Before there was Hello!, OK! and Closer, there was Oggi. Oggi was the magazine my Italian mother used to flick through on the long dark English winter evenings. Its celebrity photo spreads were for her the armchair equivalent of the Italian national pastime, the ‘passeggiata’. The Years of La Dolce Vita, revisited in a new
Jankel Adler (1895–1949), a Polish Jew who arrived in Glasgow in 1941, was invalided out of the Polish army, and moved to London two years later. A distinguished artist in his own right, he turns out to have been a hidden presence on the English art scene, a secret influence on indigenous artists. He is
Like other species, artists club together in movements not just for purposes of identification but for longevity. Individuals who don’t belong to schools take longer establishing reputations during their lifetimes, and tend to lose them sooner after their deaths. Henri Le Sidaner (1862–1939) was one such individual: a contemporary of the Post-Impressionists who painted in
This exhibition examines a loosely knit community of artists and their interaction over a decade at the beginning of the last century. It is centred around the marriage of Ben and Winifred Nicholson (which began to split up in 1931), involves their crucial joint-friendship with Christopher Wood and a fruitful exhibiting relationship with William Staite
The 300th anniversary of George I coming to the British throne on 1 August 1714 is big news in his home town of Hanover in Lower Saxony. Five shows are being put on in Hanover and the Hanoverian country schloss in nearby Celle, an utterly charming town that largely escaped the attentions of Allied bombers
Artists who live long enough to enjoy a late period of working will often produce art that is radically different from the achievements of the rest of their careers. Late Titian and late Rembrandt are two such remarkable final flowerings, but Henri Matisse (1869–1954) did something even more extraordinary: he not only changed direction, he
How important is William Kent (1685–1748)? He’s not exactly a household name and yet this English painter and architect, apprenticed to a Hull coach-painter before he was sent to Italy (as a kind of cultural finishing school) by a group of patrons who recognised his abilities, became the chief architectural impresario and interior decorator to
One of the paintings in Arturo Di Stefano’s impressive new show at Purdy Hicks Gallery is called ‘Santa Croce’ and it depicts the arcaded cloister of the church in Florence where Giotto painted a series of frescoes. Di Stefano has not chosen to paint the obvious view — its famous black-and-white façade — but focuses
It seems suitable that just round the corner from the Zurbarán exhibition at the Palais des Beaux Arts is the Musée Magritte. Surrealism was in the air of 20th-century Belgium, just as much as it was in the atmosphere of Spain. And of course in many cases its leading figures — Buñuel, Dalí, René Magritte
Last week, three exhibitions celebrating the art of Germany; this week, a show commemorating the first world war fought against that great nation. In this centenary year of the beginning of WW1, there will be numerous events marking the start of hostilities. (Will there be as many celebrating the anniversary of their cessation, I wonder?)
Like most ambitious artists, Julian Cooper has been pulled this way and that by seemingly conflicting influences. The son and grandson of Lake District landscape painters — his mother was a sculptor — he fell among abstractionists at his London art college, Goldsmith’s, in the late 1960s. But when I first saw his work in
It’s German Season in London, and revealingly the best of three new shows is the one dealing with the most modern period: the post-second world war era of East and West Germany and the potent art that came out of that split nation. In Room 90 is another immaculately presented British Museum show of prints
In 1914 Fernand Léger gave a lecture about modern art. By then recognised as a leading Cubist artist, he had the year before signed up with the dealer Daniel-Henry Kahnweiler, who already represented Picasso and Braque. ‘If pictorial expression has changed, it is because modern life has necessitated it,’ Léger argued. ‘The existence of modern
When I visited the Richard Deacon exhibition at Tate Millbank, there were quite a lot of single men of a certain age studying the exhibits with rapt attention — some even making notes. (I realise I’ve just described myself…) This is perhaps because the show is all about the glories of construction, and reminiscent of
Exhibitions are made for two main reasons: education and entertainment. Although I recognise the importance of education I am, by nature, a devotee of pleasure and want people to enjoy what they see in museums — not just feel that they must learn from it. Great exhibitions marry the two impulses effortlessly, and on balance
In a crowded storeroom at Ikon, Birmingham’s contemporary art gallery, its director Jonathan Watkins is unwrapping the pictures for his latest show. His excitement is infectious. He’s like a big kid on Christmas day. This exhibition marks the start of Ikon’s 50th season, for which he’s devised a special programme — a history of Ikon,
Curtain walls, dreaming spires, crockets, finials, cantilevers, bush-hammered concrete, vermiculated rustication, heroic steel and delicate Cosmati work are all diverse parts of the architect’s vocabulary. But while Gothic, Classical, Baroque and Modern are well-thumbed volumes in his library of style, the architect’s real language is profound and prehistoric. Or, at least, it consists of prehistoric-style
Tourists are attracted to queues, art lovers to quietude. So while the mass of Monet fans visiting Paris line up outside the Musée d’Orsay and the Orangerie, connoisseurs head to the Musée Marmottan, an institution so surprisingly little known that it had to rename itself the Musée Marmottan Monet to flag up the fact that
I suspect I am not alone in finding it surprising to encounter at the close of this exhibition an unexpected Hannah Höch — a gently spoken elderly lady filmed wandering among the overgrown flowers in her garden, talking of beauty. A far cry from the radical firebrand and Dada collagiste of interwar Berlin whose works
In this round-up of exhibitions in London’s commercial galleries, I feature three shows of little-known but mature contemporary British artists. There is a great deal of interesting and worthwhile art being made out there, but not enough of it comes to public attention. Most museums won’t show it, and there are only a handful of
