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.
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.
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.
“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.
The cliché is that first novels are always autobiographical. Dutch writer Jeroen Blokhuis instead hides behind the biographical in his verbal portrait of one of the greatest painters his nation has produced.