Culture

‘When pictures painted as companions are separated,’ John Constable wisely observed, ‘the purchaser of one, without being aware of it, is sometimes buying only half a picture.’ When he said those words at a lecture in Hampstead delivered on 9 June 1833, he had two great paintings by Rubens in mind: ‘A View of Het

Rodin’s studio at Meudon in the suburbs of Paris is huge and filled with light — a sort of combined warehouse, factory and conservatory. It’s crammed with white plaster figures: battered, writhing and fragmentary. This strange, almost surreal effect has been recreated in The Making of Rodin at Tate Modern. The result is more interesting

A party of disorderly couples has gatecrashed the Picture Gallery at Bath’s Holburne Museum, climbing on to the antique furniture, hanging off the track lighting and sprawling on the floor, putting the noses of the resident Gainsboroughs, Constables and Zoffanys out of joint. Lawks-a-mercy! What has come over the Holburne? A passel of Mrs &

‘Of course, I am obstinate in defending our liberties and our law — that is why I carry a big handbag,’ Margaret Thatcher once told an interviewer. That handbag was part of the Iron Lady’s suit of armour; a fashion accoutrement turned into a political prop. But an accessory that became instantly recognisable on the

Alfred Wallis (1855-1942) should be an inspiration to all late starters. It was not until he had passed the age of 70 that, after his wife of many years had died and having previously worked as a sailor, fisherman and rag and bone merchant, he decided to take up art. ‘Aw! I dono how to

Obviously, we’re living through an era of censorious puritanism. Granted, the contemporary creeds are different from those of the 16th century. But the imperious self–righteousness is much the same — which gives the entertaining little exhibition at the National Gallery entitled Sin an unexpectedly contemporary edge. Personally, I’ve always thought that the doctrine of original

In 1772 the 15-year-old Mozart wrote a one-act opera set, like The Magic Flute, in a dream world. Il sogno di Scipione was based on an account in Cicero’s Republic of a dream experienced by the Roman general Scipio Aemilianus while serving in North Africa in 148 BC. In the dream the younger Scipio is

A great temple of the goddess Tara can be found at Tarapith in West Bengal. But her true abode, in the view of many devotees, is not this sacred structure itself but the adjacent, eerily smoking cremation ground. There she can be glimpsed in the shadows at midnight, it is believed, drinking the blood of

In the 1850s Britain was hit by an epidemic likened by The Illustrated London News to a ‘grippe or the cholera morbus’. It came from America rather than China and afflicted the mind rather than the body. The craze for table-turning was sparked in Hydesville, New York, in 1848 after two young sisters, Maggie and

The hand is one of the first images to appear in art. There are handprints on the walls of caves in southern France, Indonesia and Argentina, made up to 50,000 years ago, which, although no doubt an illusion, seem to be waving at us across a vast gulf of time. The gigantic paintings of golden

It sometimes rains in Cookham. It rained all day when I visited the Stanley Spencer Gallery to see the exhibition Love, Art, Loss: The Wives of Stanley Spencer. But it rarely rained for Spencer, or at least never in his pictures of his hallowed birthplace, where even when skies are grey the red brick of

One Sunday evening in the autumn of 1888 Vincent van Gogh and Paul Gauguin went for a walk. They headed out of Arles into the countryside and when they looked back towards town they saw a sunset so splendid that each was inspired to paint a masterpiece. One of these, Gauguin’s painting bearing the timely

Among the spoils of a lockdown clear-out was a box of my grandmother’s books: Woolf, Austen, Mitford and The Complete Nonsense of Edward Lear with a jacket by Barnett Freedman. You only need to see a corner of the cover — a stippled trompe-l’oeil scroll — to recognise the artist. Freedman, a Stepney Cockney born

An oxymoron is a clever gambit in an exhibition title. The Whitechapel Gallery’s Radical Figures: Painting in the New Millennium is designed to trigger the reaction: ‘Radical? Figures?’ before revealing quite how radical the figure can be. But like all good marketing, it is deceptive. Figurative art may have been consigned to history by Clement

Travelling around Latin America three years ago, Stephen Chambers was attracted by pharmacy signs with pictograms advertising treatments to illiterate customers, and on his return he painted a series of serio-comic pictures of fatal diseases from the plague to bird flu. Could he get a gallery to show them? Could he hell. They all complained

Gwyneth Paltrow has a new neighbour. On the same block in Notting Hill as Gwynie’s Goop store, with its This Smells Like My Vagina scented candles and must-have child-calming essential oil sprays, a shopfront has been taken over to display a poignant series of self-portraits by a rather different woman. Khadija Saye died three summers

Not long after the pubs, big galleries have all started to reopen, like flowers unfolding, one by one. The timing reminded me of an anecdote that Lucian Freud used to tell about a Soho painter friend he took into the National Gallery after it had shut (as some senior artists are entitled to do). They

For three months art lovers have had nothing but screens to look at. As one New York dealer complained to the Art Newspaper in May, ‘Everything is so flat — except for the curve,’ referring to the infection rate. Flatness isn’t such a problem for paintings, which are flat anyway, or for digital media obviously.

I’m in Mayfair and I’m boarding an airplane. Or rather, I’m boarding an approximation of an airplane. In the centre of Hauser & Wirth, there are airplane seats, organised into a formation that resembles a section of economy, and dislocated windows, hung on the walls where paintings might normally be. The seatbacks are stuffed, and

‘Naughty little nudes,’ my history of art teacher used to say of Cranach’s Eves and Venuses. Aren’t they just? Coquettish and compact. Kenneth Clark thought they had ‘chic’. Cranach’s nudes are rarely truly naked. They wear Ascot hats, golden chokers, filmy wisps of gossamer girdle. Take the goddess in the National Gallery’s ‘Cupid Complaining to

‘It’s true, it’s true, it’s true.’ Over and over she said it. ‘E vero, e vero, e vero.’ It’s true he raped me. It’s true I was a virgin. It’s true all I say. Even under judicial torture, even with cords wrapped around her fingers and pulled tight, she did not waver. ‘E vero.’ These

There was a basket of thick red wool and two pairs of large knitting needles at the start of University College London’s cleverly curated exhibition, Witnessing Terror: French Revolutionary Prints 1792–94. Visitors were invited to contribute their own lines of stitches before picking up a copy of A Tale of Two Cities, in which Dickens

In 1576 Venice was gripped by plague. The island of the Lazzaretto Vecchio, on which the afflicted were crammed three to a bed, was compared to hell itself. In the midst of this horror Tiziano Vecellio, the greatest painter in Europe, died — apparently of something else. He was in his eighties and working, it

Nicolaes Maes (1634–93) relished the simple moments of daily life during the Dutch Golden Age. A woman peeling parsnips over a bowl; a young girl threading a needle; a peasant lugging pails of milk to sell on the doorstep. His paintings are sensitive, not showy, and, as you would expect from a pupil of Rembrandt,

The strange and faintly sinister works of the Belgian artist Léon Spilliaert have been compared — not unreasonably — to those of many writers, Edgar Allan Poe among them. But as I walked round the Spilliaert exhibition at the Royal Academy, it was not any of these that came to my mind. It was the

Steve McQueen’s ‘Static’ (2009) impresses through its sheer directness — and it’s very far from static. A succession of helicopter-tracking shots around the Statue of Liberty, it’s the first film you encounter in this quasi-retrospective from the Turner Prize-winning conceptual artist-turned-Oscar-winning film director. Shot shortly after the monument reopened after the 9/11 attacks, it offers

British Baroque: it was never going to fly. Les rosbifs emulating the splendour of le Roi Soleil? Pas possible. Still, we had a go and the evidence is assembled in British Baroque: Power and Illusion, Tate Britain’s survey of the art of the Stuart court from the restoration of Charles II in 1660 to the

My step-grandmother Connie was an inspired needlewoman. For ten years, as a volunteer for the charity Fine Cell Work, she taught embroidery to inmates at HM Prison Wandsworth. She once told me that she was tired of being a ‘committee woman’: ‘I wanted to be down in the arena with the sawdust.’ She believed in