Andrew Lambirth

What a spectacle at the Royal Academy: the main galleries packed with the sculptures of Auguste Rodin (1840–1917), in a massive show which dazzles with its vehement and emotional handling of materials. Here is a giant of an artist, but the paying public is overloaded with visual stimulus. It is simply impossible to take in

It’s very pleasant to be able to greet a small show at the V&A after the relentless stream of blockbusters we’ve seen in Brompton Road in recent years. Leonardo da Vinci: Experience, Experiment and Design is confined to one gallery and consists of 60 drawings displayed in two banks of angled cabinets down the length

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

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),

Since 2003, the National Gallery has been organising a series of annual exhibitions in partnership with Bristol’s City Museum and Art Gallery and the Laing Art Gallery in Newcastle. (Readers will perhaps recall previous themed shows: Paradise, Making Faces and last year The Stuff of Life.) This initiative has proved so successful that the programme

The Grade I listed Queen Anne townhouse in North Pallant in the city of Chichester, for the past 20 years the home of Walter Hussey’s collection of modern British art, has been closed while undergoing a major extension project. I have been following the fortunes of Pallant House since the late-1970s, when I lived locally.

The German painter Albert Oehlen (born in Krefeld in 1954) is of the same generation as the infamous Martin Kippenberger (1953–97), recently celebrated so lavishly at Tate Modern. They were good friends and collaborated on various projects, including jokey mottoes on ‘I Love…’ stickers and poems. Both were of that group of German artists who

Satire is one of the great British traditions, closely associated with the notions of personal liberty, readiness to express opinion and our much-vaunted freedom of thought. The English appetite for satire has long set standards of democratic licence unequalled in the rest of the world: the lampoon is sacrosanct in our culture, a guarantee of

Wassily Kandinsky (1866–1944) is one of the great figures of Modernism, a pioneer of abstraction, whose works are known in this country mostly from reproduction. The Tate has now gathered some 60 key paintings from important international collections (a significant portion come from Kandinsky’s native Russia) and put together a superb exhibition which it’s difficult

Hard on the heels of the National Gallery’s show Rebels and Martyrs, about the changing perception of the artist, comes this exhibition of Modigliani’s paintings. The title makes a shameless and immediate reference to the myth of the decadent bohemian surrounded by lovers. This may serve to attract the punters, but it doesn’t help us

An examination of the artist’s image is an excellent idea for an exhibition, and it has been thoroughly and effectively realised in this new show of some 70 exhibits at the National. Brainchild of Alexander Sturgis, who has written much of the useful catalogue (£25 in paperback), it explores the ways in which personality and

The gallery walls of the Level Two temporary exhibition space at Tate Britain are currently aflame with colour. The gallery is playing host to the first exhibition ever to span the entire career of Sir Howard Hodgkin (born in 1932), though there have been plenty of other shows of his work over the years. (Notable

The Summer Exhibition is like a leviathan, a monster from the deep, that every now and again shows itself to general outcry and occasional consternation. Unfortunately, however, it’s not actually the stuff of myth and legend, but all too often of rather dismal reality. This, the 238th Summer Show, is co-ordinated by the architect Peter

John Constable (1776–1837) is the quintessential painter of rural England. If we carry in our hearts an image of unspoilt countryside it will, more often than not, bear the lineaments of what has become known as Constable Country, that stretch of land along the river Stour in Suffolk that includes Dedham and Flatford, and the

This small but telling retrospective at Tate St Ives is one of a number of Hoyland exhibitions timed to coincide or overlap this summer. There have already been a couple of commercial shows of recent and older work in London, and another has just opened at the Lemon Street Gallery in Truro (until 24 June).

Listing page content here Surrealism is in the air, what with the Hayward and Max Ernst shows (reviewed in these pages last week), and it’s been lurking around in a different guise since April in an enthralling show at the Whitechapel which focuses on Outsider Art. Outsider Art, or Art Brut as Dubuffet originally termed

‘Picasso, Miró, Masson and the vision of Georges Bataille’ is the subtitle of the latest extravaganza at the Hayward Gallery. Georges Bataille (1897–1962) is one of those buzz figures, beloved of the moment, without a quote from whom no contemporary art-speak catalogue introduction is complete. He has been influential as a philosopher as well as

Here in London are two historical exhibitions which treat more of human identity, national and individual, than they do of pure painting. Each one showcases art, but in the wider context of the artefacts of a particular period. For a nation which loves to visit country houses (courtesy of that great institution, the National Trust),