Henry Moore
Can we know an artist by their house?
Can we know an artist by their house, asks Laura Freeman
Why Tate Modern seems more like a playground than an art gallery
This book covers the period 1878-2000, offering thought provoking commentary on some 120 years of experiments in being modern, and…
Fails to dispel the biggest myth of all: Whitechapel Gallery's A Century of the Artist’s Studio reviewed
Picture the artist’s studio: if what comes to mind is the romantic image of a male painter at his easel…
How St Ives became Barbara Hepworth’s spiritual home
‘To see a world in a grain of sand’, to attain the mystical perception that Blake advocated, requires a concentrated,…
Bright and beautiful: the year’s best art books reviewed
When he was a student, the celebrated American modernist master Robert Rauschenberg once told me that his ‘greatest teacher’ —…
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…
What's that thing? Britain's worst public art
Bad public art pollutes our townscapes. Stephen Bayley names and shames the worst offenders as he unveils the winner of The Spectator’s inaugural What’s That Thing? Award
![‘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)
Was Barbara Hepworth a giant of modern sculpture - or a dreary relic of post-war Britain?
In the last two decades of her life, Barbara Hepworth was a big figure in the world of art. A…
Are the British too polite to be any good at surrealism?
The Paris World’s Fair of 1937 was more than a testing ground for artistic innovation; it was a battleground for…
'Uproar!' The Ben Uri gallery punches above its weight
Last year saw the centenary of the London Group, a broad-based exhibiting body set up in a time of stylistic…
