Martin Gayford

‘Untitled (Oxidation Painting)’, 1978, by Andy Warhol

Warhol the traditionalist: the Ashmolean Museum show reviewed

6 February 2016 9:00 am

When asked the question ‘What is art?’, Andy Warhol gave a characteristically flip answer (‘Isn’t that a guy’s name?’). On…

‘Nympheas (Waterlilies)’, 1914–15, by Claude Monet

The link between herbaceous borders and the avant-garde

30 January 2016 9:00 am

Philip Larkin once remarked that Art Tatum, a jazz musician given to ornate, multi-noted flourishes on the keyboard, reminded him…

‘The Death of Sardanapalus’, 1846, by Eugène Delacroix

Eugene Delacroix foresaw the future of society not just art

23 January 2016 9:00 am

Delacroix’s frigid self-control concealed an emotional volcano. Martin Gayford explores the paradoxes that define the apostle of modernism

Installation shot of  Michael Craig-Martin's Serpentine exhibition 'Transience'. Photo: Jerry Hardman-Jones

Cool, beguiling, Duchampian set of still lives from Michael Craig-Martin at the Serpentine Gallery

16 January 2016 9:00 am

Michael Craig-Martin has had a paradoxical career. He is, I think, a disciple of Marcel Duchamp. But the latter famously…

Monumental change: the overthrow of the statue of Napoleon I, which was on top of the Vendôme Column. The painter Gustave Courbet is ninth from the right

A short history of statue-toppling

9 January 2016 9:00 am

Sculptural topplings provide an index of changing times, says Martin Gayford

'Lion Hunt', 1861, by Eugène Delacroix

Galleries are getting bigger - but is there enough good art to put in them?

2 January 2016 9:00 am

Martin Gayford recommends the exhibitions to see — and to avoid — over the coming year

‘The Birth of Christ’, 1896, by Paul Gauguin

Why would a dissolute rebel like Paul Gauguin paint a nativity?

12 December 2015 9:00 am

Martin Gayford investigates how this splendid Tahitian Madonna came about and why religion was ever-present in Gauguin's art

'Leslie and Clodagh Waddington' (1996) by Peter Blake

How pop is Peter Blake?

5 December 2015 9:00 am

Painters and sculptors are highly averse to being labelled. So much so that it seems fairly certain that, if asked,…

‘Lady at the Virginal with a Gentleman’ or ‘The Music Lesson’, 1662–5, by Vermeer

Artistic taste is inversely proportional to political nous

28 November 2015 9:00 am

‘Wherever the British settle, wherever they colonize,’ observed the painter Benjamin Robert Haydon, ‘they carry and will ever carry trial…

‘May Day’, 1866, by Julia Margaret Cameron

Julia Margaret Cameron: the Leonardo of photography

21 November 2015 9:00 am

Ruskin dismissed Julia Margaret Cameron’s photographs as untrue. But, argues Martin Gayford, the same could be said of any picture

'Antennae with Red and Blue Dots' by Alexander Calder

Alexander Calder: the man who made abstract art fly

14 November 2015 9:00 am

One day, in October 1930, Alexander Calder visited the great abstract painter Piet Mondrian in his apartment in Paris. The…

'Contrast (Order and Chaos)' (1950) by M.C. Escher

M.C. Escher: limited, repetitive, but he deserves a place in art history

7 November 2015 9:00 am

‘Surely,’ mused the Dutch artist M.C. Escher, ‘it is a bit absurd to draw a few lines and then claim:…

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Repetitive but compelling: Giacometti at the National Portrait Gallery reviewed

24 October 2015 9:00 am

One day in 1938 Alberto Giacometti saw a marvellous sight on his bedroom ceiling. It was ‘a thread like a…

Master strokes: 'Head of William Feaver', 2003, by Frank Auerbach

With this Tate Britain exhibition, Frank Auerbach joins the masters

17 October 2015 8:00 am

No sooner had I stepped into the private view of Frank Auerbach’s exhibition at Tate Britain than I bumped into…

A novel in paint: Goya's 'The Family of the Infante Don Luís' (1783-4)

Why did Goya’s sitters put up with his brutal honesty?

10 October 2015 9:00 am

Sometimes, contrary to a widespread suspicion, critics do get it right. On 17 August, 1798 an anonymous contributor to the…

‘Dead Rabbit’, 1962, by Dennis Creffield

On the frontiers of figuration, abstraction and total immateriality

3 October 2015 8:00 am

The artist, according to Walter Sickert, ‘is he who can take a piece of flint and wring out of it…

Detail from Gundestrup cauldron, 100 BC–AD 1

The British Museum's Celtic masterpieces aren't Celtic - but they are fabulous

26 September 2015 8:00 am

‘Celtic’ is a word heavily charged with meanings. It refers, among other phenomena, to a football club, a group of…

Left: ‘The Virgin and the Child’, c.1509, by Raphael Right: ‘Portrait of an unknown young woman’, c.1435, by Rogier van der Weyden

How silverpoint revolutionised art

12 September 2015 9:00 am

Marshall McLuhan got it at least half right. The medium may not always be the entire message, but it certainly…

Ravilious in Essex: ‘Two Women in the Garden’, watercolour, 1932

The only art is Essex

29 August 2015 9:00 am

When I went to visit Edward Bawden he vigorously denied that there were any modern painters in Essex. That may…

Walter Sickert 'The Theatre of the Young Artists' (1890)

Between the death of Turner and advent of Bacon, there was no greater British painter

22 August 2015 9:00 am

Walter Sickert was fluid in both his art and his personality: changeable in style and technique, mutable in appearance —…

‘Turning Road (Route Tournante)’, c.1905, by Paul Cézanne

I can’t stop thinking about the Courtauld’s Unfinished exhibition

15 August 2015 9:00 am

A while ago, David Hockney mused on a proposal to tax the works of art stored in artists’ studios. ‘You’d…

Turner's 'Shakespeare Cliff, Dover' (c.1825)

Whole worlds are conjured up in a few strokes: Watercolour at the Fitzwilliam Museum reviewed

1 August 2015 9:00 am

I learnt to splash about in watercolour at my grandmother’s knee. Or rather, sitting beside her crouched over a pad…

Portrait photograph of Richard Dadd painting Contradiction (c.1857) in Bedlem

The artist who only turned into a major painter once he became a homicidal maniac

25 July 2015 9:00 am

Charles Dickens’s description of Cobham Park, Kent, in The Pickwick Papers makes it seem a perfect English landscape. Among its…

‘Stonehenge’, c.1827, by J.M.W. Turner

There’s not a trace of shaving foam in sight in the early Turners on show at Salisbury Museum

18 July 2015 9:00 am

It has often been related how, towards the end of his long life, a critical barb got under J.M.W. Turner’s…

Detail of a maiolica vase, c.1565–1571, a star piece for both Horace Walpole at Strawberry Hill and later for Baron Ferdinand at Waddesdon Manor

Forget Vienna - Britain now has its own chamber of curiosities at the British Museum

11 July 2015 9:00 am

Art is not jewellery. Its value does not reside in the price of the materials from which it is made.…