painting
Marina Vaizey
The Good American, a Texan no less, has landed at Tate Modern in style. This posthumous retrospective of the great Robert Rauschenberg includes a paint-bespattered, fully made-up bed hung vertically on the wall, and called – you guessed – Bed,1955 (pictured below right). A huge White Painting, 1951 – latex housepaint on seven panels, glossy and smooth – is joined by a huge, swirling, all-black painting, Untitled, c.1951, and an installation of various substances resembling bubbling mud, called Mud Muse, 1968-71. One gallery contains so-called Jammers, 1975-76, swathes of material leaning Read more ...
Marina Vaizey
Born in Rome and taught by her artist father, Artemisia Gentileschi (1593-1652) led a colourfully energetic life. As an adolescent she was raped by her father’s assistant – an episode which unusually, then as now, actually came to public trial – but she nevertheless became a confident, resolute woman, and a successful artist. She was vitally ambitious, portraying herself as La Pittura in her Self-Portrait as the Allegory of Painting, c.1638-9, an image at the heart of this exhibition.Here Artemisia is almost hurling herself at her canvas, brush in one hand, palette in the other. Wearing Read more ...
Florence Hallett
The chances are, you’ve only ever seen Flaming June in reproduction: since 1963 it has resided in the Museo de Arte de Ponce in Puerto Rico, an out-of-the-way location that reflects the universal disdain for Victorian art in the post-war period. When the painting disappeared and then resurfaced in a house on Battersea Rise it was rejected by every British museum imaginable, eventually being bought by the enterprising curator Luis A Ferré, to form part of what is now recognised as a world-class collection of Victorian art.Returned to the studio at Leighton’s fabulous "House Beautiful" for the Read more ...
Florence Hallett
Cheekily bottom-like, their downy skin blushing enticingly, these must be the sexiest apricots ever painted. If you held out your hand, you might just be able to touch them, there in the foreground of what is thought to be Caravaggio’s earliest surviving painting. Echoing the skin tones of a boy absorbed in the act of peeling fruit, the light highlights his hands and his downcast eyes make us voyeurs in a scene of unexpected sensuality. As setting the scene goes, it’s an excellent choice, and its somewhat tentative attribution is fitting for an exhibition dominated by the work not of Read more ...
mark.kidel
When the French painter Fabienne Verdier told me she’d been invited to explore the relationship between painting and music at the world-famous Juilliard School in New York, I knew straight away that this unusual residency should be documented.Fabienne is an adventurer. In her early 20s, she had courageously embarked on a journey of discovery. She was one of the very first French art students to go on an exchange programme to China, only a few years after the end of the Cultural Revolution. She had a really difficult time there, as she looked for a traditional calligrapher with whom she could Read more ...
Florence Hallett
Today we amuse ourselves with Facebook clips of talking cats, but in the 1850s they had stereographs, pairs of identical photographs that, viewed through special lenses, become suddenly and gloriously three-dimensional. Vistas open up as if by magic, the illusion of space all the more beguiling for its transience. The act of looking through a special pair of glasses is a little bit like peeping behind a curtain, the intimacy of the encounter adding a slightly voyeuristic frisson to all manner of subject matter from landscapes to mock-ups of popular paintings. Stereoscopic photographs have a Read more ...
Florence Hallett
Visceral and vividly colouristic, Clare Woods' paintings are at once abstract and figurative, perpetuating traditional genres but simultaneously occupying a less easily defined area of artistic practice. She puts innocuous or ambiguous subject matter into tension with titles and forms that suggest dark undertones, while big, universal themes are treated with the immediacy of personal experience. Her work is notable for its luscious paintwork and yet she is not a painterly painter, her initial training as a sculptor continuing to inform and shape her work.A graduate of Bath College of Art and Read more ...
Marina Vaizey
Here be two modestly scaled masterpieces from the 1760s by George Stubbs, highlights of a centuries-old tradition of painting the horses owned by the Dukes of Newcastle and their lateral descendants the Dukes of Portland (the Devonshires are also connected in a grand web of aristocratic marriages). Stubbs was commissioned by the third Duke of Portland (1738-1809), William Cavendish-Bentinck, indisputably one of the grandest in the land: a politician and a multi-billionaire in today’s terms. He was a man of huge personal responsibilities and a patron of the arts: Humphrey Repton designed the Read more ...
Florence Hallett
Much is made of the mystery surrounding Giorgione, a painter of pivotal influence, about whom, paradoxically, we know almost nothing beyond the manner of his death. He died in a Venetian plague colony in 1510 aged about 33, and was as elusive in the 16th century as he is today, his paintings highly sought after but hard to come by, and by the time of his death already invested with mythic status. Today, there are about 40 paintings attributed to Giorgione, and of those, only a handful are secure in their attribution: this is an exhibition about an artist who exists as a ghostly trace in Read more ...
Florence Hallett
Art exhibitions hardly seem comparable with battery farming, and yet just as our insatiable appetite for cheap meat gives rise to some troubling consequences, so too does the demand for definitive exhibitions that require vulnerable works of art to be shipped around the world. And so it really is a cause for celebration that an exhibition exploring Eugène Delacroix’s influence in the 50 years following his death maintains its focus, argues its case and thoroughly immerses us in his work, without actually showing us any of his best known paintings.We are left to guess at the sheer scale of The Read more ...
Florence Hallett
Now that Renaissance altarpieces live for the most part in museums and not churches, our experience of them is, quite literally, flat. Once, the winged altarpieces so popular in northern Europe, comprising a central panel flanked by two moveable “doors”, would have changed appearance according to the Church calendar, the wings left closed during Lent to be opened again at Easter when the glorious colours of its central image would once again be revealed.To create maximum theatrical effect, the reverse sides of the panels were often decorated in grisaille – as black and white painting was Read more ...
theartsdesk
From weaselly shyster to spineless drip, the biographies of Goya’s subjects are often superfluous: exactly what he thought of each of his subjects is jaw-droppingly evident in each and every portrait he painted. Quite how Goya got away with it is a question that will continue to exercise his admirers indefinitely, but it is testament to his laser-like insight that he flattered his subjects enough that they either forgave or didn’t notice his damning condemnations in paint.For all his brutal honesty, Goya was an artist of great humanity and of the two exhibitions dedicated to him in 2015, it Read more ...