Exhibitions
John Flaxman is the missing link between superhero movies and Homer
As you enter the forecourt of the Royal Academy, you see them. A row of artistic titans, carved in stone,…
The truth about food photography
While looking at the photographs of food in this humorous exhibition at the Photographers’ Gallery, I thought of how hopelessly…
![English National Opera's triumphant new production of Harrison Birtwistle's The Mask of Orpheus, directed by Daniel Kramer. [Photo: Alistair Muir]](https://www.spectator.com.au/wp-content/uploads/2019/10/Opera_Exhibitions.jpg?w=410&h=275&crop=1)
A triumph: ENO’s Mask of Orpheus reviewed
ENO’s Mask of Orpheus is a triumph. It’s also unintelligible. Even David Pountney, who produced the original ENO staging in…
The beauties of the universe are revealed in the paintings of Pieter de Hooch
In the early 1660s, Pieter de Hooch was living in an area of what we would now call urban overspill…
Pilferer, paedophile and true great: Gauguin Portraits at the National Gallery reviewed
On 25 November 1895, Camille Pissarro wrote to his son Lucien. He described how he had bumped into his erstwhile…
A cast of Antony Gormley? Or a pair of giant conkers? Gormley’s new show reviewed
While Sir Joshua Reynolds, on his plinth, was looking the other way, a little girl last Saturday morning was trying…
On photography, shrines and Maradona: Geoff Dyer’s Neapolitan pilgrimage
At the Villa Pignatelli in Naples there is an exhibition by Elisa Sighicelli: photographs of bits and pieces of antiquity…
Whooshing seedlings and squabbling stems: Ivon Hitchens at Pallant House reviewed
Set down the secateurs, silence the strimmers. Let it grow, let it grow, let it grow. Ivon Hitchens was a…
Why was Sigmund Freud so obsessed with Egypt?
Twenty years ago, I visited the ancient Egyptian city of Amarna with a party of American journalists. Even in those…
Where are the art fans in Edinburgh? Getting their eyes frazzled by Bridget Riley
The old observatory on Edinburgh’s Calton Hill may be the most favourably positioned art venue in the world. Recently resurrected…
Before Quentin Blake, there was Nancy Ekholm Burkert – Dahl’s forgotten illustrator
Bunnies were out. Beatrix Potter had the monopoly on rabbits, kittens, ducks and Mrs Tittlemouses. ‘I knew I had to…
Olafur Eliasson’s art is both futuristic and completely traditional – which is why I love it
Superficially, the Olafur Eliasson exhibition at Tate Modern can seem like a theme park. To enter many of the exhibits,…
Full of wonders: Takis at Tate Modern reviewed
Steel flowers bend in a ‘breeze’ generated by magnetic pendulums. This is the first thing you see as you enter…
The women who invented collage – long before Picasso and co.
The art-history books will tell you that sometime around 1912, Picasso invented collage, or, actually, perhaps it was Braque. What…
No masterpieces but there are beautiful touches: Félix Vallotton at the RA reviewed
Félix Vallotton (1865–1925) was a member of the Nabis (the Prophets), a problematically loose agglomeration of painters, inspired by Gauguin…
Cindy Sherman – selfie queen
The selfie is, of course, a major, and to me mysterious, phenomenon of our age. The sheer indefatigability of selfie-takers,…
Remarkable and powerful – you see her joining the old masters: Paul Rego reviewed
In 1965 a journalist asked Paula Rego why she painted. ‘To give a face to fear,’ she replied (those were…
There is a jewel of a painting at Gagosian’s Francis Bacon show
‘It is no easier to make a good painting,’ wrote Vincent van Gogh to his brother Theo, than it is…
Virtuosic exploration of paint: Frank Bowling at Tate Britain reviewed
‘The possibilities of paint,’ Frank Bowling has observed, ‘are endless.’ The superb career retrospective of his work at Tate Britain…
British surrealism at its most remarkable and nightmarish
Holding the International Surrealist Exhibition in London in 1936 was a coup for the British avant-garde, putting newbie surrealists such…
The quiet genius of Posy Simmonds, Hogarth’s heir
‘It’s no use at all,’ says Posy Simmonds in mock despair, holding up her hands. ‘I can’t tell my left…
How plastic saved the elephant and tortoise
Plastics — even venerable, historically eloquent plastics — hardly draw the eye. As this show’s insightful accompanying publication (a snip…
Moore’s art has never looked better: Henry Moore at Houghton Hall reviewed
Henry Moore was, it seems, one of the most notable fresh-air fiends in art history. Not only did he prefer…
A beautiful exhibition of a magnificent painter: Sean Scully at the National Gallery reviewed
Sean Scully once told me about his early days as a plasterer’s mate. At the age of 17 he was…
Absorbing – a masterclass in print-making: Edvard Munch at the British Museum reviewed
An eyewitness described Edvard Munch supervising the print of a colour lithograph in 1896. He stood in front of the…
