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.
Thomas Ovans browses an ambitious anthology of poems inspired by the artist Stanley Spencer and finds that every picture may tell several stories
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.
We are delighted to announce Spectrum’s competition, The Spectrum Art Prize. This is a new national award which celebrates the exciting work produced by artists on the autistic spectrum.
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.
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.
Poems written in response to atmospheric paintings by the American artist Howard Fritz whose work is now on show at the Torriano Meeting House
Howard Fritz – Paintings & Drawings At the Torriano Meeting House, 99 Torriano Avenue, London, NW5 2RX from January 12th 2016
The illustrator Tom Adams shares some insights into how he produces his memorable book jackets
William Marshall & Wendy French are enthusiastic about the Eric Ravilious exhibition at the Dulwich Picture Gallery (running until August 31st)
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.
Matisse in the Studio, Royal Academy of Arts, London. Review by Barbara Lewis.
“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.