I guess we’re all familiar with the way in which the French Impressionists shook up the art world in the 1870s by depicting landscapes and scenes from modern everyday life often painted outdoors using bright, pure colours applied with rapid, often visible brush-strokes.
What I didn’t know – until I found some of their paintings in the Rijkmuseum last month – was that at the same time a group of Dutch painters were similarly intent on representing the changing modern landscape of their country and daily life of its people; artists who, like their French counterparts, were keen to capture the sensation of the moment, and shifting patterns of light on the landscape by working in the open air.
The key difference lay in the Dutch artists’ initial preference for muted colours. Painting under the grey skies of the Netherlands the group became known as the ‘Grey School’, then later as the ‘Hague School’. Continue reading “Out and about with the Hague School”
It’s one of my favourite paintings. A view of ordinary houses in an ordinary street, the weathered brickwork, window leads and wooden shutters finely detailed, and a few incidental details of everyday life – two children at play, a woman sewing in a doorway, while another is glimpsed in a side passage reaching into a barrel.
In Amsterdam on my way back from the Bosch exhibition in ‘s-Hertogenbosch last month, losing my way in the Rijksmuseum, I chanced upon it in a distant side-room where it was the centrepiece of a small but fascinating exhibit: Vermeer’s Little Street Discovered! Continue reading “Vermeer’s ‘Little Street’ Discovered!”
The first picture that you see when you enter the exhibition, Hieronymus Bosch: Visions of Genius, at Noordbrabants Museum in the painter’s home town of ‘s-Hertogenbosch depicts a careworn traveller making his way through the kind of landscape you can still see if you step beyond the town’s medieval battlements. Continue reading “Hieronymus Bosch: visions of Hell and earthly delights in an astonishing exhibition”
Matisse in Focus at Tate Liverpool brings together fifteen paintings from the Tate collection to provide an overview of the artist’s work across five decades. Its centrepiece is The Snail, the largest and most popular of Matisse’s cut-out works; after this show closes, it will never travel outside London again. Continue reading “Matisse in Focus at Tate Liverpool: The Snail’s last outing”
Passing through London on our way back from the David Jones show in Chichester, I decided to take a look at the current exhibition at the British Library: West Africa: Word, Symbol, Song. It’s an ambitious survey of literature, art and music from the great African empires of the Middle Ages to expressions of rapid cultural and political change across West Africa in recent decades. Continue reading “West Africa: Word, Symbol, Song at the British Library”
There’s a self-portrait David Jones painted in 1931 when he was in his mid-thirties. In Human Being he depicts himself almost as a boy, an unworldly youth with a thoughtful, quizzical look in his eyes who radiates a sense of inner strength. His hands are delicate, sensitive, almost feminine.
At Pallant House Gallery in Chichester last week I stared at this memorable image for some time, trying to figure out the man who is the subject of Vision and Memory, a major exhibition of his work showing there until February. There was much about Jones that I found a strange, complex and difficult to understand – whether in terms of the historical, religious and mythological allusions that fill his paintings (and his poems) – or in the sense of knowing the human being behind the work. Continue reading “David Jones: Vision and Memory at Pallant House”
Ai Weiwei’s work is not unusual in drawing upon the artist’s own life experience for inspiration, but there is none of the solipsism of Tracey Emin’s Bed in his art. Ai Weiwei’s installations, sculptures and videos – which I saw last week in his powerful, moving and deeply serious exhibition currently at the Royal Academy – affirm his unwavering commitment to human rights and freedom of expression.
Everything is art. Everything is politics.
Continue reading “Ai Weiwei at the RA: Everything is art. Everything is politics”