As if an extraordinary imagination for fantastic, unsettling monsters and a genius ahead of his time for sensitive, naturalistic depictions of ordinary people weren’t enough, Hieronymous Bosch also had a modern knack for successful branding.
A unique three-year street-photography project. The spontaneous, candid images – from quiet intensity to grand gesture – offer a unique and personal insight into a teeming metropolis; a positive view of urban living, celebrating the creativity, diversity, eccentricity and spirituality of Londoners and London’s visitors.
This exhibition brings together two artists successful in their own eras. Each works in a different medium yet both are similar in pushing artistic boundaries.
This is Miranda Argyle’s second show in Princelet Street. The panelled Georgian drawing room at the gallery, Eleven Spitalfields provides a sensitive context for Argyle’s subtle stitched work and luminous photographs.
Poems written in response to atmospheric paintings by the American artist Howard Fritz whose work is now on show at the Torriano Meeting House
A festival of theatre, performance and discussion exploring the changing face of our capital city.
Howard Fritz – Paintings & Drawings At the Torriano Meeting House, 99 Torriano Avenue, London, NW5 2RX from January 12th 2016
William Marshall reports on his visits to the M C Escher exhibition in Dulwich
Wry, strange, self-mocking, subversive, acerbic, ironic, cynical, sarcastic, bitter, unconventional and of course surreal – are just some of the adjectives that spring to mind as you browse the unsettling Belgian art on display in a central Brussels venue until 24th January.
‘Life is a gamble, at terrible odds – if it was a bet you wouldn’t take it’ writes Tom Stoppard in Rosencrantz and Guildenstern are Dead. Turner Contemporary’s exhibition ‘Risk’ attests to this. The Focus is two- fold, dealing with the risky business of living and the nature of art itself as a gamble.
Barbara Hepworth said finding Trewyn Studio in St Ives was “a sort of magic”. It provided her with the perfect context to work, in harmony with her surroundings, and to display her sculptures in the best possible light to reveal their contours and depths.
In the Flemish town of Veurne (Furnes in French), tucked away with appropriate incongruity between a bandstand and an aviary, stands a bust of Paul Delvaux (1897-1994), the surrealist painter who lived and died among the step-gabled houses painstakingly rebuilt after the devastation wrought by the World Wars.