Martin Gayford

In the centre of the new exhibition Sculpture Victorious at Tate Britain there is a huge white elephant. The beast is not, I should add, entirely colourless. On the contrary, it has a howdah richly decorated in gold and green, and numerous trappings, and tassels covering its pale grey hide. Its whiteness is entirely proverbial.

The artist Malcolm Morley once fantasised about a magazine that would be devoted to the practice of painting just as some publications are to — say — cricket. It would be filled with articles extolling feats of the brush, rather than the bat. ‘Well painted, sir!’ the contributors would exclaim at an especially brilliant display

‘Whoever wishes to devote himself to painting,’ Henri Matisse once advised, ‘should begin by cutting out his own tongue.’ Marlene Dumas — whose work is the subject of a big new retrospective at Tate Modern — has not gone quite that far (and neither, of course, did Matisse). On the other hand, she does not

A bronze sculpture by Michelangelo is one of the lost Holy Grails of art history. We know he made them, but the most important – an over life-size figure of Pope Julius II – was destroyed by the enraged citizens of Bologna (who had a grudge against the pontiff) a few years after it was

The main spring offering at the Royal Academy, Rubens and His Legacy: Van Dyck to Cézanne, teaches two useful lessons. One — not much of a surprise — is that Peter Paul Rubens (1577–1640) was a protean giant of a painter, expending sufficient artistic invention and energy to power other artists for centuries to come.

This week a monumental exhibition, Rubens and His Legacy, is opening at the Royal Academy. It makes the case — surely correct — that the Flemish master was among the most influential figures in European art. There are few painters of the 18th or 19th century — from Joshua Reynolds to Cézanne, Watteau to Constable

The New Year is a time for reflections as well as resolutions. So here is one of mine. In the art world, media and fashions come and go, but often what truly lasts — even in the 21st century — is painting. Over the past 12 months, there has been a series of triumphs for

It is cold, but not in a cheery, robin-redbreast kind of way. The sky is slate blue; the sun, a red ball, is slipping below the horizon, figures carrying heavy burdens trudge across the frozen water. Yet this far- from-festive painting, ‘The Census at Bethlehem’ by Pieter Bruegel the Elder, is one of the earliest

‘Love of the human form’, writes the painter John Lessore, ‘must be the origin of that peculiar concept, the Life Room.’ Then he goes on to exclaim on the loveliness of that name. It is indeed a venerable institution with a delightful description: a place devoted to looking at life — or, at any rate,

‘I just stay here and do my thing,’ David Hockney told me soon after I arrived at his house and studio in Los Angeles this August. ‘I’m not that interested in what happens outside. I live the same way as I have for years. I’m just a worker.’ Hockney has been labouring prodigiously for more

Giovanni Battista Moroni, wrote Bernard Berenson, was ‘the only mere portrait painter that Italy has ever produced’. Indeed, Berenson continued, warming to his theme, ‘even in later times, and in periods of miserable decline, that country, Mother of the arts, never had a son so uninventive, nay, so palsied, directly the model failed him’. It

One day, as a student — or so the story goes — Egon Schiele called on Gustav Klimt, a celebrated older artist, and showed him a portfolio of drawings with the abrupt query, ‘Do I have talent?’ Klimt looked at them, then answered, ‘Much too much!’ One gets an inkling of what Klimt was getting

A 19th-century London artists’ supplier named Charles Roberson offered imitation human beings for sale or rent, with papier-mâché heads, soft leather skin and flexible, jointed limbs. The top-of-the-range article — described in Roberson’s catalogue as ‘Parisian stuffed’ — was pricey. Nonetheless, painters often felt they just had to have one whatever the cost. Many such

At the opening of Rembrandt: The Late Works at the National Gallery (until 18 January), I met a painter friend of mine in the final room. This was, he said, one of the most magnificent exhibitions he had seen in his entire life, which — considering he is perhaps 70 and a frequent visitor of

Talking of Rembrandt’s ‘The Jewish Bride’ to a friend, Vincent van Gogh went — characteristically — over the top. ‘I should be happy to give ten years of my life,’ he exclaimed, ‘if I could go on sitting here in front of this picture for a fortnight, with only a crust of dry bread for

At the entrance to Anselm Kiefer’s forthcoming exhibition at the Royal Academy visitors will encounter a typically paradoxical Kiefer object: a giant pile of lead books, sprouting wings. When I asked Kiefer to explain this strange object, he immediately — and characteristically — began talking about alchemy. Lead, of course, was the material from which

At the end of his performance at the Barbican with the Jazz at Lincoln Center Orchestra, Wynton Marsalis made a little speech. The next piece, he announced, was a number that Art Blakey’s Jazz Messengers used to play. Marsalis then recalled how he himself had played with the Jazz Messengers as an 18-year-old trumpet prodigy.