Duilio Cambellotti, Myth, Dream and reality. Review by Carla Scarano.
The beautiful park and the edifices of Villa Torlonia in via Nomentana in Rome is an unmissable place in the tour of the capital.
painting
Fideles Oculi, Jennie Jewitt-Harris Exhibition. Review by WIlliam Marshall
This is a remarkable exhibition: Jennie Jewitt-Harris’s intricate collages, built in many cases on a foundation of pencil and charcoal drawings of driftwood, are a delight to the eye.
Honfleur: Musee Eugene Boudin and Maisons Satie. Barbara Lewis.
Born in the Normandy port of Honfleur in 1824, son of a mariner and whose dying wish was to return to the coast, Eugene Boudin had an instinctive understanding of the play of light on water and in the sky.
Fascinating visions: Hiroshige and Turner in Rome. Review by Carla Scarano.
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.
MASP, Sao Paulo. Review by Barbara Lewis.
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.
Interesting? I’ll Say!
John Lucas reviews a genuinely interesting collection of essays by Jim Burns – and adds some equally interesting observations of his own
Hireth: A Cornish Landscape, Royal Cornwall Museum. Barbara Lewis.
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.
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.
The Summer Exhibition at the Royal Academy, 2017, Burlington House, Piccadilly. Review by Jane McChrystal.
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.
Stanley Spencer Poems
Thomas Ovans browses an ambitious anthology of poems inspired by the artist Stanley Spencer and finds that every picture may tell several stories
Artemisia Gentileschi: Artist and Woman of Honour. Jane McChrystal.
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.
Mantegna and Bellini, National Gallery. Review by Barbara Lewis.
Andrea Mantegna was a self-made man from Padua. In 1453, he married into the greatest artistic family of nearby Venice and became the brother-in-law of Giovanni Bellini.