visual art
The only art is Essex
When I went to visit Edward Bawden he vigorously denied that there were any modern painters in Essex. That may…
Seeking closure
A while ago, David Hockney mused on a proposal to tax the works of art stored in artists’ studios. ‘You’d…
The Long view
William Cook explores the elemental art and Olympian walks of Richard Long
Life after death
This is not the biggest exhibition at Edinburgh and it will not be the best attended but it may be…
Portrait or landscape?
One of the default settings of garden journalists is the adjective ‘painterly’ — applied to careful colour harmonies within a…
Watery depths
I learnt to splash about in watercolour at my grandmother’s knee. Or rather, sitting beside her crouched over a pad…
Portrait of the artist as a madman
Charles Dickens’s description of Cobham Park, Kent, in The Pickwick Papers makes it seem a perfect English landscape. Among its…
‘Shocking is too easy’
No one does transgression like the filmmaker John Waters. Jasper Rees talks to him about political correctness, post-ops and pubes
Curiouser and curiouser
Art is not jewellery. Its value does not reside in the price of the materials from which it is made.…
Thinking inside the box
Someone once asked Joseph Cornell who was his favourite abstract artist of his time. It was a perfectly reasonable question…
The bankers’ darling
This week’s Imagine… Jeff Koons: Diary of a Seducer (BBC1, Tuesday) began with Koons telling a slightly puzzled-looking Alan Yentob…
![‘Sculpture with Colour (Deep Blue and Red) [6]’, 1943, by Barbara Hepworth](https://www.spectator.com.au/wp-content/uploads/2015/06/exhibitions1.jpg?w=410&h=275&crop=1)
Shape-shifter
In the last two decades of her life, Barbara Hepworth was a big figure in the world of art. A…
Fairground attraction
Gianlorenzo Bernini stressed the difficulty of making a sculpture of a person out of a white material such as marble.…
Seeing the light
Martin Gayford talks to the artist James Turrell, who has lit up Houghton Hall like a baroque firework display
The Craig-Martin touch
The Royal Academy Summer Exhibition has very little in common with the Venice Biennale. However they do share one characteristic.…
Eastern reflections
In his introductory remarks to the Afro–Eurasian Eclipse, one of his later suites for jazz orchestra, Duke Ellington remarked —…
Moving pictures
About six years ago the first section of the now celebrated High Line was opened in New York and made…
More Marx than Dante
Martin Gayford finds a few nice paintings amid the dead trees, old clothes and agitprop of the Venice Biennale
He’s got rhythm
One evening before the first world war, Henri Gaudier-Brzeska, fired by drink, tried out such then-fashionable dances as the cakewalk…
Designer fatigue
Different concepts of luxury may be inferred from a comparison of the wedding feast of Charles Bovary and Emma Rouault…
Monet maker
When it was suggested that a huge exhibition of Impressionist paintings should be held in London, Claude Monet had his…
Double Dutch
‘Whoever wishes to devote himself to painting,’ Henri Matisse once advised, ‘should begin by cutting out his own tongue.’ Marlene…
Depicting the Prophet
Two months ago I was sitting beside the tomb of a descendant of the Prophet Mohammed, telling a story about…
Back to the future
Almost a decade ago, David Cameron informed Tony Blair, unkindly but accurately, ‘You were the future once.’ A visitor to…
Double vision
In 1933, two new students met on their first day at Glasgow School of Art. From then on they were…
