Views of different countries combining practical observations and ideal visions are the focus of two major exhibitions occurring in Rome: Turner: work from Tate and Hiroshige: visions from Japan.
One of the joys of the MASP in the Paulista Avenue, Sao Paulo’s equivalent of the Champs Elysees, is that when you pay for entry (every day except Tuesday) nearly everyone else is too busy making or spending money to block your view of old and new masters.
John Lucas reviews a genuinely interesting collection of essays by Jim Burns – and adds some equally interesting observations of his own
The Danes have given us “hygge” as a not directly translate-able concept particular to their culture. The Cornish offer “hireth” to refer to an intangible feeling, a longing for the familiarity and comfort of a place.
I expected this to be an exhibition focusing on the links between art and T.S Eliot. Journeys with ‘The Waste Land’s is however something more unique. It is an exhibition that focuses purely on this extraordinary poem with all its contexts, voices and virtuosity.
Art is Comic, billed as a light-hearted response to terror, is the latest exhibition to embrace rough, industrial brickwork as the perfect backdrop for popular artists with hundreds of thousands of followers and an outwardly casual attitude towards failing politics and social injustice.
“Matisse in the Studio” does not deliver the sensational overdoses of colour and the full-on confrontation with genius of the Tate blockbusters, but there is a place for this more digestible insight into the transformative way Matisse saw based on examining his use of “objets d’art” as inspiration.
On the whole, the curators have given the works the space they need and brought a coherent approach to displaying them in relation to each other, which provides the viewer with a largely satisfying experience.
Overlooked for centuries, her paintings were often wrongly attributed to her father, Orazio Gentileschi. In the same period her work sank to a level of obscurity equal to that one of her greatest influences, Caravaggio. His reputation was restored in the 1920’s. Artemisia Gentileschi had to wait a little longer.
From stylised art nouveau temptresses to giant Tintin cartoons, Brussels has an established tradition of putting art on the outside of its buildings as well as inside. The capital’s newest gallery in a former brewery in Molenbeek – the neighbourhood notorious as a breeding ground of the Paris and Brussels terror attacks – captures that spirit.