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If you were to wander round the Luc Tuymans exhibition at Tate Modern (until 26 September) without any previous knowledge of the artist (and with a disinclination to read the information panels), you might come away with the impression that here was a rather traditional painter, eclectic as to subject matter, with a distinctively pale,
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Over in Notting Hill, at England & Co., 216 Westbourne Grove, W11 (until 12 June), is a fascinating retrospective of that underrated painter Albert Herbert (born 1925). Herbert studied at the Royal College of Art with the Kitchen Sink painters, Bratby, Middleditch et al., but was less drawn to gritty social realism than to an
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This is the first book about the Scottish artist William Gear (1915-97), an abstract painter of international standing with an emphatic style and bold sense of colour. The son of a miner, Gear was born in Fife and studied painting at the liberal and francophile Edinburgh College of Art. From the start he was marked
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How do people respond to Rubens these days? Is all that lush flesh so out of fashion that he is of historical interest only? The good people of Lille evidently think not, for a large and ambitious Rubens exhibition has been organised under the special patronage of M. Jacques Chirac to celebrate the fact that
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We were fortunate with the weather in Siena. At first it was warm enough to sit outside having a drink, a treat in early December, but then the temperature fell rapidly and freezing northerly winds buffeted the ancient edifices in this most compact and beautiful of Tuscan hill towns. The cold did not affect the
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At university I had a tutor who would announce once a year, when the subject duly came round, ‘I’m too emotionally involved with Simone Martini. I can’t lecture on him. I’m now going to the Buttery. Any or all of you are welcome to join me there.’ And he would depart, trailing clouds of glory
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It’s the height of the silly season, and the capital glows in the unexpectedly seasonal heat. For anyone who has not forsaken London for the seaside or elsewhere, I recommend the witty diversions of Video Quartet by Christian Marclay, at White Cube in Hoxton Square until 30 August. Four screens project a profusion of film
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Shakespeare is all things to all people. The greatest writer we have, he was subtle to the extent of ambivalence. As a man he was sexually fluid, politically ambidextrous and not prepared to commit himself on anything, least of all religion. It’s sometimes said that the son of a provincial glove-maker could not have had
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Here’s a random sample of my postbag: an invitation to a mixed exhibition of nine artists’ interpretation of ‘focus’ through painting, photography, digitisation and computer manipulation; notice of a show of photo-text, photo-document and photo-juxtaposition-cum-montage pieces about HIV and place; and the press release for an installation of scarlet mobility scooters which is supposed to
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Although best known as political cartoonist of the Daily Telegraph, and for his eye-catching covers for The Spectator, Nicholas Garland trained as a fine artist, and never stopped drawing even during his active though short-lived career in the theatre. Recently, he has focused his energies on print-making and is about to open his first exhibition
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Art Deco is the style that succeeded Art Nouveau, enjoying a surprisingly long global life, stretching from 1910 to 1939, and from Europe to America, India and Australia. As the curators of this vast exhibition (over 300 exhibits) maintain, Art Deco was ‘arguably’ the most popular style of the 20th century, affecting everything from skyscrapers,
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Days Like These is only the second Tate Triennial Exhibition of Contemporary British Art, so the reader may be forgiven for not being altogether familiar with the set-up or its purpose. It’s intended as a kind of alternative or extension to the Turner Prize, offering a representative cross-section of contemporary art practice in the British
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Walking around this exhibition is a humbling experience. We are privileged to have a display of paintings of this quality in London, and it is an incredible achievement to have obtained loans of such distinction. One of the pictures scheduled for the show is not in fact available, ‘Sacred and Profane Love’ from the Villa
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For any art lover, the prospect of a new year of exhibitions – of new wonders revealed and old friends revisited – is, of course, immensely exciting. But only the very organised institutions have their exhibition programmes confirmed well in advance, and in these increasingly uncertain times, even the top museums sometimes have to change
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Ten years ago, Bristol council were apparently thinking of demolishing the building which now houses the newly opened British Empire and Commonwealth Museum. This would have been a great pity, for it was designed by Isambard Kingdom Brunel as part of the world’s first purpose-built railway terminus – Bristol Temple Meads (completed 1841). And the