Art

Leonardo da Vinci thought sculpting a messy business. The sculptor, he pointed out, has to bang away with a hammer, getting covered in the process with a nasty mixture of dust and sweat. In contrast the painter can sit at his easel, dressed like a gentleman, and portray the whole wide world and everything in it. (Michelangelo, not surprisingly, disagreed.) Such spats were by-products of the paragone — a sort of Punch-and-Judy debate, much enjoyed in 16th-century Italy, about which of the arts was the most powerful. Intriguingly, the National Gallery has revived the paragone in one section of its new exhibition, Monochrome. There are no works by Michelangelo or

In the 1880s the young Max Klinger made a series of etchings detailing the surreal adventures of a woman’s glove picked up by a stranger at an ice rink. At a certain point the glove washes up, nightmarishly large, beside a sleeping man’s bed on to which a shipwrecked sailor is desperately hauling himself. Storm-tossed billows merge with rumpled pillows in an image simply titled ‘Angste’. Klinger’s nightmare vision came back to haunt me at the exhibition Tracey Emin, ‘My Bed’/JMW Turner. Yes, you read that right. Since its loan to the Tate in 2015, Emin’s most famous oeuvre has been partnered in exhibitions with the work of Francis Bacon

Over the winter of 1859–60, a handsome young man could be seen patrolling the shores of the Gulf of Messina in a rowing boat, skimming the water’s surface with a net. The net’s fine mesh was not designed for fishing, and the young man was not a Sicilian fisherman. He was the 25-year-old German biologist Ernst Haeckel from Potsdam searching for minute plankton known as Radiolaria. In February he wrote excitedly to his fiancée, Anna Sethe, that he had caught 12 new species in a single day — ‘among them the most charming little creatures’ — and hoped to make it a full century before leaving. Haeckel had a degree

Last week the exhibition Painting India by the late Howard Hodgkin opened at the Hepworth Wakefield. Hodgkin started collecting Indian miniatures as a schoolboy at Eton and first visited the subcontinent in 1964, travelling with Robert Skelton, the then assistant keeper of the Indian collection at the V&A. Hodgkin would return there many times during his life. He would later say to David Sylvester ‘I think my main reason for going back to India is because it is somewhere else.’ The exhibition at the Hepworth features over 35 works by Hodgkin which take their cue from his visits. The promotional text on the museum’s website notes that the exhibition ‘takes

Bump to bump they stand: Mary and her cousin Elizabeth, both pregnant, both apple-cheeked and glowing as expectant mothers should be. It is a moment of shared joy. The whispered intimacy of ‘I’m pregnant!’ ‘Me, too!’ Joseph and Zacharias stand sheepish in the background, as men do on such occasions. Joseph has more reason than most to feel left out. The baby isn’t his in the conventional sense. Zacharias has the look of a man overtaken by events. After so many ‘barren’ years, here is Elizabeth, pregnant and beaming with the future John the Baptist. The Visitation, the moment of Mary’s visit to Elizabeth in Judea to share the news

‘There is only one thing worse than homosexual art,’ the painter Patrick Procktor was once heard to declare at a private view in the 1960s. ‘And that’s heterosexual art.’ It would have been intriguing to hear his views on Queer British Art at Tate Britain. All the more so since it includes several of his own works, including a fine line-drawing study of the playwright Joe Orton, completely naked except for his socks — which he kept on because he felt they were sexy — and reclining somewhat in the manner of Manet’s Olympia. In fact, many of those included might have had reservations — Oscar Wilde, for example, one

There have been many explanations for what happened in the Italian Renaissance. Some stress the revival of classical antiquity, others the rise of individualism. A pioneering exhibition at the Fitzwilliam Museum, Cambridge, Madonnas and Miracles: The Holy Home in Renaissance Italy, takes a different line. It’s all about the 15th- and 16th-century household — and the religious furnishings and fittings it contained. To a 21st-century eye some of these are distinctly bizarre. Early on, there is a painting of the ‘Madonna and Child’ by a follower of Filippo Lippi — just the kind of thing one expects to find in an art gallery. Underneath it is a brightly painted wooden

Borag Thungg, Earthlets! If those words mean something to you, then congratulations — you are leading a good life. If not, then you owe it to yourself to pay attention. They are the words of greeting that Tharg the Mighty, the extraterrestrial editor of 2000AD, has spoken to the British sci-fi comic’s readers for the past 40 years. And 40 years is right. 2000AD enters its fifth decade this year, and various celebrations have been planned to mark the occasion. Among them is an exhibition at the fantastic Cartoon Museum in central London, where 85 pieces of original artwork are on show for our delectation. It’s an exhibition that does

Two divergent approaches to printmaking are on view in an exhibition of graphic work by Francis Bacon and Lucian Freud at Marlborough Fine Art, Albemarle Street. For the former, media that depend on line, such as etching, were of little interest, since — as his friend Freud would point out — Francis couldn’t draw very well. But, Freud would add, Bacon’s painting was so brilliant that he made you forget that limitation. Bacon’s prints were essentially reproductions of his oils, signed and numbered by the artist. The etchings Freud made in the last three decades of his life were not like that at all. Though the models for the etchings