visual art
The triumph of surrealism
When Max Ernst was asked by an American artist to define surrealism at a New York gathering of exiles in…
How did we ever come to accept the inhumane excesses of capitalism?
What was neoliberalism? In its most recent iteration, we think of the market seeping into every minute corner of human…
Why did this brilliant Irish artist fall off the radar?
Sir John Lavery has always had a place in Irish affections. His depiction of his wife, Hazel, as the mythical…
The greatest artist chronicler of our times: Grayson Perry, at the Edinburgh Art Festival, reviewed
The busiest show in Edinburgh must be Grayson Perry: Smash Hits which, a month into its run, still has people…
Joshua Reynolds’s revival
In front of the banner advertising the RA Summer Exhibition, the swagger statue of Sir Joshua Reynolds (1723-92) by Alfred…
The art of the monarchy
Michael Hall on how the Queen made her mark on the Royal Collection
Nationalise the royal collection!
It is high time we did justice to the treasures of the royal collection, says Jack Wakefield
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…
Valuable reassessment of British art: Barbican's Postwar Modern reviewed
Notoriously, the past is another country: what’s more, it’s a terrain for which the guidebooks need constantly to be rewritten.…
Beautiful and revealing: The Three Pietàs of Michelangelo, at the Museo dell’Opera del Duomo, Florence, reviewed
The room is immersed in semi-darkness. Light filters down from above, glistening on polished marble as if it were flesh.…
Saudi Arabia’s burgeoning art scene
Stuart Jeffries on Saudi Arabia’s burgeoning art scene
An ouroboros of vacuity that is immune to its own failure: Kaws online at the Serpentine Gallery
The second most interesting thing about this digital exhibition is that it is not for art critics like me. I…
Ethereal and allusive, all nuance and no schmaltz: Helen Frankenthaler, at Dulwich Gallery, reviewed
In 1950 the 21-year-old painter Helen Frankenthaler, fresh out of college, went to an exhibition at New York’s Betty Parson’s…
This radical Nativity is also one of the great whodunnits of art history
Martin Gayford on a radical Nativity that is the subject of one of the great whodunnits of art history
How crazy was Louis Wain?
Before Tom Kitten, before Felix the Cat, before Thomas ‘Tom’ Cat, Sylvester James Pussycat Sr, Top Cat and Fat Freddy’s…
The supreme pictures of the Courtauld finally have a home of equal magnificence
When the Courtauld Gallery’s impressionist pictures were shown at the Fondation Louis Vuitton in Paris in 2019, the Parisian public…
The tyranny of the visual
Stuart Jeffries on the tyranny of the visual
The best podcasts to help you become a better painter
There’s a great documentary film on Netflix at the moment about the late artist Bob Ross, he of the happy…
Joan Eardley deserves to be ranked alongside Bacon and de Kooning
Claudia Massie on the unjustly neglected artist Joan Eardley, who deserves to be ranked alongside Auerbach, Bacon and de Kooning
The world's first robot artist discusses beauty, Yoko Ono and the perils of AI
Stuart Jeffries discusses beauty, Yoko Ono and the world’s disappointments with the first robot artist
Why Thomas Becket still divides opinion
The verdict is still out on Thomas Becket, says Dan Hitchens, but there’s no doubting the brilliance of the art he inspired
How has this complete original been sidelined?
A party of disorderly couples has gatecrashed the Picture Gallery at Bath’s Holburne Museum, climbing on to the antique furniture,…
The art of the asparagus
Manet’s ‘Botte d’asperges’ are probably the most famous asparagus in the world. The artist painted the delicious white- and lilac-tinged…