Hermione Eyre

The long overlooked staircase by Hogarth at St Bartholomew’s Hospital has been cleaned and restored in a £9.5 million scheme. It is now open to the public, the management says, for the first time since the 1730s, although when I lived nearby in the 2000s, I used to slip in to look at it sometimes.

‘Places in Cookham seem to me possessed by a sacred presence of which the inhabitants are unaware,’ wrote Stanley Spencer. Mystically devoted to the Berkshire village near the Thames where he grew up, Spencer was synonymous with Cookham as early as 1912, when he was at the Slade; ‘Cookham’ was his nickname. His greatest work

Numerous research academics have contributed to this highly cogent show celebrating the craftspeople of Ancient Egypt. My pre-teen companion, though a big fan of Egypt, was still slightly hesitant about whether this would be the most interesting angle. It began with a 4,000-year-old stele, or tombstone, on loan from the Louvre, praising the sculptural and

The Two Roberts, Robert MacBryde (1913-66) and Robert Colquhoun (1914-62), are figures of a lost British bohemia. Both born in Ayrshire, they met on their first day at the Glasgow School of Art, becoming lifelong partners and painters. Well-connected in louche literary London, their conversational barbs were recorded by Julian Maclaren-Ross, their jig-dancing antics noted

This exhibition will be busy. You’ll shuffle behind fellow pilgrims. But it’ll be worthwhile. It’s a tour de force that tells the story of Marie Antoinette’s 17 years on the throne with detail, focus and flair. There are 34 items here that she owned personally – opulent, carefree objects that resonate with impending disaster. These

In Sunday in the Park with George, Stephen Sondheim catches something of what makes Georges Seurat so brilliant – not just his technical flair, but his engagement with ordinary life. Sondheim has Seurat sing, or rather woof, a little duet between two dogs meeting on the island of La Grande Jatte; later, Sondheim gives Seurat

If you came to this show accidentally, or as a layperson, it could confirm any prejudices you might have about avant-garde sculpture. Pretentious, ugly and resorting to kink. Those pendulous string bags, that enormous turd – gimme a break. Except that would be a mistake. Because the work here is the real thing: the 1960s

This show was largely panned in the papers when it opened in April, with critics calling it ‘awkward and snarky’, applying that sturdy English put-down ‘arch’, and generally carping at ‘rich insider’ Sir Grayson Perry for posing as an outsider artist. Word-of-mouth reviews were completely different, however, almost as if gallery-goers, free from the necessity

‘Remember, Roy, white flowers are the only chic ones.’ So Cecil Beaton remarked to Roy Strong, possibly as a mild put-down to the young curator. But it was a curious put-down to make because Beaton broke his own rule happily, buying mountainous armfuls of speckled yellow, pink and scarlet carnations at Covent Garden and longing

The Royal Collection Trust has had a rummage in the attic and produced a fascinating show. Displayed in the palatial gallery adjacent to Buckingham Palace, and described on headsets in the reassuring tones of Hugh Bonneville, are public tokens and personal treasures of two generations: Edward VII and Queen Alexandra, and George V and Queen

Why is Hiroshige’s work so delightful? While his close predecessor Hokusai has more drama in his draughtsmanship, Hiroshige’s pastoral visions conjure a sense of timeless continuity that appealed to his contemporaries as much as to present-day teens who love the merch. His is a world in which everything has happened before, and will happen again.

You feel so close to Victor Hugo in this exhibition. It’s as if you are at his elbow while he sighs at his standing desk at the top of his house on Guernsey, where he held France constantly in view as he worked. Here, frustrated by Les Misères (working title), he has thrown down his

Ithell Colquhoun was always a bit of a mystery surrealist. Her greatest hit is the unsettling, dream-like ‘Scylla’ (1938), a painting of two towering cliffs, which could equally be thighs in the bath. The prow of Odysseus’s Argo peeps through them. The pubic hair is seaweed, and there are shells, but, as far as discernible,

An exhibition of the art of Hélène de Beauvoir (1910-2001), sister of the great Simone, opened in a private gallery near Goodge Street last week. It was the first time Hélène’s work had been shown or received any attention in London, and young people in alternative clothing gathered to sip orange wine and listen, rapt,