Exhibitions

‘Sunrise’, 1938, by John Armstrong

Are the British too polite to be any good at surrealism?

22 November 2014 9:00 am

The Paris World’s Fair of 1937 was more than a testing ground for artistic innovation; it was a battleground for…

‘Gian Girolamo Albani’, c.1570, by Giovanni Battista Moroni

Without a model, Moroni could be stunningly dull. With one, he was peerless...

15 November 2014 9:00 am

Giovanni Battista Moroni, wrote Bernard Berenson, was ‘the only mere portrait painter that Italy has ever produced’. Indeed, Berenson continued,…

‘Before the Mirror’, 1913, by Egon Schiele

Egon Schiele at the Courtauld: a one-note samba of spindly limbs, nipples and pudenda

8 November 2014 9:00 am

One day, as a student — or so the story goes — Egon Schiele called on Gustav Klimt, a celebrated…

Alan Beeton, ‘Reposing’, 1929

The secret world of the artist's mannequin

1 November 2014 9:00 am

A 19th-century London artists’ supplier named Charles Roberson offered imitation human beings for sale or rent, with papier-mâché heads, soft…

Finding his feet: ‘Untitled (man and two women in a pastoral setting)’, 1940

How Rothko become the mythic superman of mystical abstraction

1 November 2014 9:00 am

Mark Rothko was an abstract artist who didn’t see himself as an abstract artist — or at least not in…

Russians made the theatre space the most liberating imaginative device ever invented

1 November 2014 9:00 am

You have to hand it to the Russians. They beat us into space, beat us to sexual equality, and a…

Tate Modern’s latest show feels like it’s from another planet

18 October 2014 9:00 am

‘Some day we shall no longer need pictures: we shall just be happy.’ — Sigmar Polke and Gerhard Richter, 1966…

‘Winter Landscape (Winterlandschaft)’, 1970, by Anselm Kiefer

All my doubts about Anselm Kiefer are blown away by his Royal Academy show

11 October 2014 9:00 am

In the Royal Academy’s courtyard are two large glass cases or vitrines containing model submarines. In one the sea has…

‘Water-meadows near Salisbury’, 1829/30, by John Constable

Curator-driven ambitions mar this Constable show at the V&A

4 October 2014 9:00 am

The V&A has an unparalleled collection of hundreds of works by John Constable (1776–1837), but hardly anyone seems to know…

‘Rain, Steam and Speed — The Great Western Railway’, 1844, by J.M.W. Turner

Tate Britain’s Turner show reveals an old master - though the Spectator didn’t think so at the time

27 September 2014 9:00 am

Juvenilia is the work produced during an artist’s youth. It would seem logical to think, therefore, that an artist’s output…

‘Modern Family’, 2014, byEd Fornieles,at Chisenhale Gallery

‘Likes’, lacquered cherry pies and Anselm Kiefer: the weird world of post-internet art

27 September 2014 8:00 am

In the mid-1990s the art world got excited about internet art (or ‘net.art’, as those involved styled it). This new…

Portrait of a couple as Isaac and Rebecca, known as ‘The Jewish Bride’, c.1665, by Rembrandt

Why everyone loves Rembrandt

27 September 2014 8:00 am

Talking of Rembrandt’s ‘The Jewish Bride’ to a friend, Vincent van Gogh went — characteristically — over the top. ‘I…

‘Moonrise and Pale Dancer’ by Derek Hyatt

The man who brought Cubism to New York

20 September 2014 9:00 am

The American Jewish artist Max Weber (1881–1961) was born in Belostok in Russia (now Bialystok in Poland), and although he…

‘A Battery Shelled’, 1919, by Percy Wyndham Lewis

The Imperial War Museum finds a deadly place to display first world war masterpieces

13 September 2014 9:00 am

The Imperial War Museum has reopened after a major refit and looks pretty dapper, even though it was overrun by…

The Bloomsbury painters bore me

6 September 2014 9:00 am

Virginia Woolf (1882–1941) claimed that nothing has really happened until it has been recorded, so this new exhibition at the…

‘I wish my boyfriend was as dirty as your policies’, 2011,by Coral Stoakes

Agitprop, love trucks and leaflet bombs: the art of protest

30 August 2014 9:00 am

Titles can be misleading, and in case you have visions of microwave ovens running amok or washing machines crunching up…

‘Futurist Motif’, 1920, by Gerardo Dottori

Futurism’s escape to the country

23 August 2014 9:00 am

Futurism, with its populist mix of explosive rhetoric (burn all the museums!) and resolutely urban experience and emphasis on speed,…

‘The Sutherland Cup’ by Angie Lewin

The perfect excuse to get out all the best Ravilious china

16 August 2014 9:00 am

A day trip to the Towner Art Gallery in Eastbourne is a summer pleasure, and two concurrent shows are proving…

‘Llyn Cau, Cader Idris’, 1765–67, by Richard Wilson

How Richard Wilson made Wales beautiful

16 August 2014 9:00 am

‘I recollect nothing so much as a solemn — bright — warm — fresh landscape by Wilson, which swims in…

‘Equivalents for the Megaliths’, 1935, by Paul Nash

A lost opportunity to show John Nash at his best

9 August 2014 9:00 am

John Northcote Nash (1893–1977) was the younger brother of Paul Nash (1889–1946), and has been long overshadowed by Paul, though…

‘Goose Woman’, c.1840, by George Smart

Why did it take so long to recognise the worth of British folk art?

2 August 2014 9:00 am

British folk art has been shamefully neglected in the land of its origin, as if the popular handiwork of past…

Malevich: Are Tate visitors ready for this master of modernism?

26 July 2014 9:00 am

Kazimir Malevich (1879–1935) is one of the founding fathers of Modernism, and as such entirely deserves the in-depth treatment with…

‘Paul Newman’, 1964, by Dennis Hopper

Had Hollywood not lured him away, Dennis Hopper could have made his name as a photographer

19 July 2014 9:00 am

In an age when photographs have swollen out of all proportion to their significance, and are mounted on wall-sized light…

‘Hawk Pouncing on Partridges’, c.1827, by John James Audubon

Painted, sculpted and stuffed: a history of the bird in art

12 July 2014 9:00 am

These days, as the sparrows and starlings so common in my youth are growing scarce, there’s less need for a…

‘After the Bath (Le repos après bain)’, 1897, by Edgar Degas, at Stephen Ongpin

Charles Hadcock – taking on the age of speculation with sculpture in the City

5 July 2014 9:00 am

As the boundary between auction house and art dealer blurs yet further, with auctioneers acting increasingly by private treaty as…