The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
As the 414 bus swings left from the Edgware Road at Marble Arch you avert your eyes, hoping you won’t have to look at the thing looming up in front of you for a single second longer than you have to. Even so, you know it’s there — a blot on the sky, a gulp
Edgar Degas (1834–1917) was born into a banking family, always knew he wanted to be a painter and was fortunate enough to be encouraged in his enthusiasm by his parents. After a classical training he began to paint portraits and history subjects, before seeing the relevance of real life and developing ways in which to
In recent months, two new museums have opened to much acclaim: The Hepworth in Wakefield and Turner Contemporary in Margate. Now Colchester is receiving the dubious benison of a new building. What is this assertive new generation of museums in England supposed to be about? Leisure, business or art? There’s precious little of the last
Rome contains many hidden treasures, but the most remarkable of the lot is concealed on the Caelian Hill, above the Colosseum, in the medieval monastery of Santi Quattro Coronati. It’s a cycle of frescoes dating from around 1250. It is extremely rare for painting from this period to survive anywhere, but it’s even rarer in
One of the greatest Renaissance paintings remaining in private hands, Hans Holbein the Younger’s ‘The Darmstadt Madonna’, was sold discreetly this summer. It was not offered at auction but sold by private treaty sale — auction-speak for a negotiated private sale rather than a public auction — in a deal brokered by the art consultant
In 1982 Sven Berlin placed a sealed wallet labelled ‘Testament’ on top of a rafter in his studio with instructions for it not to be opened before his 100th birthday on 14 September 2011. Inside was a key to the identities of the characters in his notorious roman à clef about post-war St Ives, The
The introductory room to Women War Artists at the Imperial War Museum confronts the visitor with a large canvas of a women’s canteen in 1918 by the little-known Flora Lion. It’s an honest painting, workmanlike but dull. Hanging to its left is Laura Knight’s famous ‘Ruby Loftus Screwing a Breech-ring’ (1943), and in between is
In the Weston Rooms of the Royal Academy’s main suite of galleries is the third of a series of exhibitions designed to show the processes by which artists arrive at their work. In the Weston Rooms of the Royal Academy’s main suite of galleries is the third of a series of exhibitions designed to show
Very last chance to see the inaugural exhibition at the magnificently revamped Holburne Museum — a selection from the collections of Peter Blake, together with some of his own work. If, as Geoffrey Grigson suggested, the mind is an anthology, and the museum case or exhibition is a map of that mind, then what a
The subtitle of Treasures of Heaven is ‘saints, relics and devotion in medieval Europe’. The key words here are medieval and Europe. The subtitle of Treasures of Heaven is ‘saints, relics and devotion in medieval Europe’. The key words here are medieval and Europe. There’s not much from England because we suffered the autocratic cleansing
Bold Tendencies is a seasonal sculpture exhibition, events venue and bar — in overall effect, a sort of hipster adventure playground — concealed in the disused upper levels of the multistorey car park opposite Peckham Rye railway station. Bold Tendencies is a seasonal sculpture exhibition, events venue and bar — in overall effect, a sort
To celebrate Elizabeth Blackadder’s 80th birthday, the Scottish National Gallery is staging a landmark retrospective (until 2 January 2012) spanning the last six decades of the artist’s career. To celebrate Elizabeth Blackadder’s 80th birthday, the Scottish National Gallery is staging a landmark retrospective (until 2 January 2012) spanning the last six decades of the artist’s
One of the highlights of the Royal Collection is Gainsborough’s ‘Diana and Actaeon’, a painting I always make a point of visiting when I am viewing a new temporary exhibition in the Queen’s Gallery One of the highlights of the Royal Collection is Gainsborough’s ‘Diana and Actaeon’, a painting I always make a point of
As regular readers of this column will know, I am not a great admirer of photography exhibitions, but the current show in the RA’s Sackler Galleries is more enjoyable than most. I have long loved the work of André Kertész and Brassaï, and besides presenting a lavish selection of their photographs, this show offers the
When a major artist dies while an exhibition of his or her work is up and running, there is inevitably a surge in visitor numbers. Consequently, the death of Cy Twombly at the beginning of last month has sent along to Dulwich a number of people who didn’t know his work to find out what
It’s difficult to believe that John Hoyland is dead. He was a man so full of life, with such appetite for living, that his absence from our midst makes no sense. Even when grievously ill in the past months, he was more likely to engage in anecdote and tell jokes than complain of his increasingly
One of the art books purchased in recent months that I’ve most enjoyed has been Arthur Boyd: Etchings and Lithographs, published in 1971. Boyd was an Australian painter, potter and printmaker, born in 1920 in Melbourne, who came to England in 1959 and made his home in this country. A deeply interesting image-maker, he came
The Fry Art Gallery is housed in a Victorian Gentleman’s Gallery of two main rooms, built in 1856 for the Quaker banker Francis Gibson. The Fry Art Gallery is housed in a Victorian Gentleman’s Gallery of two main rooms, built in 1856 for the Quaker banker Francis Gibson. It was first intended to accommodate his
The basement galleries of the Sainsbury Wing are darker than ever for this intriguing redisplay of some of the oldest paintings in the National Gallery. The atmosphere attempts to recreate the penumbral gloom of church and chapel in which these paintings were originally to be seen, before impoverished religious foundations flogged them to dealers and
Alasdair Palmer marvels at a series of Veronese frescoes at Palladio’s Villa Barbaro It has included repairing the roof and strengthening the walls, as well as redecorating the interior, and it has taken almost as long as it took to build the original structure — but work on Andrea Palladio’s last building, the Tempietto at
Vorticism is often referred to as the only British 20th-century art movement of international importance, but the work of the Vorticists — Wyndham Lewis, Edward Wadsworth, Gaudier-Brzeska and their associates — has up to now not been widely known. Vorticism is often referred to as the only British 20th-century art movement of international importance, but
There are just 26 drawings and watercolours in the magnificent exhibition at Lowell Libson, but they are all of such quality and interest that the show is a feast of connoisseurship and visual delight. Selected by Libson and Christopher Baker from the National Gallery of Scotland, the range of work gives a distinct flavour of
Henri de Toulouse-Lautrec (1864–1901), diminutive aristocrat and radical artist, was roundly travestied in John Huston’s 1952 film Moulin Rouge, and at once entered the popular imagination as an atrociously romanticised figure doomed for early death. Henri de Toulouse-Lautrec (1864–1901), diminutive aristocrat and radical artist, was roundly travestied in John Huston’s 1952 film Moulin Rouge, and
The resident ravens of the Tower of London seem to croak a little louder these days. A few yards from their gathering spot, a golden eagle, traditional symbol of power and kingship, perches on a military standard, keeping watch. It is one of several exhibits on display at the newly refurbished Fusilier Museum in the
This year, the sequence of galleries has been subtly altered, and for a change we enter the fabled Summer Exhibition (sponsored by Insight Investment) through the Octagon rather than Gallery 1. This brings the visitor straight into the heart of the show, and it’s quite a good idea at this point to turn right into
In the Mellon Gallery of the Fitzwilliam is an unashamedly rich and demanding exhibition of Italian drawings, ranging from the 15th to the 20th century. I say ‘demanding’ because you need to look closely and with attention at these works — not simply to decipher what is going on (the narrative component), but to appreciate
‘Not something I’d want on my wall,’ said an English lady visitor to Antwerp’s Rockox House, standing in front of a painting of wolves attacking cattle. ‘Not something I’d want on my wall,’ said an English lady visitor to Antwerp’s Rockox House, standing in front of a painting of wolves attacking cattle. ‘Nor that,’ said
Cleanliness was nowhere near godliness in 17th-century Europe — except in Delft, where God came second. The Wellcome Collection’s examination of humanity’s relationship with dirt begins in Vermeer’s city, where thousands of girls with pearl earrings scrubbed hearths for a living. Delftware, those distinctive blue and white ceramic tiles so common in antique shops, was
William Cook takes refuge from the modern world at an exhibition of the artist’s paintings of his beloved Salisbury I’d always thought of Constable’s paintings of Salisbury Cathedral as grand, majestic things — but seeing them again in Salisbury, with Richard Constable, the artist’s great-great grandson, you begin to look at these splendid pictures in