Emilio Greco (1913–95) is considered to be one of Italy’s most important modern sculptors, and certainly he was a successful one, enjoying considerable popularity and renown with his deliberately mannered re-interpretations of classical subjects. A figurative sculptor, Greco went in for elongated limbs and awkward yet dynamic poses that often have a surprising elegance and
The Watts Gallery, just outside Guildford off the Hog’s Back, is a delightful place to visit at any season, with its permanent collection of work by G.F. Watts, whose studio it once was, and an ambitious programme of exhibitions on related subjects. But as autumn reaches over the hills a sense of the Victorian past
Astonishingly, the last major survey show of Australian art in this country was mounted more than half-a-century ago. Then it was the innovative writer, critic and museum director Bryan Robertson who staged Recent Australian Painting at the Whitechapel Art Gallery in 1961, a show he consolidated by monographic exhibitions of Sidney Nolan, Roy de Maistre
In the Musée du Cinquantenaire, a grand gallery on the green edge of Brussels, those bureaucratic Belgians are welcoming home a prodigal son. Henry van de Velde — Passion, Function, Beauty is a celebration of the 150th birthday of Belgium’s most prolific polymath, yet a lot of people here in Brussels scarcely seem to know
Like all artists of independent spirit, David Tress (born 1955) resists categorisation. He has been called a Romantic and a Neo-Romantic, a mixture of Impressionist and Expressionist, a traditionalist and a modernist, yet not one of these labels quite fits. He is all and none, drawing his inspiration from the great traditions of western art
A mixed exhibition of paintings, drawings and prints devoted to the subject of the tree might sound an unexciting event, filled with what Johnny Cash memorably described as ‘hopeful stars of flickering magnitude’, but actually in this case the reverse is true. The show has been divided into two halves, the first of which deals
The popular conception of Dame Laura Knight is of an energetic woman piling on the paint in the back of a huge and antiquated Rolls-Royce at Epsom Derby, the door propped open to the view, or charging off in pursuit of gypsies, clowns or ballerinas. A widely popular and successful artist, she painted people in
Sir Alfred Munnings (1878–1959) did himself a grave and lasting disservice when he publicly attacked modern art in a bibulous after-dinner speech at the Royal Academy in 1949. He had been president of the RA for five years, pipping Augustus John to the post, but the controversy he stirred up (he called Picasso and Matisse
‘Professor’ Bruce Lacey (born 1927) is one of those figures who has existed effectively on the periphery of the art world for more than half a century. Part licensed jester, part society’s conscience, Lacey operates best on the fringes, stirring things up, provoking thought and challenging preconceptions, a lightning conductor for comment and criticism. Before
My wife says you can always tell a self-portrait by the quality of its self-regard. There’s something about the eyes and mouth (though not invariably flattering or admiring) or the set of the chin that give the artist away. Perhaps it’s simply that the artist is more interested in depicting the self than anyone else;
Revolution shook Mexico between 1910 and 1920, but radical political change was not mirrored in the art of the period. In this exhibition, we do not see avant-garde extremes, but witness instead a deepening humanism, as if for once art was interlocking with human need. The cultural renaissance that followed was state-sponsored, and artists were
In 1929, Samuel Courtauld owned the most important collection of works by Paul Gauguin in England: five paintings, ten woodcuts and a sculpture. He subsequently sold two of the paintings, but for this show the gallery that bears Courtauld’s name has borrowed them back. One of them is the very beautiful ‘Martinique Landscape’ (1887), now
One generation is usually so busy reacting against its predecessors that it can take years for a balanced appreciation of real and relative merits to emerge. Henry Moore was born in 1898, and Rodin didn’t die until 1917, but they never met. All his life Moore was aware of Rodin’s work, and although early on
There has been much positive comment about the rehang of the Tate’s permanent collection, which sees a welcome return to the great tradition of the chronological hang and thus gives the visitor a chance to see the development of British art from 1545 to today. At last we are permitted a rest from themed displays
This exhibition was dreamt up by David Boyd Haycock, a freelance writer and curator, following the success of a book he published with a similar title in 2009. The Crisis of Brilliance book focused on the early career of five Slade-trained artists and their relationship with the first world war. When I reviewed it at
What exactly are the ‘secrets of the royal bedchamber’? That the actual bed was seldom if ever slept in let alone used for romping sex (the latter took place in private bedchambers, often barred off by an ingenious system of locks). But the royal bedchamber was, as the organisers of this exhibition state, ‘the equivalent
As more time elapses since the regrettable fracas over Kitaj’s 1994 Tate exhibition and his tragic suicide in 2007, he comes more and more into his own as a great but still underrated artist. When I last wrote about him in this column, back in April, I had not yet seen the portion of his
Eduardo Chillida (1924–2002) is one of the greatest of modern sculptors yet curiously little known in this country. The last major show in London was at the Hayward Gallery in 1990, where I first encountered his work in real depth. Before that, he had only exhibited once in the UK, a solo show at the
By all accounts, Rory McEwen (1932–82) was a remarkable man, hugely talented in several different disciplines (artist, musician, writer) and very much loved by his friends. Grey Gowrie calls him ‘a spectacular human being’ and writes: ‘Even now, 30 years after his death, he lights up the mind of everyone who knew him.’ Renowned as
In the wake of the Roy Lichtenstein blockbuster at Tate Modern comes Patrick Caulfield at Tate Britain, and what a contrast! Where Lichtenstein looks increasingly like a one-trick pony, an assessment driven home by the excessively large show, Caulfield emerges as fresh, witty and visually inventive. Undoubtedly this impression is fostered by the size of
