Exhibitions

An attendant at an art gallery in France once apprehended a little old vandal, or so the story goes. He had smuggled in a palette, paints and brushes under his coat and was trying to alter one of the exhibits — a picture by Pierre Bonnard. On further questioning, it turned out that the elderly vandal was none other than Bonnard himself. Though the work in question had been ‘finished’ years before, he just couldn’t leave it alone. Bonnard (1867–1947) was a master of indecision, as a glance at just about any picture in Tate Modern’s new exhibition The Colour of Memory reveals. There are no straight lines or clear

Artists’ prints have been around for almost as long as the printed book. Indeed, they have similar origins in Gutenberg’s invention of the printing press and the boom in book and paper production that followed. Consequently, although the art dealer Bernard Jacobson has been around for quite a while — his gallery celebrated its 50th anniversary this year — and began as a print publisher, he arrived on the scene rather too late to have acted for Albrecht Dürer in person. Nonetheless, and for good reasons, it is with Dürer that he begins his current exhibition, Prints I wish I had published. Dürer was the first great artist to achieve

When he knew that he was dying, Thomas Gainsborough selected an unfinished painting from some years before and set it on the easel in his studio. It was a portrait of his nephew, pupil and assistant Gainsborough Dupont, begun more than a decade earlier and set aside. This little work, which he seems to have intended as a sort of artistic last testament, also hangs at the end of the exhibition Gainsborough’s Family Album. What did he mean to tell us by making a small, intimate picture of a relative the conclusion to a career of more than 40 years? This marvellous and brilliantly conceived exhibition at the National Portrait

For the hundredth, possibly the thousandth, time, Lucy van Pelt offers to hold the football for Charlie Brown so he can kick it. She cajoles him with the innocence of her eyes. He falls for it; he falls for it every time. Lucy, as she always does, whips the ball away. Charlie loops into the air and crashes to the ground. ‘What you have learned here today, Charlie Brown,’ she explains, ‘will be of immeasurable value to you for many years to come.’ Lucy is a cynic, a sadist, a huckster, a realist. Nevertheless, she would be right but for the fact that nothing is ever of ‘immeasurable value’ to

In landscape terms, the Fens don’t have much going for them. What you can say for them, though, is that they’re flat — a selling point for lovers of flat racing. This aspect was not lost on James I when, while out hunting in 1605, he came across the village of Newmarket, and 60 years later his grandson Charles II, who inherited the Stuart love of the sport of kings, would build a palace and stables in the Suffolk village. Today the remains of Palace House and the King’s Yard are home to the National Heritage Centre for Horseracing & Sporting Art, which houses a world-class collection of sporting art

The Assyrians placed sculptures of winged human-headed bulls (lamassus) at the entrances to their capital at Nineveh, in modern Mosul, to ward off evil. The mighty lamassu to the right of the Nergal Gate had been on guard for some 2,700 years when Isis vandals took a drill to it in 2015 and blew away its face. Today a copy, crafted out of date syrup cans, stands on the Fourth Plinth in Trafalgar Square. It wears the oblong beard and proud look of the Assyrian kings. The original sculpture dated to the time of Sennacherib, who ruled Assyria from 705 to 681 BC, and transformed Nineveh into a magnificent metropolis.

It is easy to assume that the contours of art history are unchanging, its major landmarks fixed for ever. Actually, like all histories it is a matter of shifting perspectives. As we move through time, the view backwards constantly alters. The rising and falling critical estimations of the painter Richard Smith are a case in point. Had you asked an art-world insider in 1963 who the brightest rising star of British art was there is a strong chance — though other names such as David Hockney might have been mentioned — that the answer would have been Smith (1931–2016). Appropriately, 1963 is the end date of an excellent little show

Avast there, scurvy dogs! For a nation founded on piracy (the privateer Sir Francis Drake swelled the exchequer by raiding the Spanish, who were in no doubt that he was a pirate), it is appropriate that Britain should give the international archetype of the pirate his language. The language of the Victoria & Albert’s exhibition A Pirate’s Life for Me at the Museum of Childhood in Bethnal Green is a banquet of humour and doggerel. Whether you arrive a slipperslopper sea-cook, reeking of Havanas, or pushing treasures in a pram, you will stare at walls, speak in tongues and smile. These master (and mistress) mariners of yore have their grappling

‘I want big things to do and vast spaces,’ Edward Burne-Jones wrote to his wife Georgiana in the 1870s. ‘And for common people to see them and say, “Oh! — only Oh!”’ That, however, was only the first part of my own reaction to the exhibition at Tate Britain of Burne-Jones’s works. Perhaps I’ve got a blind spot when it comes to B-J, but time and again I found myself thinking, ‘Oh no!’ Nonetheless, this comprehensive display and the accompanying catalogue give plenty of clues as to where he went wrong. Sir Edward Coley Burne-Jones (1833–98) followed an extremely unusual career path. He was the son of a struggling framer

In Britain today, Islam in its original essence is not to be found in mosques or Muslim schools, but on the first floor of the British Museum. There, the Albukhary Islamic gallery, newly opened to the public, dazzles visitors and defies every certainty promoted by today’s hardline Muslim activists. This spectacular exhibition of objects from across continents and centuries shows us a history of continuity of civilisations, coexistence of communities. It offers a compelling corrective to current popular notions of Islam as an idea and a civilisation. Too often, we assume that Islam’s arrival on the world stage involved some violent break with the past that brought forth a new

Just in front of me, visiting Spellbound at the Ashmolean last week, was a very rational boy of about seven and his proud mother. ‘I don’t believe in magic, witches or Father Christmas,’ he announced to the girl presiding over Room One. ‘Perhaps you’re spiritual but not religious,’ said the girl. The rational boy gave her the look she deserved. In that first room pride of place is given to a squat little silvered bottle with a hand-written label: ‘Obtained in 1915 from an old lady living in Hove, Sussex. She remarked: “and they do say there be a witch in it, and if you let un out there’ll be

‘About suffering’, W.H. Auden memorably argued in his poem ‘Musée des Beaux Arts’, the old masters ‘were never wrong’. Great and terrible events — martyrdoms and nativities — took place amid everyday life, while other people were eating, opening a window or ‘just walking dully along’. As an example, Auden took ‘The Fall of Icarus’ by Pieter Bruegel the Elder. As it happens, Auden himself was wrong there, because the work he cited is no long thought to be by the painter after all. This picture is not, therefore, included in the exhibition Bruegel at the Kunsthistorisches Museum, Vienna. However, the fact that Icarus has now been consigned to the

At six in the morning of 20 July 1888, Robert Louis Stevenson first set eyes on a Pacific Island. As the sun rose, the land ‘heaved up in peaks and rising vales’. The colours of the scene ‘ran through fifty modulations in a scale of pearl and rose and olive’, rising into ‘opalescent clouds’. The whole effect was a ‘suffusion of vague hues’ shimmering so that mountain slopes were hard to distinguish from the cloud canopy above. Oceania, the new exhibition at the Royal Academy devoted to the region’s arts and cultures, is almost as beautiful as that dawn landscape, and just about as difficult to make out with any

Sometimes Andrea Mantegna was just showing off. For the Palazzo Ducale in Mantua, he painted a false ceiling above the Camera degli Sposi. Around a great trompe l’oeil oculus, apparently open to the sky, assorted gawpers and cherubs lean nosily over the parapet: ‘What’s going on down there, then?’ Only the Duke and Duchess of Gonzaga entertaining their friends from Ferrara. A terracotta pot is half off the edge, supported only by a thin rod. One nudge from a misbehaving putto and — whoops! — just missed the Duchess. Some of the putti stick their heads through the trellis. Another stands on a ledge, flashing us his bare, plump, crinkly

A reflection on still water was perhaps the first picture that Homo sapiens ever encountered. The importance of mirrors in the history of art has been underestimated. Alberti, Vasari and Leonardo recommended them as a tool for painters. Van Eyck delighted in them. Caravaggio had one in his studio. And they haven’t stopped fascinating artists. Shape Shifters, the new exhibition at the Hayward Gallery, might as well have been entitled ‘Modern Art through the Looking Glass’. Consequently, you see yourself all over the show, generally in surprising forms and positions. Early on, for example, you come across Anish Kapoor’s ‘Non-Object (Door)’ (2008), a rectangular block of highly polished stainless steel,