Both artists celebrate the regenerative forces of nature to which we have been sensitised by months of lockdown and both exhibitions are a joyful celebration of a cautious reopening after a period of painful reflection.
The Arctic: Culture and Climate: Resilience and an enduring thriving culture characterise the population living in the Arctic, a large area in the North Pole comprising Greenland, Alaska, some of the northern territories of Canada, and parts of Siberia and Scandinavia.
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.
by Carla Scarano • art, books, drawing, exhibitions, painting, sculpture, society, tapestry, textiles, year 2020 • Tags: art, books, Carla Scarano, drawing, exhibitions, painting, sculpture, society •
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.
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.
Raphael: The exhibition was organised in collaboration with the Uffizi Galleries and acts as a flash-back to Raphael’s life and career. It starts from his sudden death in Rome five hundred years ago.
Léon Spilliaert was an insomniac. He walked a great deal in the dead of night and developed an appreciation of all the shades of darkness that establish the still, silent, brooding atmosphere of his work displayed in a long overdue first British monograph exhibition at the Royal Academy.