What do Emin and Munch have in common other than a burning desire to embrace, and be defined by, the miseries of life?
For Cézanne, stone represented structure incarnate.
Spilliaert saw his hometown of Ostend, Belgium, as a kind of liminal space between the outside and his interior world.
Paper, in short, was at one with Picasso’s nature.
As a displaced refugee, Freud knew he would always be something of a stranger to himself, but how much would he ever wish to know of himself?
This exhibition, Antony Gormley returns repeatedly to the motif of the artist’s own body to explore the significance of differences in scale and the negative space around an artwork.
Is there something self-aggrandizing about Gormley’s career-long obsession with making casts of his own body?
While Michelangelo’s sketches are, like human existence, full of contradictions, Viola’s work relies primarily on empty spectacles.
The street artist originally submitted the work under the pseudonym “Bryan S Gaakman.”
For the first time, an exhibition explores these artists’ friendship and the visual parallels within their distinct work.
Countless exhibitions in the capital are stuffed full of art like a trussed turkey.
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 Modern Garden: Monet to Matisse.