With the Gilbert & George Centre, those two-forever-in-one (or one-forever-in-two) living sculptors have made a bid to claim immortality.
Can we ever get enough of the Pre-Raphaelites, their lives, loves, and art? It seems not.
Gwen John: Art and Life in London and Paris shows the nature of her dogged opposition: how she fought back, and won, in her own way.
The Guggenheim Bilbao’s retrospective of the rebellious 20th-century Viennese artist features over 120 works, but leaves us wanting more.
Near the end of his life, Dr. Gachet urged van Gogh to resume painting because through his art he would find ways of unburdening himself.
What of Saint Francis, that selfless feeder of the birds and the animals? Does he not deserve to be remembered benignly?
Welcome to Alchemy, in which artists with famous names mix strange substances together with outcomes of variable interest.
Two London shows highlight the influences of music and architecture on sculptor Anthony Caro’s work. The latter is more successful than the former.
Here they are at the National Gallery, almost all at once, all those modern artists we came here to see, those we have come here to report having seen later.
The tales in the Thamesmead Codex are melded, mashed up, meshed together fragments of the many human stories told to artist Bob and Roberta Smith.
We go to Raphael for idealized beauty. But what if a painting were the opposite of beautiful, and utterly arresting for that very reason?
Goya neatly clothes himself in his own world of fantasy: He will have her in the end. In life, where the climate is much chillier, it was, alas, to be otherwise.