A fellow pupil of Leipzig master Bernhard Heisig is the artist ANTOINETTE, who uses only her first name written in capitals. In common with Rauch and other Leipzig artists, she combines meticulous representation with the fantastic or surreal.
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If you can embrace it, lockdown’s shift from the real to the virtual is a liberation that makes anything possible.
A riveting exhibition at the National Gallery spanning Artemisia Gentileschi’s 45-year career displays her best artwork.
Tantra: enlightenment to revolution, British Museum. Review by Carla Scarano. culture and tradition are as alive as ever today, as the comprehensive and exhaustive exhibition at the British Museum shows.Â
Post-Virus Venice: More than looks. Venice is, to a majority of us, one of humanity’s most seductive achievements.
Farleys House and Gallery, Home of the Surrealists, Muddles Green. Review by Barbara Lewis. In pandemic times Farleys House visits have slowed to a trickle, throwing the economics into jeopardy.
Hastings Contemporary. Quentin Blake: We Live in Worrying Times. Victor Pasmore: Line and Space. Review by Barbara Lewis. The short history of Hastings Contemporary art gallery has so far been troubled. Before it was built, it divided opinion.
Pallant House Gallery. Barnett Freedman: Designs for Modern Britain. Review by Barbara Lewis. Painter and teacher Paul Nash referred to the group of artists he taught in the early 1920s as “an outbreak of talent”.
Kimono: Kyoto to Catwalk. Victoria and Albert Museum. Review by Carla Scarano. The complex evolution and rich cultural significance of the kimono are thoroughly explored in the exhibition at the V&A.Â
Towner, Eastbourne. Alan Davie and David Hockney: Early Works – plus other exhibitions. Review by Barbara Lewis.
Poetry review – VERITAS: Alwyn Marriage is impressed by Jacqueline Saphra’s skilfully crafted poetic responses to the paintings of Artemisia Gentileschi
by Barbara Lewis • added recently on London Grip, architecture, art, installations • Tags: architecture, art, Barbara Lewis •
Should we be in need of a reminder, lockdown has provided it: our appreciation of a work of art can depend on experiencing it in the context for which it was created; the vacuum of an online viewing is no substitute. Bishop Bell of Chichester understood the connection when, at the height of World War Two, he combined his passion to revive a relationship between art and the church with a desire to give commissions to artists who were struggling to earn a living in war-time, as they are again in pandemic times.