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.
painting
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.
Thomas Ovans browses an ambitious anthology of poems inspired by the artist Stanley Spencer and finds that every picture may tell several stories
Jenny Vuglar visits the Winifred Nicholson exhibition Liberation of Colour currently at the Djanogly Art Gallery, Lakeside Arts, Nottingham (4 March – 4 June 2017)
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.
Pablo Picasso (1881-1973) and Alberto Giacometti (1901-1966) were both sons of artists, both mastered realism at an early age, both left their native countries and both turned up in Paris, where they met for the first time in 1931 and enjoyed a working friendship that flourished until the 1950s.
Displayed are elaborate composites, built up from paintings and photographs that eventually result in portraits at once convincingly human, alien and heartless.
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.
By Carla Scarano • art, exhibitions, painting, year 2018 • Tags: art, Carla Scarano, exhibitions, painting