Laura Gascoigne

Humanity, clarity and warmth: Alice Neel, at the Barbican Art Gallery, reviewed

25 February 2023 9:00 am

If you want to be taken seriously as a contemporary painter, paint big. ‘Blotter’, the picture that won the 34-year-old…

How Vermeer learnt to embrace the everyday – and transfigured it

18 February 2023 9:00 am

Laura Gascoigne on Vermeer’s women

The county that inspired a whole way of painting: Sussex Landscape, at Pallant House, reviewed

4 February 2023 9:00 am

In a national vote on which county’s landscape best embodies Englishness, every county would presumably vote for itself. But when…

A crash course in all things Hispanic: RA’s Spain and the Hispanic World reviewed

28 January 2023 9:00 am

‘Spain must be much more interesting than Liverpool,’ decided the 12-year-old Archer M. Huntington after buying a book on Spanish…

The grisliest images are the earliest: Bearing Witness? Violence and Trauma on Paper, at the Fitzwilliam Museum, reviewed

18 January 2023 10:00 pm

‘Graphic’ scenes of violence are now associated with film, but the word betrays an older ancestry. The first mass media…

Other artists’ still lifes may be showier, but none are as companionable as Giorgio Morandi’s

14 January 2023 9:00 am

There are various staples of still life painting, some symbolic, some not. Skulls and musical instruments suggest the transience of…

Did this Lithuanian invent abstraction? M.K. Ciurlionis, at Dulwich Picture Gallery, reviewed

7 January 2023 9:00 am

Trivia question: name a famous Lithuanian. Google came up with four I’d never heard of and one I had: Hannibal…

An Uffizi Adoration that upstages even the Botticellis

17 December 2022 9:00 am

Laura Gascoigne on the shadowy Flemish artist Hugo van der Goes, whose painting in the Uffizi upstages the masterpieces of Botticelli

Brueghel’s peasant paintings were the D.C. Thomson comics of the 17th century

10 December 2022 9:00 am

‘Psst! Someone’s coming!’ the skinny man with the ragged breeches and the bandaged jaw warns his fat companion out of…

Does gender matter? Making Modernism, at the Royal Academy, reviewed

26 November 2022 9:00 am

The catalogue to Making Modernism opens with an acknowledgment from the Royal Academy’s first female president, Rebecca Salter, that in…

The careers of artists like Carolee Schneemann and Stephen Cripps are unthinkable today

12 November 2022 9:00 am

During the 1964 debut of Carolee Schneemann’s ‘Meat Joy’ in Paris, a man in the audience tried to throttle the…

Thrilling: Hieroglyphs – unlocking ancient Egypt, at the British Museum, reviewed

5 November 2022 9:00 am

‘Poor old Mornington Crescent, I feel sorry for it with this highly made-up neighbour blocking the view it had enjoyed,’…

The genius of Cezanne

29 October 2022 9:00 am

Pity the poor curators of major exhibitions struggling to find fresh takes on famous masters. The curators of Tate Modern’s…

Do we need another Lucian Freud exhibition?

22 October 2022 9:00 am

Do we need another Lucian Freud exhibition? After years of exposure to his paintings of naked bodies posed like casualties…

Brilliant and distinctive but also relentless: William Kentridge, at the RA, reviewed

8 October 2022 9:00 am

William Kentridge’s work has a way of sticking in the mind. I can remember all my brief encounters with it,…

Biomorphic forms that tempt the viewer to cop a feel: Maria Bartuszova, at Tate Modern, reviewed

1 October 2022 9:00 am

Art is a fundamentally childish activity: painters dream up images and sculptors play with stuff. It was while playing with…

Fresh and dreamy: Edward Lear, at Ikon Gallery, reviewed

24 September 2022 9:00 am

‘It seems to me that I have to choose between 2 extremes of affection for nature… English, or Southern… The…

There's much more to Winslow Homer than his dramatic seascapes

27 August 2022 9:00 am

Winslow Homer may be too all-American for British tastes but a forthcoming retrospective could change all that, says Laura Gascoigne

A victory of the imaginatively crafted over the conceptual: In the Black Fantastic reviewed

13 August 2022 9:00 am

‘These artists are offering other ways of seeing,’ says Ekow Eshun, curator of In the Black Fantastic, and from the…

As cool and refreshing as a selection of sorbets: RA's Milton Avery show reviewed

30 July 2022 9:00 am

‘I like the way he puts on paint,’ Milton Avery said about Matisse in 1953, but that was as much…

A showstopper is at the heart of this winning show: Dulwich Gallery's Reframed – The Woman in the Window reviewed

23 July 2022 9:00 am

Themed exhibitions pegged to particular pictures in museum collections tend to be more interesting to the museum’s curators than to…

At her best when lightly ruffling the surfaces of things: Cornelia Parker, at Tate Britain, reviewed

9 July 2022 9:00 am

Cornelia Parker wasn’t born with a silver spoon in her mouth, but when she was growing up her German godparents…

The women’s lips are pursed; the men’s are kissable: Glyn Philpot at Pallant House reviewed

25 June 2022 9:00 am

Of all the photos of artists in the studio, the one of Glyn Philpot being served a martini by his…

Nobody paints the sea like Emile Nolde

11 June 2022 9:00 am

In April, ten years after opening its gallery on the beach in Hastings, the Jerwood Foundation gifted the building to…

A brief introduction to Scottish art

28 May 2022 9:00 am

When Nikolaus Pevsner dedicated his 1955 Reith Lectures to ‘The Englishness of English Art’, he left out the Scots. The…