Venice and Alexandria were, as far as the Venetians were concerned, twin cities. According to legend, St Mark had visited Venice before going to Alexandria, where he preached, performed miracles and was martyred. When two Venetian merchants stole the saint’s remains from Alexandria in 828, they were merely fulfilling the prophecy of the Angel that
Historically, British artists have not been good at money management. George Morland (1762–1804) was chronically insolvent; Benjamin Haydon (1786–1846) served four jail terms for debt and eventually killed himself after being reduced to pawning his spectacles; even Sir Thomas Lawrence (1769–1830) died leaving debts of £30,000. But the painter who turned serial defaulting into an
The charge of the Scots Greys at Waterloo: you’ll know it from the Risk board game. Hundreds of soldiers on lustrous white horses, manes billowing as they gallop straight at the viewer. A magnificent sight, but the stuff of nonsense: the horses probably weren’t all greys and they definitely weren’t turned out as if for
High Arctic, the inaugural exhibition in the newly opened Sammy Ofer wing at the National Maritime Museum, Greenwich (until 13 January), brings a thoroughly 21st-century, technology-driven museum experience to this historic site. It’s an exhibition, Jim, but not as we know it. In 2010 Matt Clark, creative director of the art and design practice UVA,
In 1935, Paul Nash observed that Edward McKnight Kauffer (1890–1954) was responsible for the change in attitude towards commercial art in this country. An American, Kauffer arrived in England in 1914 during a period of European study. He liked it and decided to stay, enabled to do so by his remarkable ability to design posters.
The setting is appropriate: Rochelle School is on Arnold Circus in Shoreditch, at the end of Club Row, once famous for its pet market, where, until it was closed down in 1983, you could buy caged birds from around the world. Now the school is hosting an exhibition entitled Ghosts of Gone Birds (till 23
For far too long, John Martin (1789–1854) has been dismissed as ‘Mad’ Martin, the prophet of doom. In the eyes of many, this unacademic painter was a grotesque curiosity, producing colossal pictures of apocalyptic destruction, crude dramas of catastrophe and tumult, much to the delight of the populace. The mere fact that he was so
The caption on the photograph (above) makes a difference: ‘A young boy grieves at the funeral of his father who died of Aids at Ndola, Zambia, 2000.’ There were two million Aids orphans in Zambia alone. ‘I care about not letting this tragedy go unseen,’ Don McCullin said. Shaped by War: Photographs by Don McCullin,
Photographs of roadworks feature regularly in the Hampstead Village Voice but, even with the postmodern fashion for grungy subjects, no contemporary residents have made paintings of them. Yet that, astonishingly, was what Ford Madox Brown did in the 1850s, lugging his two-metre canvas on to The Mount, off Heath Street, to do it. Brown’s unlikely
Fra Angelico (1395–1455), Il Beato (‘the Blessed One’) to his contemporaries as well as to John Paul II, who beatified him in 1982, is probably best known today for his frescoes in Florence’s San Marco, the Dominican convent where he lived as a monk. Perhaps fearing that some art-lovers will question the wisdom of mounting
Claude Gellée (c.1600–1682), known as Claude Lorrain, started life as a pastry cook and despite turning his attentions from pies and patisserie to painting he never lost his love for confection. Although he is revered as the father of the landscape tradition and was hailed by Constable as ‘the most perfect landscape painter the world
Homes may continue to lose value, the euro becomes shakier by the day, the unemployed stay unemployed and even the Chinese economy shows signs of overheating, but the international art market seems to know only one direction: up. For the first half of 2011, Christie’s sold $3.2 billion in fine and decorative art (an improvement
At the less than enticing Guildhall Art Gallery, a purpose-built museum that manages immediately to depress the spirits by its utterly unsympathetic design, is a major exhibition of John Atkinson Grimshaw (1836–93), the celebrated Victorian painter of moonlight. The show is the brainchild of Jane Sellars, director of the Mercer Art Gallery, Harrogate, where it
As the 414 bus swings left from the Edgware Road at Marble Arch you avert your eyes, hoping you won’t have to look at the thing looming up in front of you for a single second longer than you have to. Even so, you know it’s there — a blot on the sky, a gulp
Edgar Degas (1834–1917) was born into a banking family, always knew he wanted to be a painter and was fortunate enough to be encouraged in his enthusiasm by his parents. After a classical training he began to paint portraits and history subjects, before seeing the relevance of real life and developing ways in which to
In recent months, two new museums have opened to much acclaim: The Hepworth in Wakefield and Turner Contemporary in Margate. Now Colchester is receiving the dubious benison of a new building. What is this assertive new generation of museums in England supposed to be about? Leisure, business or art? There’s precious little of the last
Rome contains many hidden treasures, but the most remarkable of the lot is concealed on the Caelian Hill, above the Colosseum, in the medieval monastery of Santi Quattro Coronati. It’s a cycle of frescoes dating from around 1250. It is extremely rare for painting from this period to survive anywhere, but it’s even rarer in
One of the greatest Renaissance paintings remaining in private hands, Hans Holbein the Younger’s ‘The Darmstadt Madonna’, was sold discreetly this summer. It was not offered at auction but sold by private treaty sale — auction-speak for a negotiated private sale rather than a public auction — in a deal brokered by the art consultant
In 1982 Sven Berlin placed a sealed wallet labelled ‘Testament’ on top of a rafter in his studio with instructions for it not to be opened before his 100th birthday on 14 September 2011. Inside was a key to the identities of the characters in his notorious roman à clef about post-war St Ives, The
The introductory room to Women War Artists at the Imperial War Museum confronts the visitor with a large canvas of a women’s canteen in 1918 by the little-known Flora Lion. It’s an honest painting, workmanlike but dull. Hanging to its left is Laura Knight’s famous ‘Ruby Loftus Screwing a Breech-ring’ (1943), and in between is
