions his cheek on a band of green brushmarks. His florid pink skin is painted with thin acrylic washes that make him seem insubstantial; yet the fine black lines emphasising his features lend a watchful intensity to his face. The almost Read more ...
Marina Vaizey
Born in Rome and taught by her artist father, Artemisia Gentileschi (1593-1652) led a colourfully energetic life. As an adolescent she was raped by her father’s assistant – an episode which unusually, then as now, actually came to public trial – but she nevertheless became a confident, resolute woman, and a successful artist. She was vitally ambitious, portraying herself as La Pittura in her Self-Portrait as the Allegory of Painting, c.1638-9, an image at the heart of this exhibition.Here Artemisia is almost hurling herself at her canvas, brush in one hand, palette in the other. Wearing Read more ...
mark.kidel
When the French painter Fabienne Verdier told me she’d been invited to explore the relationship between painting and music at the world-famous Juilliard School in New York, I knew straight away that this unusual residency should be documented.Fabienne is an adventurer. In her early 20s, she had courageously embarked on a journey of discovery. She was one of the very first French art students to go on an exchange programme to China, only a few years after the end of the Cultural Revolution. She had a really difficult time there, as she looked for a traditional calligrapher with whom she could Read more ...
Jasper Rees
Those who frequent Cornwall know that most of its place names begin with one of three prefixes. Indeed, check your copy of Richard Carew’s Survey of Cornwall (1602) for the source of the rhyme: “By Tre, Pol and Pen / Shall ye know all Cornishmen”. (With thanks to Wiki). As to the suffixes, well there it’s open season. The name Poldark was Winston Graham’s invention – and, if we're being pedantic, the stress really should be on the second syllable. As he embarked on his novel sequence about the adventures of a stubborn, raffish hero, he might as easily have gone for something even grabbier. Read more ...
Florence Hallett
Painted during his first trip to Paris in 1900, Picasso’s Le Moulin de la Galette is an outsider’s view of an exotic and intimidating new world. Men and women are seen as if through some strange distorting lens, their blurred, mask-like faces indistinct but for red-slit mouths and coal-black eyes. We seem to be in the room with them, and yet we are isolated. Even a woman looking out from the edge of the canvas gazes straight past us: if not invisible, we are certainly inconsequential.The painting is a heavily symbolic start to this exhibition, which tells the well-worn but, to all but the Read more ...
Marina Vaizey
Through the snowy wastes we crunched. The winter scenery was overwhelmingly beautiful and almost devoid of any human habitation: gorgeous mountains in the distance, the black waters of the fjords gleaming, the winter sun shining through the pale blue sky. And lo, here was Andrew Graham-Dixon, in woollen hat and furred windbreaker, to introduce us to centuries of Norwegian art.The first episode of this three-part history focused exclusively on Norway, and was subtitled "The Dark Night of the Soul". What was exceedingly odd about the programme was its melodramatic pessimism, the narration Read more ...
Marina Vaizey
Unswervingly confident, relaxed and assured, the élite of the 18th century are currently arrayed on the walls of the Royal Academy, gazing down at us with the utmost assurance of their unassailable place in the world, bright eyed and dressed to match. The swirls of public reputation are unpredictable: here is a revelation, the art of one of the most successful and highly prized portraitists of his day, Jean-Etienne Liotard (1702-1789), now almost completely unknown except to specialists.A Huguenot, born in the independent Protestant city state of Geneva, he trained in Paris, and went on to Read more ...
Marina Vaizey
Free as air, but there was a very heavy price to pay for his ecstatic exploration of the sky by the Cornwall painter Peter Lanyon, who died in 1964, aged just 46, as a result of injuries received in a gliding accident. The Courtauld Gallery is known for its series of original, incisive, acute and intense exhibitions taking a sharply focused view of one aspect of an artist’s work. Often these provide a revelation and so it is here.For Lanyon, who has fallen out of fashion as have several other significant figures of his generation of British artists, this is a very welcome examination of Read more ...
Marina Vaizey
A finely honed and spacious selection dating from the 1950s to now, looks in acute focus at the work – a scatter of drawings, a print, but almost entirely paintings – of Frank Auerbach, (b 1931). An only child, he came without his family, from Berlin to England in 1939. His parents were murdered in the Holocaust. He is now one of the most remarkable painters of our time.Work chosen by the artist himself is arranged in six galleries each spanning a decade: each image is a commanding presence, and the paintings range in size, scale and subject matter from the substantial to domestic intimacy. Read more ...