painting
Portrait of the Artist, The Queen's GallerySaturday, 26 November 2016
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... Read more... |
Flaming June, Leighton House MuseumThursday, 24 November 2016
The chances are, you’ve only ever seen Flaming June in reproduction: since 1963 it has resided in the Museo de Arte de Ponce in Puerto Rico, an out-of-the-way location that reflects the universal disdain for Victorian art in the post-war period.... Read more... |
Beyond Caravaggio, National GalleryWednesday, 12 October 2016
Cheekily bottom-like, their downy skin blushing enticingly, these must be the sexiest apricots ever painted. If you held out your hand, you might just be able to touch them, there in the foreground of what is thought to be Caravaggio’s earliest... Read more... |
First Person: The Juilliard ExperimentMonday, 26 September 2016
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.... Read more... |
Painting with Light, Tate BritainThursday, 12 May 2016
Today we amuse ourselves with Facebook clips of talking cats, but in the 1850s they had stereographs, pairs of identical photographs that, viewed through special lenses, become suddenly and gloriously three-dimensional. Vistas open up as if by magic... Read more... |
10 Questions for Artist Clare WoodsFriday, 15 April 2016
Visceral and vividly colouristic, Clare Woods' paintings are at once abstract and figurative, perpetuating traditional genres but simultaneously occupying a less easily defined area of artistic practice. She puts innocuous or ambiguous subject... Read more... |
Highlights from the Portland Collection, Harley Gallery, WelbeckWednesday, 30 March 2016
Here be two modestly scaled masterpieces from the 1760s by George Stubbs, highlights of a centuries-old tradition of painting the horses owned by the Dukes of Newcastle and their lateral descendants the Dukes of Portland (the Devonshires are also... Read more... |
In the Age of Giorgione, Royal AcademySaturday, 12 March 2016
Much is made of the mystery surrounding Giorgione, a painter of pivotal influence, about whom, paradoxically, we know almost nothing beyond the manner of his death. He died in a Venetian plague colony in 1510 aged about 33, and was as elusive in the... Read more... |
Delacroix and the Rise of Modern Art, National GalleryWednesday, 17 February 2016
Art exhibitions hardly seem comparable with battery farming, and yet just as our insatiable appetite for cheap meat gives rise to some troubling consequences, so too does the demand for definitive exhibitions that require vulnerable works of art to... Read more... |
Bruegel in Black and White: Three Grisailles Reunited, Courtauld GalleryMonday, 08 February 2016
Now that Renaissance altarpieces live for the most part in museums and not churches, our experience of them is, quite literally, flat. Once, the winged altarpieces so popular in northern Europe, comprising a central panel flanked by two moveable “... Read more... |
Best of 2015: ArtMonday, 28 December 2015
From weaselly shyster to spineless drip, the biographies of Goya’s subjects are often superfluous: exactly what he thought of each of his subjects is jaw-droppingly evident in each and every portrait he painted. Quite how Goya got away with it is a... Read more... |
Jean-Etienne Liotard, Royal AcademySunday, 25 October 2015
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... Read more... |
