Laura Gascoigne is the chief art critic of The Spectator
It’s five o’clock on a November evening, and I’m leaning over a balcony watching a pipe band parading in the concourse below. But it’s not the chill of a Scottish autumn I’m feeling, rather the mildness of autumn in Japan — and the pipers are not Scots, but Japanese members of the Tokyo Piping Society
Laura Gascoigne on the Pompidou Centre’s massive survey of Dada Impressionism, Fauvism, Cubism: it’s funny how many names of modern art movements originated as insults on the lips of critics. Not Dada, though. The founders of art’s first anartism were ahead of the game, pre-emptively christening their movement with a silly name designed to put
Also at Ben Uri Gallery, 108a Boundary Road, London NW8, until 19 November Four years ago, the painter Christopher P. Wood was browsing in a second-hand bookshop in Harrogate when he came across something very unusual. Opening one of a series of Victorian Magazines of Art, he discovered that the inside was full of drawings,
The human eye is an amazing mechanism, but its vision is limited. We can’t see behind us, we can’t see much to the side, and in front — unless we’re desert tribesmen or Eskimos — our view is almost always obstructed by something. So some of what we see is actually ‘seen’, the rest is
If you took a national poll on our greatest watercolourist, Turner would win hands down, Girtin would come second and Cotman might get honourable mention behind TV artists Alwyn Crawshaw and Charles Evans. Cotman’s name means nothing to the general public, and carried so little clout in his own day that his death in 1842
There are 13 Canalettos and 19 Guardis in our National Gallery; there are no paintings by either artist in the Rijksmuseum. The Dutch, having been painting landscape views for years, had enough of their own by the 18th century not to bother with Venice: canals were not exactly a novelty to them. So while the
In the official account of British 20th-century art, the big names belong to the international players whose universal vision won them a place in the annals of world art. This is understandable. What is harder to explain is the official version’s almost total neglect of those native artists who kept alive, through this century of
If you were looking for someone to blame for the explosion of multi-disciplinarity in contemporary art, L
As a teenager in Cambridge, I used to have tea with a blind philosopher. One afternoon, spotting the sugar lurking behind the milk, I told it — as one does — to come out from there. My friend was aghast. ‘Are you talking to the crockery?’ he asked. Ontologically speaking, of course, I was on
At its annual exhibition at the Mall Galleries in May, the Royal Society of British Artists held a debate on the motion ‘This house believes that a found object cannot be a work of art’. The motion’s obvious subtext was that since Duchamp’s snow shovel the ‘found object’ has been digging away at the foundations
As art prizes go, the Jerwood Painting Prize is scrupulously even-handed: over the past nine years since its establishment, its shortlists have been models of inclusiveness. In particular, they have managed to strike a balance between figurative and abstract art, and this year’s shortlist of six is no exception. It’s split between three abstract painters
Unlike the old Co-Op building on the Newcastle bank of the Tyne, which has rebranded itself the Hotel Malmaison, Gateshead’s new Centre for Contemporary Art has kept the name of Baltic Flour Mills. The original 1950s tiles forming the giant black letters have been scrupulously cleaned of decades of kittiwake droppings and the culprits –
Why watercolours deserve their revival in popularity When the National Gallery ran its eye-tracking experiment last year into how we look at pictures, the works selected for the test were all oil paintings. Had they been watercolours, the results might have been quite different. Going round the Girtin show at Tate Britain recently, I noticed