Ariane Bankes

Alesso Baldovinetti’s ‘Madonna and Child’ (c. 1464) is rich in symbolism. The infant Christ holds his swaddling band up to the Virgin’s womb, as if it were a token of the umbilical cord that united them. The winding shape of the bandage is echoed in the distant meandering river. The Madonna’s gossamer veil falls over her head as a pyx-cloth might cover a sacramental vessel.The child touches another translucent veil, draped over the cushion beside him. Towering above him, his Mother joins her hands in devotion, as if to acknowledge her Son’s meaningful gestures

Unfolding mysteries: the drama of drapery in Italian art

10 November 2018 9:00 am

The striking yet subtle jacket image from Donatello’s ‘Madonna of the Clouds’ announces this book’s quality from the outset. Its…

Catherine Lampert, 1986

Frank Auerbach: frightened of heights, dogs, driving, swimming — but finding courage through painting

6 June 2015 9:00 am

With a career of more than 60 years so far, Frank Auerbach is undoubtedly one of the big beasts of…

Characters from ‘Inside Stories’ by Quentin Blake

'I would find myself forging my own work': Quentin Blake on how he came to found the House of Illustration

5 July 2014 9:00 am

The illustrator Quentin Blake is uncannily like one of his own creations: tousled, bright-eyed, quizzical, and apologetic about his summer…

Hannah Höch – from Dada firebrand to poet of collage

1 March 2014 9:00 am

I suspect I am not alone in finding it surprising to encounter at the close of this exhibition an unexpected…

Acting as turret gateway: ‘Minster’, 1987, by Tony Cragg

The Lisson show is so hermetic, sometimes we flounder for meaning

23 November 2013 9:00 am

The title of the Lisson Gallery’s new show, Nostalgic for the Future, could sum up the gallery’s whole raison d’être.…

‘Bunny Gets Snookered #1’, 1997, by Sarah Lucas

The big tease

26 October 2013 9:00 am

Perhaps the greatest irony of many in this first solo London show of Sarah Lucas is that it is sponsored…