Visual arts
Marina Vaizey
Late Titian, Late Rembrandt, Late Picasso, Late Matisse…. What is it with Late that seems to give some artists a Golden Age irradiated by a kind of sublime carelessness, a genuine sense of anything goes? A life spent learning means that in the end it might be worn lightly and the imagination set free. Of course, such a sublime coda is not given to all, as many an artist descends into self-parody, rather than ascending into a kind of upward free-fall. But on the evidence of a selection of the sculptures Anthony Caro made in the last two years of his long life, he was continuing to delight Read more ...
Markie Robson-Scott
In 1959, the walk to Salvador Dalí’s house in Portlligat seemed very long. I was on holiday with my parents in Cadaqués, staying in our friends’ house high on a hillside with a view of the blue bay and the white houses surrounding it. Not that I cared about views. What I wanted to do was swim, poke sea urchins, watch the fishermen unload their nets, and have a Coke at the Meliton bar.We set out for Dalí’s house with a guide, a little boy not much older than me who led us across rocks and beaches. I whined as we rambled along, annoyed because I couldn’t keep up with the boy. In those days Read more ...
Florence Hallett
For all the political hurly burly, social change and religious upheaval of the Tudor period and the intriguing personal histories of its monarchs, it is surely the portraits of Henry VIII and Elizabeth I that have done most to secure the Tudors in popular imagination. I first saw a portrait of Elizabeth while at primary school and was enthralled by the startling contrast of red hair and pale skin, that impossibly tiny waist disappearing into a sharp V, the dress a marvel of engineering as much as couture and as extravagantly embellished as a little girl’s wildest imaginings could demand.Far Read more ...
fisun.guner
In your ninth decade it may not come as a surprise to find death staring you in the face. But it might be unnerving if you’re an artist and a menacing “death's head” skull emerges, quite unexpectedly, in an image you’ve been staring at and working from with close scrutiny for weeks and months. You might even take it, if so inclined, as a sign – if only as a sign that chance works in mysterious ways. Jasper Johns has said he didn’t begin with the intention of a creating a modern memento mori, but, serendipitously, this is how it's turned out. This cohesive series of drawings, prints and Read more ...
Marina Vaizey
Francesca Woodman killed herself at the age of 22, the biographical fact that colours her work and which it is de riguer to mention. She left behind paintings, it is said, as yet publicly unseen, and literally hundreds upon hundreds of negatives and 800 proofs of black and white pre-digital photography. And since that very early death – and early death, whether suicide, accident, disease or murder has been sometimes seen with rabid cynicism as an outstanding career move – she has, over the past two decades, become something of a cult figure. Or rather her imagery has, collected by the Read more ...
Marina Vaizey
At the end of this absorbing documentary about the art – and life – of Paul Nash we visited his tombstone in a Buckinghamshire churchyard, accompanying writer and presenter Andrew Graham-Dixon as he laid sunflowers on the grave. He reminded us that Nash saw the sunflower as a symbol for the soul, turning to the sun; indeed one of his last paintings was “Solstice of the Sunflower”.The final phrase Graham-Dixon used about this highly literate and intelligent artist was that he had been haunted by life, haunted by death, and by the ghosts of war. Unusually, Nash was an official war artist in Read more ...
fisun.guner
There is early Turner; there is late Turner. Early Turner is very much of his time: a history and landscape painter in the first half of the 19th century, looking back to the classicism of Claude and the Dutch Golden Age tradition of sombre marine painting; late Turner is outside time, or at least outside his own time. In his final decade, Turner paints his way to the future, gravitating towards formlessness and abstraction. And in these luminous late canvases, where colour-suffused light dissolves form, we find a path to Monet, Rothko, all those American colour field painters, even Twombly. Read more ...
Marina Vaizey
Artist and critic Matthew Collings purported to set out the rules of abstraction through taking the viewer on a very bumpy ride through 20th century painting, with a nod to Cézanne to get us started. He set the scene by telling us that abstraction as a concept in art has been around for 100 years and early on we were presented with a genuine surprise: the large canvases, in relatively soothing colours, of freehand geometric forms that appeared wholly abstract by the almost totally unknown female – yes, female – Swedish artist Hilma Af Klint, from 1907.The classic dating for abstraction in Read more ...
Marina Vaizey
Presenter Alastair Sooke looked alarmingly fit, careering round the British countryside and the streets of Paris on his bicycle, talking all the while (and never out of breath) as he described the artistic trajectory of John Constable. In the opening sequence he set the scene, biking straight across – and not at the traffic lights, either – the Cromwell Road to get to the main entrance of the Victoria and Albert Museum; the film is timed to preview the major show “Constable: The Making of a Master” that there opens on September 20. That museum has the largest collection of Constable, which Read more ...
Sarah Kent
If events in the Middle East, the prospect of the school run or the onset of autumn are conspiring to lower your spirits, then escape to the V&A and immerse yourself in the dreamy elegance of Horst P. Horst’s magical fashion photographs spanning a career that lasted 60 years.One of his most famous pictures (pictured below right: Mainbocher corset © Condé Nast/ Horst Estate) was taken in 1939, just before the outbreak of the Second World War. It's of a woman in a corset – not a promising subject – yet from this banal starting point Horst creates something supremely memorable Read more ...
fisun.guner
The crusty old Scottish artist Ian Hamilton Finlay died in 2006, but there’s a new art work by him at this year’s Folkestone Triennial. You won’t be able to see it with the naked eye, but you can through a pair of binoculars. If you peer through a viewing tower from Folkestone’s disused Harbour Pier you’ll see one of Finlay’s enigmatic phrases come into focus: “WEATHER IS A THIRD TO PLACE AND TIME”. The words are written on the grey façade of a lighthouse in that gorgeous shade of midnight blue the artist favoured. The work was realised in collaboration with Finlay’s estate, and though I Read more ...
Jo Verrent
The audience comment I most want to hear during next week's Unlimited Festival is: this show has transformed my perception of disability. We got that over and over and over during the first Unlimited Festival, which ran as part of the Cultural Olympiad in 2012. And I want that again. It’s all about making people understand that disability isn’t a negative, awful experience, just a facet of life that can give you as much as it apparently appears to take away. In fact, it just gives you more.I’m senior producer for the Unlimited commissions programme, which has worked with nine disabled Read more ...