Laura Gascoigne

For tourists to Rome, the must-see event of 1833 was the exhumation of Raphael from his tomb in the Pantheon. For years the city’s Accademia di San Luca had been claiming possession of the artist’s skull and running a profitable line in souvenirs. That September, the question would be settled. Was the ‘most eminent painter’,

Picture the artist’s studio: if what comes to mind is the romantic image of a male painter at his easel in a grand interior with an admiring audience and a nude model at his elbow, you’re in the wrong century for the Whitechapel Gallery. Its new exhibition, A Century of the Artist’s Studio, runs from

Louise Bourgeois was 62 and recently widowed when she first used soft materials in her installation ‘The Destruction of the Father’ (1974). The father in question was not her American late husband Robert Goldwater, the father of her children, but her own French father Louis Bourgeois, long deceased. Set in a space evoking the interior

Paintings of houses go back a long way in British art: the earliest landscape in Tate Britain is a late 17th-century view of an estate in Belsize Park by the inventor of the country-house portrait, Jan Siberechts. The genre quickly became déclassé. By the 18th century Thomas Gainsborough was painting peasant cottages; by the 20th,

In 1950 the 21-year-old painter Helen Frankenthaler, fresh out of college, went to an exhibition at New York’s Betty Parson’s Gallery that changed her whole perspective on art. ‘It was as if I suddenly went to a foreign country,’ she later recalled. ‘I wanted to live in this land; I had to live there, and

‘This is not a book,’ is the first line of Paul Gauguin’s final memoir, Avant et Après, written on Hiva Oa in the Marquesas Islands in 1903 a couple of months before his death aged 54 from syphilitic heart disease. In his dedication to the critic André Fontainas he describes the manuscript as ‘born of

Before Tom Kitten, before Felix the Cat, before Thomas ‘Tom’ Cat, Sylvester James Pussycat Sr, Top Cat and Fat Freddy’s Cat, there were the cats of Louis Wain. The Wain cat came in a variety of breeds and colours: black and white, tabby, marmalade, white and blue (sky blue rather than Persian). But it always

In the winter of 1861, visitors to the Louvre might have seen a young artist painstakingly copying one of the museum’s 39 paintings by Poussin. The subject was ‘The Abduction of the Sabine Women’ and the artist was the 27-year-old Edgar Degas, then at work on his own classical battle of the sexes, ‘Young Spartans’.

Since art auctions were invented, they have served to hype artists’ prices. It can happen during an artist’s lifetime — Jeff Koons’s ‘Balloon Dog’ — or half a millennium after their death — Leonardo’s ‘Salvator Mundi’. And it can sometimes restore a lost reputation, as happened with Frans Hals. When the picture now famous as

When Oscar Wilde famously claimed: ‘All art is quite useless’, he may not have had artistic subjects in mind. But it’s certainly true that since the Romantic era, artists have had a special affection for the superannuated. An image of an abandoned building with some sort of past, not necessarily glorious, appeals to our emotions,

Artists’ estates can be a curse on a family. The painter dies, leaving the house stuffed with unsold canvases. What to do? If he or she has a dealer, they will drip-feed work on to the market with varying degrees of success. If the artist is famous there’s no problem; any unsold work will be

Amid the greatly exaggerated reports of the death of painting issued and reissued over the course of the past century, nobody thought to check on the health of drawing, perhaps because what artists did in the privacy of their own studios was considered to be no one else’s business. Drawing wasn’t a saleable commodity. Yes,

A party of disorderly couples has gatecrashed the Picture Gallery at Bath’s Holburne Museum, climbing on to the antique furniture, hanging off the track lighting and sprawling on the floor, putting the noses of the resident Gainsboroughs, Constables and Zoffanys out of joint. Lawks-a-mercy! What has come over the Holburne? A passel of Mrs &

I first became aware of the work of Marcelle Hanselaar in a mixed exhibition at the Millinery Works in Islington. All I remember now about the show, and my review, is that I said she could teach Paula Rego to suck eggs. From the mischievous energy packed into her small figurative paintings I assumed she

Lost boys, lost women, lost civilisations, lost causes — the romantic ring of the word ‘lost’ is media gold. So when the British Museum announced last autumn that it had acquired 103 ‘lost’ drawings by Hokusai, one was tempted to take it with a large pinch of salt. How do 103 drawings by Japan’s most

‘Design. Humanity’s best friend,’ proclaims a row of posters outside the Design Museum. ‘It’s the alarm that woke you up… The card you tapped on the bus… And the words you’re reading right now. So embedded in our lives we almost forget it’s there.’ It is one of the ironies of good design that the

In 1772 the 15-year-old Mozart wrote a one-act opera set, like The Magic Flute, in a dream world. Il sogno di Scipione was based on an account in Cicero’s Republic of a dream experienced by the Roman general Scipio Aemilianus while serving in North Africa in 148 BC. In the dream the younger Scipio is

In the 1850s Britain was hit by an epidemic likened by The Illustrated London News to a ‘grippe or the cholera morbus’. It came from America rather than China and afflicted the mind rather than the body. The craze for table-turning was sparked in Hydesville, New York, in 1848 after two young sisters, Maggie and

It sometimes rains in Cookham. It rained all day when I visited the Stanley Spencer Gallery to see the exhibition Love, Art, Loss: The Wives of Stanley Spencer. But it rarely rained for Spencer, or at least never in his pictures of his hallowed birthplace, where even when skies are grey the red brick of

An oxymoron is a clever gambit in an exhibition title. The Whitechapel Gallery’s Radical Figures: Painting in the New Millennium is designed to trigger the reaction: ‘Radical? Figures?’ before revealing quite how radical the figure can be. But like all good marketing, it is deceptive. Figurative art may have been consigned to history by Clement