Rosie Johnston enjoys a collection of ekphrastic poetry by Derek Sellen
painting
Compared to Kyoto, Tokyo is bigger, busier and cosmopolitan. My friend Ornella and I had plenty of time by ourselves as my daughter was busy with her course at the Bunka Gakuen University where she is attending a Master in Fashion and Design.
Surrealism was the driving force that motivated Dorothea Tanning’s career from the 1930s until her death in New York in 2012. It offered her an alternative world that she explored going beyond everyday reality.
The ideal venue of the Municipal Gallery of Modern Art in via Francesco Crispi in Rome displays a vast range of pictures and sculptures from the Capitoline collections retracing the interpretation and development of the female form and her artistic personality from the end of the nineteenth century until today.
We’ve all seen it a hundred times, identified with it and even messaged using an emoticon version of Edvard Munch’s skull-like face, clutched by hands raised in horror in a distorted, nightmarish world.
The vitality of breath and its life power expressed in Jeff Koons’ sculptures and paintings mesmerise the viewer at the Ashmolean exhibition.
Edvard Munch from next year will be displayed in a new aluminium tower that has divided local opinion as it changes the skyline near Oslo’s iceberg-like opera house on the waterfront.
For many of us stuck here in the grey fastness of a London winter, a visit to the 2019 Pierre Bonnard exhibition has brought some welcome relief.
As a half French, half American individual, I give in to a pastime common to double nationals, which consists of regularly comparing both countries of origin.
Sometimes free exhibitions are as interesting as ones you pay for. This is the case of three free exhibitions displayed in three different rooms at the Ashmolean museum in Oxford.
There is a natural symbiosis between the two artists in this exhibition. Both, although divided by centuries, seek to present the relationship between man and his place in the universe.
by Barbara Lewis • added recently on London Grip, art, drawing, exhibitions, painting • Tags: art, Barbara Lewis, drawing, exhibitions, painting •
Visionary artist and poet William Blake (1757-1827) said he alternatively cursed and blessed engraving. “It takes so much time and is so untractable (sic), though capable of such beauty and perfection,” he said in a statement that takes us to the heart of his wild and wilful talent.