‘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.
William Marshall & Wendy French are enthusiastic about the Eric Ravilious exhibition at the Dulwich Picture Gallery (running until August 31st)
Victor Hugo at Villers-la-Ville until August 16 and Le Malade Imaginaire at Villers-la-Ville until August 8.
The 12th-century abbey of Villers-la-Ville in Belgium has a tradition of open air summer theatre that dates back more than a hundred years – but the tradition is not quite unbroken.
John Forth looks at poems written by Tamar Yoseloff to accompany an exhibition of David Harker’s images and finds they are sometimes more assertive than the understated artwork, but are also very much at one with it.
The exhibition Drawing the Line features David Harker’s drawings & paintings, with accompanying poems by Tamar Yoseloff
One of Britain’s biggest pop icons and one of France’s intellectual giants have more in common than you might think.
Two things strike in this exhibition: a strong sense of Englishness and a creative link to an artistic heritage as far back as the antique world.
An exhibition of the extraordinary output of France’s Henri Cartier-Bresson, hailed as the founder of photojournalism and “the eye of the century”. That is true in the fullest sense of the words, given his exceptional ability to see the telling detail, or, in his own words, to seize the fact related to “the deep reality”.
With their green goats, giant roosters and bridal couples flying through the air, Marc Chagall’s works appear fantastic, but he insisted he only painted direct reminiscences of his own life.
Faces Then focuses on the 16th-century, regarded as the golden age of the portrait, when it was the rich, the powerful and the burgeoning bourgeoisie who could afford to have their portraits taken. Faces Now confines itself to the period since 1990, after the fall of the Berlin Wall, and, with it, the collapse of ideologies and artistic parameters.