Paint is but coloured mud, pace scientists and conservators, and it can be said that the human animal comes from mud and goes back to it. Thus are the activities of painting and being human linked at a fundamental level, which can be raised by consciousness to impressive heights. As the philosopher T.E. Hulme wrote,
The centenary celebrations for William Scott (1913–89) are well under way, and the retrospective of his work that started in January at Tate St Ives is currently in Wakefield. There are more works in its latest incarnation and more archive material, and the installation looks very impressive in The Hepworth’s riverside galleries. Scott has not
Forgive my ignorance, ladies and gentlemen, but I must confess that I had never heard of Saloua Raouda Choucair before the advance publicity of the Tate’s exhibition. She’s not in the Yale Dictionary of Art & Artists (always a useful reference book, but by no means infallible) and I don’t believe I’d ever seen her
‘When Titian paints eyes,’ observed Eugène Delacroix, who spent a lifetime admiring, studying and copying the Venetian artist, ‘they are lit with the fire of life.’ The truth of Delacroix’s aphorism is on striking display in the magnificent exhibition of Titian’s paintings at the Scuderie of the Quirinale Palace in Rome. The exhibition does not
Between 1917 and 1923, Julian Trevelyan produced a map and an illustrated guide to Hurtenham, an industrial town on the Tees between Stockton and Darlington. You’ll search in vain for the place in an atlas today, as the entire town, with its warren of streets, railways, parks, public buildings and monuments to local luminaries, was
Curated by the Louvre as a tribute to mark the 50th anniversary of the Franco–German co-operation treaty signed in January 1963, De l’Allemagne 1800–1939: German thought and painting from Friedrich to Beckmann sounds like a harmless survey of German art. But it is stranger than that, less a measured look at German painting and more
It is a desperate state of affairs when museums and art galleries sell outstanding works of art in order to raise funds. It is even worse, perhaps, when they do so because they no longer want them. Next month, on 5 June, Sotheby’s New York is offering some 25 classical carpets on behalf of the
Alexander Calder (1898–1976) needs no introduction. The master of the mobile — that poignant hanging arrangement of moving elements — he also invented the stabile (stationary) and the standing mobile. There was no one who could cut and shape sheet aluminium and suspend it from wire with quite the same wit, economy and shape invention.
Sixty per cent of the best Renaissance art is said to be in Italy, and half of that is in Florence. So why bother going to Florence for a particular Renaissance sculpture exhibition when there’s huge amounts of the stuff on show in the city’s museums any day of the year? It’s true that some
In 1951, the artist and writer Barbara Jones (1912–78) organised an exhibition called Black Eyes and Lemonade at the Whitechapel Gallery celebrating the popular arts of toys, festivities, souvenirs and advertising, to reveal to a largely unsuspecting public the richness of vernacular art in Britain. The original exhibition was evidently an Aladdin’s cave of objects,
‘Everybody faces rejection,’ the portrait artist Aaron Shikler said. He should know, having had three official White House portraits of former President Ronald Reagan rejected — one was too large, one was too casual and one ‘they just didn’t like it’. The commission finally was given to a different artist. Don’t feel too sorry for
Most of us like to look at a view, though not all are fortunate enough to live with one, in which case art can offer an alternative, a window on the world. Landscape is a great solace, and particularly refreshing for the tired urban spirit, but we want more than holiday snaps of foreign places
Nowadays, R.B. Kitaj (1932–2007) tends to be ignored by the critics in this country — like a bad smell in the corner of the room. It was not always thus: for years he was an admired, if somewhat controversial, presence, but then came his great retrospective at the Tate Gallery in 1994. A large proportion
The Reading Room is currently packed with Roman remains and with visitors attempting (or pretending) to look at them. The latest blockbuster at the BM (sponsored by Goldman Sachs) looks set to exceed all other oversubscribed sensationalist exhibitions, with more than 250 objects in a mazy but airy layout. When I first heard about this
The American artist George Bellows (1882–1925) is best known for his boxing paintings, but as this surprising exhibition reveals, that was only the half of it. We don’t really know his work in this country, apart from the odd picture in a mixed show, but here is indisputable evidence that we have been missing out.
To some extent, all Romanticism has its origins in darkness, coming in the wake of the 1755 Lisbon earthquake that introduced fear into the age of reason. ‘Reason’s Sleep Produces Monsters’ proclaims the opening drawing in Goya’s series ‘Los Caprichos’ (1797–99), which features in this entertaining exhibition. After all the cruelties that man had inflicted
The Anglo-Irish designer Eileen Gray keeps on being rediscovered but she remains a puzzle. The nub of the Gray ‘problem’, which her last large retrospective at the Design Museum in 2005 failed to answer, is this: how did the author of some of the most sensual, disturbing interior design and furniture of the 1910s and
The press release blithely informs us that Federico Barocci (1535–1612) is ‘beloved by artists and art historians throughout the ages’, but I must beg to differ. Not by me, nor by any of my considerable range of friends and acquaintances in both fields, has he been loved or even much known. Barocci is one of
‘Gypsies seem to have been born into the world for the sole purpose of being thieves,’ Cervantes begins his story of The Little Gypsy Girl. ‘They are born of thieving parents, they are brought up with thieves, they study in order to be thieves, and they end up as past masters in the art of
Peter Archer used to paint landscapes on the Cornish side of the Tamar river. Their most notable features were lovingly observed trees and the tall chimneys of abandoned tin mines. One might have expected that when he moved to a coalmining valley in South Wales, his landscapes would have become blacker and its main features
