Pallant House Gallery
Is there still life in British still life?
‘The tyrannical rule of nature morte is, at last, over,’ announced Paul Nash in the Listener in 1931. ‘Apples have…
The women’s lips are pursed; the men’s are kissable: Glyn Philpot at Pallant House reviewed
Of all the photos of artists in the studio, the one of Glyn Philpot being served a martini by his…
The art of the Christmas card
It’s the thin end of the wedge, the slippery slope, the beginning of the end of a civilised Christmas. It…
Looking at Barnett Freedman makes me weep at the government's dismal graphics
Among the spoils of a lockdown clear-out was a box of my grandmother’s books: Woolf, Austen, Mitford and The Complete…
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…
The joy of George Shaw’s miserable paintings of a Coventry council estate
All good narrative painting contains an element of allegory, but most artists don’t go looking for it on a Coventry…
The strangely unique vision of Leonard Rosoman
Leonard Rosoman is not a well-known artist these days. Many of us will, however, be subliminally familiar with his mural…
A tale of two artists
Wherever one looked in the arts scene of the 1940s and ’50s, one was likely to encounter the tragicomic figure…
How pop is Peter Blake?
Painters and sculptors are highly averse to being labelled. So much so that it seems fairly certain that, if asked,…
Between the death of Turner and advent of Bacon, there was no greater British painter
Walter Sickert was fluid in both his art and his personality: changeable in style and technique, mutable in appearance —…
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…
