Art
LONDON — Sicily: Culture and Conquest is one of the last exhibitions commissioned by outgoing British Museum director Neil MacGregor and encapsulates what made his tenure so valuable.
Art
LONDON — The first thought that struck me about the Serpentine Gallery’s exhibition of Swedish artist Hilma af Klint, Painting the Unseen, was: Thank goodness — finally a solo show starring a female artist!
Art
LONDON — Delacroix and the Rise of Modern Art suffers from too few of Delacroix’s works and far too much of the “modern art.”
Art
LONDON — In 2015 the Royal Academy of Arts faced a critical backlash against its last major painting blockbuster, Rubens and His Legacy, which featured very little Rubens and an awful lot of tenuous filler. Thank goodness, then, that the museum is back on track with its new survey, Painting the Mode
Art
LONDON — When was the last time you saw a survey of one artist that could dispel completely the need for filler?
Art
LONDON — The World Goes Pop is an exhilarating collection filled with fizzing energy, so its curatorial messiness can be forgiven.
Art
LONDON — Barbara Hepworth: Sculpture for a Modern World marks one of the last exhibitions backed by the outgoing Tate Britain director, Penelope Curtis.
Art
LONDON — Impressionism is easily one of, if not the most, accessible and universally enjoyed art movements.
Art
LONDON — The term “blockbuster” is defined by the equation: major name or subject + major loans = major ticket sales.
Art
LONDON — A Victorian Obsession is a touring exhibition of the largest collection of Victorian painting outside Great Britain: 52 works of consistently staggering technical quality and significance, owned by Mexican businessman Juan Antonio Pérez Simón.
Art
LONDON — Rembrandt: the Late Works is that truly rare event: a study focusing on an artist whose quality of output is so universally lauded that is fully supported by staggering loans never previously shown in this combination or indeed in the same country.