Arts Reviews

There’s something different about Tai-Shan Schierenberg’s new show at Flowers Central: it has a title, Myths. This may not sound like much — and Schierenberg shrugs it off — but when an artist abandons the neutrality of New Paintings for a title with so much historical baggage you suspect something is afoot. And when you enter the gallery and find paintings of the Black Forest intermingled with his usual English subjects, you can guess what it is. Despite his name — his mother was Chinese and his father is German — Schierenberg has passed until now for an English painter. A product of St Martin’s and the Slade, since he

Alasdair Palmer talks to the French artist who has discovered the secret of the Master’s technique How did he do it? Among the many great unanswered questions about Leonardo da Vinci’s ‘Mona Lisa’, that has long been one of the most puzzling. Part of the perennial appeal of the ‘Mona Lisa’, and one reason why, today, there is a perpetual crowd in front of it in the gallery in the Louvre where it sits, protected by thick glass, is that it does not seem possible that the ‘Mona Lisa’ was executed by a human hand. The amazingly fine gradations from dark to light, the completely smooth flesh tones imperceptibly changing so as to create the impression of

The best-known exchange between artist and royalty must be George VI’s celebrated remark to John Piper, who had been painting the castle and surrounding parkland at Windsor: ‘You seem to have had very bad luck with your weather.’ It was the early 1940s, and Piper had invested his watercolours with a brooding quality he no doubt thought appropriate to the mood of the times, and which also echoed his own essentially Romantic vision. The project was a commission from Queen Elizabeth, and extended to 26 views, a rare feat of modern topography that also turned out to be good art. But even the Queen thought Piper’s lowering skies a little

That eminent Victorian George Frederick Watts — Strachey thought of including him in his seminal study but was sadly deflected — is at last undergoing something of a revival. In his lifetime one of the most famous of contemporary painters (though his works never sold for quite the vast sums realised by Millais or Burne-Jones), Watts has been neglected. His ambition was to be a history painter, and he spent much of his long life and considerable energies on allegorical pictures, which today find little favour. His portraits, which he often used as a means of subsidising his less popular High Art compositions, are recognised as supreme examples of the

If you haven’t been abroad so far this summer, go and see Pedro Almodóvar’s Volver — it will have almost as invigorating an effect as a weekend in Spain. To see it is to be immersed in a strange and likeable culture, populated by agreeably batty characters whose tale is completely absorbing. So absorbing, in fact, that when I emerged from the screening I was surprised to find myself fogged in by the dull mash of London greys, and not among a blaze of Spanish colour. When I opened my mouth to speak I was amazed that a torrent of Spanish didn’t issue forth. I was puzzled (and, yes, it

Forgery in painting has enjoyed a long history of scandal and from time to time spills more ink than paint, in part because we all enjoy reading about an art expert or moneyed person getting taken in by a fake. Our pleasure derives from that cocky-smug common-sense feeling that no painting is worth the prices currently being fetched in the marketplace — Picasso’s ‘Boy with a Pipe’ sold for $104 million (£56.3 million) in 2004, and more recently Klimt’s ‘Portrait of Adele Bloch-Bauer 1’ was snapped up for a reputed record $137 million — especially when the naked eye can’t tell the difference between the original and a well-executed copy.