Exhibitions

Richard Batterham died last September at the age of 85. He had worked in his pottery in the village of Durweston near Blandford Forum in Dorset for 60 years continuously. It was, in its own way, an heroic life. Batterham took an astonishingly pure, austere approach to his work. Quite simply, he undertook every part of the process of making himself. He made his own stoneware clay bodies, arguing that those who used bought-in clay missed out on the beginning of the whole process and were mistaken to think that they could just inject their artistry at a later stage. He threw his pots on an archaic kick-wheel. He did

A ‘Ghost Shop’ has appeared between Domino’s Pizza and Shoe Zone on Sunderland High Street. Look through the laminated window glass and you’ll see more glass: glass shop fittings, a glass cheese plant, a glass pedal bin spilling disposable glass cups, glass chocolate wrappers and glass betting slips littering the floor. Ryan Gander likes the fact that there’s no explanation of his see-through betting shop: ‘If you tell everyone it’s a contemporary art project, they’d run away.’ Gander is one of four artists commissioned by Sunderland’s National Glass Centre to make works inspired by the history of the north-east. Two artists, Katie Paterson and Monster Chetwynd, have chosen themes relating to

For tourists to Rome, the must-see event of 1833 was the exhumation of Raphael from his tomb in the Pantheon. For years the city’s Accademia di San Luca had been claiming possession of the artist’s skull and running a profitable line in souvenirs. That September, the question would be settled. Was the ‘most eminent painter’, lauded in his friend Pietro Bembo’s fulsome epitaph as having ‘lived virtuously 37 virtuous years’, really buried there? And did his skeleton have a head? Hans Christian Andersen was one of 3,000 ticket holders for the six-day lying-in-state. The skeleton was there all right, complete with head, but its dignity, reported Andersen, was somewhat dented

Picture the artist’s studio: if what comes to mind is the romantic image of a male painter at his easel in a grand interior with an admiring audience and a nude model at his elbow, you’re in the wrong century for the Whitechapel Gallery. Its new exhibition, A Century of the Artist’s Studio, runs from 1920 to 2020, and there’s precious little romance about it. To be honest, the studio was never that romantic; Gustave Courbet’s ‘The Artist’s Studio’ (1855), the main source of the stereotype, was itself a send-up. The Whitechapel’s show sets out to complete Courbet’s work, dismantling the myth cliché by cliché. ‘The artist hero… is both

Notoriously, the past is another country: what’s more, it’s a terrain for which the guidebooks need constantly to be rewritten. That’s one attraction of the new exhibition Postwar Modern at the Barbican. It’s a survey of what might seem all-too-familiar territory: British art in the two decades that followed VE day. Yet it succeeds in revealing numerous half-forgotten or undervalued movements and people, the good, the bad and – most intriguingly – candidates for reassessment. The decades that followed the second world war were marked by dreary austerity, perhaps explaining the tendency for the art to be coloured oatmeal, beige, grey and brown. But this was also a time of

‘Camp,’ wrote Susan Sontag, ‘is the paintings of Carlo Crivelli, with their real jewels and trompe-l’oeil insects and cracks in the masonry.’ She didn’t even mention the renaissance painter’s curious cucumber fetish. Nor the unwittingly comedic homoeroticism of his portrait of Saint Roch, one stocking rolled down coquettishly to reveal a decorous inner-thigh wound. Nor the extraordinarily ugly baby Jesus clutching an apple as big as his head while his mother, understandably, averts her eyes. ‘Camp is playful, anti-serious,’ argued Sontag. Sontag wasn’t alone in not taking Crivelli (c.1430–95) seriously. Giorgio Vasari, who scorned the illusionism that some have taken to be Crivelli’s USP, erased him from his art history.

The room is immersed in semi-darkness. Light filters down from above, glistening on polished marble as if it were flesh. This is the installation for Le Tre Pietà, a remarkable micro-exhibition that has just opened at the Museo dell’Opera del Duomo in Florence. It is low in quantity, containing just three works. But stratospherically high in quality, since it comprises Michelangelo’s three versions of the Pietà – that is, the Madonna mourning the dead Christ. He carved these over almost 70 years: one in his early twenties, the next in his seventies, the last in his eighties. Admittedly, the first and the last are present only in a rather old-fashioned

This exhibition is Hamlet without the Prince, and all the better for it. Stonehenge is not there; it remains in Wiltshire. But 430 astonishing artefacts from the neolithic and bronze ages fill a hairpin course like a Roman chariot-racing circuit in a vast room. It is blessedly free from videos of prehistoric Britons tugging on ropes to move monoliths. There is a henge on display, though. (The word in its technical sense was invented in 1932 by Sir Thomas Kendrick, later director of the British Museum.) This is the Seahenge that emerged on the shore at Holme-next-the-Sea in 1998: 55 big oak posts round a two-ton upturned rooted trunk. Gloriously,

In September 1889, Vincent van Gogh sent his brother Theo a new self-portrait from the mental hospital at Saint-Rémy-de-Provence. ‘You must look at it for some time,’ he instructed, then ‘you’ll see, I hope, that my physiognomy has grown much calmer, although the gaze may be vaguer than before, so it appears to me.’ Vincent was severely ill and was in the hospital to recover from his affliction, the nature of which remains controversial. Yet he carried on creating marvellous pictures, including several of himself. One of the questions raised by Van Gogh. Self-Portraits, the wonderful exhibition at the Courtauld Gallery, is simple but fundamental: why? We take it as

Paintings of houses go back a long way in British art: the earliest landscape in Tate Britain is a late 17th-century view of an estate in Belsize Park by the inventor of the country-house portrait, Jan Siberechts. The genre quickly became déclassé. By the 18th century Thomas Gainsborough was painting peasant cottages; by the 20th, Algernon Newton had turned his attention to middle-class villas on London’s canals. Not made for the owners of the houses they depicted, these paintings were destined to decorate the walls of strangers: the householders might not even know the pictures had been ‘taken’. A commissioned house portrait has legitimacy; a non-commissioned one feels like an

The superb new exhibition at the Royal Academy, Francis Bacon: Man and Beast, is not a retrospective. Nonetheless it is one of the most revealing presentations of this great painter’s work I have ever seen. It follows one of the most important of the chains of thought and feeling that ran through his art — animality: the beastliness in humanity, and the humanity of beasts. He was a great master of the feral. ‘Man with Dog’ (1953) depicts a creature with which it would be hazardous to tangle: a blurred, slathering smear with just a hint of Cerberus, the ancient guardian of Hades. Just below its paws is the gutter,

In 1950 the 21-year-old painter Helen Frankenthaler, fresh out of college, went to an exhibition at New York’s Betty Parson’s Gallery that changed her whole perspective on art. ‘It was as if I suddenly went to a foreign country,’ she later recalled. ‘I wanted to live in this land; I had to live there, and master the language.’ The language was in fact American and the discoverer of the new land was Jackson Pollock. After seeing his drip paintings Frankenthaler ditched her easel and, too impatient to bother with primer, applied oil paint straight on to canvas on the floor. The oil sank into the canvas, isolating the pigment on

Growing up on a farm outside Lima, I was aware that indigenous Peruvians did not understand time in the same way that their white countrymen did. On our visits to the highlands, we would encounter a very different mode of thinking. Ask an Andean villager where the next settlement was and you’d be told, ‘aquisito no más’ — just over here. Whether ‘aquisito’ meant around the next bend or four days’ schlep across the mountains was, for aboriginal people, a meaningless question. They were not ruled, as their European-descended neighbours were, by clocks. You’d sometimes see Quechua-speaking herdsmen sitting motionless for so long that they seemed to have switched off

There are, perhaps, two types of exhibition visitor. Those who read the texts on the walls and those who don’t. Personally, I instinctively tend towards the latter group, which is no doubt often my loss. In the case of Hogarth and Europe at Tate Britain, however, ignoring all the verbiage would be a huge advantage. This concentrates with anxious obsessiveness on the topics of empire and slavery (with a little condemnation of sexism on the side) and has infuriated several of my colleagues: ‘wokeish drivel’ (Sunday Times), ‘non-aperçus — which range from the crass to the asinine’ (New Statesman), ‘some quite drastic misreadings’ (Observer). Well, I’m not going to dissent

On 13 July 1815, John Constable wrote to his fiancée, Maria Bicknell, about this and that. Interspersed with a discussion of the fine weather and the lack of village gossip, he added a disclaimer on the subject posterity would most like to hear about: his art. ‘You know that I do not like to talk of what I am about in painting (I am such a conjuror).’ Perhaps by that he meant he did not like to give away how he did his tricks. As Late Constable, the magnificent exhibition currently at the Royal Academy, makes clear, he was a true magician with paintbrush and palette. Before your eye he

When the Courtauld Gallery’s impressionist pictures were shown at the Fondation Louis Vuitton in Paris in 2019, the Parisian public was so bowled over by the exhibition that some were inclined to claim Samuel Courtauld as an honorary Frenchman. This was not completely unreasonable; after all Courtauld (1876–1947) was a Francophile from an old Huguenot family. But it was even more of a compliment to the magnificent array of French art he had put together. In this city of impressionism, home to the Musée d’Orsay and the Orangerie, half a million visitors came to see it. I went round that show with an eminent art dealer, and as we did