Historically, British artists have not been good at money management. George Morland (1762–1804) was chronically insolvent; Benjamin Haydon (1786–1846) served…
Photographs of roadworks feature regularly in the Hampstead Village Voice but, even with the postmodern fashion for grungy subjects, no…
In 1982 Sven Berlin placed a sealed wallet labelled ‘Testament’ on top of a rafter in his studio with instructions…
We owe Giverny to the generosity of Americans
Laura Gascoigne on how the Venice Biennale is searching for its place in art history
‘Not something I’d want on my wall,’ said an English lady visitor to Antwerp’s Rockox House, standing in front of a painting of wolves attacking cattle.
In 1879, two young brothers moved into a new fifth-floor apartment at no. 31 Boulevard Haussmann, overlooking the Opéra. Flush with inheritances from their father’s army bunk business, Gustave Caillebotte, 31, and his brother Martial, 26, were exactly the sort of children of the Second Empire for whom these new Parisian mansion blocks had been built.
It’s an irony of Western art that our vision of modern metropolitan life was shaped, via Impressionism, by ukiyo-e prints — ‘pictures of the floating world’ of Edo, Japan.
The historic centre of Bruges has 16 museums, enough to cater for every touristic taste. There’s a Diamond Museum, a Lace Centre, a Choco-Story (the narrative element distinguishes it from the 50 chocolate shops) and a Friet Museum — or ‘Belgian Fries Museum’, for English-speakers under the misapprehension that fries are French. But the main focus of the city’s five-yearly festival, now in full swing, is on a local product the French cannot lay claim to: the Flemish painting tradition founded by Jan van Eyck, who died in Bruges in 1441.
‘Museum decides against building new extension’ is not the stuff of newspaper headlines, so most of you will be unaware that the National Museum of Wales in Cardiff has been creating a distinct museum of art on the top floor of its existing Edwardian building. A few weeks ago, the Welsh museum relaunched its Impressionist and Modern galleries after an imaginative paint job and a rehang, and next year it will open a new suite of contemporary galleries in its former archaeology wing. For £6.5 million — £1 million from the Welsh Assembly government — it will have bought itself 40 per cent more space (comparing favourably with another national museum currently poised to pour £50 million of Department of Culture, Media and Sport money into a hole in the ground in Bankside). But the National Museum Cardiff can afford to economise. It doesn’t need flash architecture to attract attention; its collections are attraction enough.
Volcano: Turner to Warhol
Compton Verney, until 31 October
Familiar Visions: Eric & James Ravilious, Father & Son
Towner, Eastbourne, until 5 September Ravilious Woodcuts
Charleston Farmhouse, until 30 August
Connaught Brown, 2 Albemarle Street, W1, until 26 June
A Critic’s Choice Selected by Andrew Lambirth
Browse & Darby, until 7 May
Without from Within
Djanogly Art Gallery, Nottingham, until 3 May
Matisse & Rodin
Musée Rodin, Paris, until 28 February 2010
There are not many palazzi in Florence still occupied by their original families.
Rogier van der Weyden 1400–1464: Master of Passions
Museum Leuven, until 6 December Musée Hergé
There’s been a lot of muttering lately about the word ‘sorry’ and the reluctance of politicians and bankers to say it — an unrealistic expectation, given that the logical follow-up is resignation.
Van Gogh and the Colours of the Night
Van Gogh Museum, Amsterdam until 7 June
Jack B. Yeats & Oskar Kokoschka
Compton Verney, until 14 December
Laura Gascoigne on Divisionism
Laura Knight at the Theatre
Lowry Galleries, until 6 July
Laura Gascoigne follows in the footsteps of the 18th-century Grand Tourist
Bauhaus 1919–1933, Middlesbrough Institute of Modern Art, until 17 February