Full of fabulous, but baffling, things: Oceania reviewed
At six in the morning of 20 July 1888, Robert Louis Stevenson first set eyes on a Pacific Island. As…
There's almost nothing in this Hayward show – and that's the point
A reflection on still water was perhaps the first picture that Homo sapiens ever encountered. The importance of mirrors in…
The Spanish artist who is more gruesome even than Caravaggio
Last year my wife and I were wandering around the backstreets of Salamanca when we were confronted by a minor…
A historical whodunit that lets you into a forgotten world: The Paston Treasure reviewed
In 1675 Lady Bedingfield wrote to Robert Paston, first Earl of Yarmouth. Never, she exclaimed, had she seen anything so…
Caricature, satire and over-the-top horror: Magic Realism at Tate Modern reviewed
‘It is disastrous to name ourselves!’ So Willem de Kooning responded when some of his New York painter buddies elected…
Modernist architecture only worked for the wealthy
It was Le Corbusier who famously wrote that ‘A house is a machine for living in’ (‘Une maison est une…
If you like monstrosities, head to the Hayward Gallery
One area of life in which globalism certainly rules is that of contemporary art. Installation, performance, the doctrine of Marcel…
Appealingly meaningless and improbable: Christo at the Serpentine Lake reviewed
It’s not a wrap. This is the first thing to note about the huge trapezoid thing that has appeared, apparently…
How good a painter was Frida Kahlo?
In 2004 Mexican art historians made a sensational discovery in Frida Kahlo’s bathroom. Inside this space, sealed since the 1950s,…
Sorrow and pity are no guarantee of artistic success: Aftermath at Tate Britain reviewed
Some disasters could not occur in this age of instant communication. The first world war is a case in point:…
Edward Bawden is deservedly one of Britain’s most popular 20th century artists
‘When I’m on good form,’ Edward Bawden told me, ‘I get to some point in the design and I laugh…
How lucky we are to have the Royal Academy
What is the Royal Academy? This question set me thinking as I wandered through the crowds that celebrated the opening…
India's Sistine ceiling
In Tamil Nadu we found that we were exotic. Although there were some other western tourists around, in most of…
The artist more fond of flowers and vegetables than people – and who can blame him
I have occasionally mused that there is plenty of scope for a Tate East Anglia — a pendant on the…
Why it’s bad for potters to think of themselves as artists
A friend of mine once owned a vase by the potter Hans Coper — until, that is, her teenage son…
The codes and codswallop surrounding Leonardo da Vinci
Leonardo da Vinci has suffered more than most artists from fake history and misinterpretation. But it doesn’t make him any less fascinating, says Martin Gayford
The public are quite right to love Monet
Think of the work of Claude Monet and water lilies come to mind, so do reflections in rippling rivers, and…
Once seen as the coming force in British painting, John Craxton deserves another look
In late April 1992, I was in Crete, interviewing the painter John Craxton. It was the week that Francis Bacon…
Intelligent, poetic and profound: Tacita Dean at the National and National Portrait galleries
Andy Warhol would probably have been surprised to learn that his 1964 film ‘Empire’ had given rise to an entire…
Surreal jokes and juicy strokes: Martin Gayford on the power of paint
René Magritte was fond of jokes. There are several in René Magritte (Or: The Rule of Metaphor), a small but…
Magnificent paintings – oddly curated: All Too Human reviewed
In the mid-1940s, Frank Auerbach remarked, the arbiters of taste had decided what was going to happen in British art:…
Lemons and pebbles are as important to Kettle’s Yard as the art
When I first visited Kettle’s Yard, Cambridge, I was shown around by Jim Ede, its founder and creator. This wasn’t…
Gursky’s subject is humanity: prosaic, mundane, extremely messy
Walking around the Andreas Gursky exhibition at the Hayward Gallery, I struggled to recall what these huge photographs reminded me…
A sumptuous feast of an exhibition: Charles I at the Royal Academy reviewed
Martin Gayford is overwhelmed by the sheer concentration of visual splendour amassed by Charles I
Turning marble into cushions and stone into flesh: the magic of Gian Lorenzo Bernini
Seventeenth-century Roman art at its fullblown, operatic peak often proves too rich for puritanical northern tastes. And no artist was…
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