Constable

The eyes have it: ‘The Zebra’, 1763, by George Stubbs

What makes British art British?

27 April 2019 9:00 am

There’s no avoiding the Britishness of British art. It hits me every time I walk outside and see dappled trees…

‘Street in Auvers-sur-Oise’ by Vincent van Gogh

Why we love unfinished art

30 April 2016 9:00 am

The unfinished is, of course, something which tells us about the history of a work of art’s creation. A work…

‘The Wilderness, Hartwell House, Buckinghamshire’ by Balthasar Nebot

Why is the garden absent in English painting?

8 August 2015 9:00 am

One of the default settings of garden journalists is the adjective ‘painterly’ — applied to careful colour harmonies within a…

Whole worlds are conjured up in a few strokes: Watercolour at the Fitzwilliam Museum reviewed

1 August 2015 9:00 am

I learnt to splash about in watercolour at my grandmother’s knee. Or rather, sitting beside her crouched over a pad…

James Turrell interview: ‘I sell blue sky and coloured air’

13 June 2015 9:00 am

James Turrell gave me extremely precise instructions. After dinner, I was to walk out through the grounds at Houghton Hall…

‘The Life Room’, 1977–80, by John Wonnacott

The death of the life class

6 December 2014 9:00 am

‘Love of the human form’, writes the painter John Lessore, ‘must be the origin of that peculiar concept, the Life…

‘Water-meadows near Salisbury’, 1829/30, by John Constable

Curator-driven ambitions mar this Constable show at the V&A

4 October 2014 9:00 am

The V&A has an unparalleled collection of hundreds of works by John Constable (1776–1837), but hardly anyone seems to know…

‘Storm on Yarmouth Beach’, 1831, by Cotman

There are too few masterpieces in Masterpieces: Art and East Anglia

4 January 2014 9:00 am

The mood is celebratory in East Anglia: the University (UEA) marks 50 years since it opened its doors in Norwich,…