Rose Boyt’s new book takes its name from a beautiful, bold, brash painting by her father Lucian Freud.
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When British artist Catherine Elwes had a baby in 1983, she soon discovered she was expected to keep her motherhood hidden.
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British artist Maggi Hambling was about seven when a teacher read Oscar Wilde’s children’s stories to her class.
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JJ Levine’s Alone Time 19, taken in 2021, appears to be a conventional portrait of a traditional nuclear family: mother, father, two children, all gathered in a living room.
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Nothing is too ambitious or outlandish for Artangel, the organisation that has spent 30 years bringing unpredictable art to unexpected locations in the UK and beyond.
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It’s a cold and dark winter’s day in Stockholm, but within the Moderna Museet it appears as though someone has added a filter that’s warm and bright.
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My husband doesn’t enjoy peeling oranges. He doesn’t like the little white webs of pith or the way the juice trickles between his fingers and soaks and stains the skin.
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A woman’s work is never done, but come June it will be publicly celebrated.
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Jeppe Hein sits down and produces some paper and a tin of watercolours. We’re going to do a quick painting exercise, the Copenhagen- and Berlin-based Danish artist tells me, and invites me to choose a colour.
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It’s the kind of cobbled courtyard you might dream up if asked to imagine the perfect Parisian apartment building.
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On a tabletop is a round water jug, an ochre highlight on its belly. A plain cloth has been thrown over the table, white on wood.
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A woman with wide eyes and long, slender fingers lies naked in a field. She’s on her side, legs bent at the knee, head propped up in the crook of her arm, a makeshift pillow.
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In Edvard Munch’s House in Moonlight (1893-95), a man in a hat has come to meet a woman in a white apron: his shadow falls at the woman’s feet; hers is folded like a jacket over the stone wall, her face and upper body obscured.
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I’ve always had a thing for Paris. Not necessarily Paris today, but the City of Light as captured in the 19th-century by the writers and other artists who would have rubbed shoulders in its café-concerts and galleries with Caillebotte.
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The first time I saw her, I didn’t make it past her face. My eyes caught on her jagged fringe, brushed to a sheen, and her flushed cheeks, an entirely different shade from her porcelain neck and chest.
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Sometimes you have to look back in order to move forward. Today several young artists are dipping into old art forms both to situate themselves within the canon and to start new conversations.
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They say a picture is worth a thousand words. For Alicia Eggert, the opposite is true. The Dallas-based artist thinks in terms of ideas and messages rather than images.
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It’s clever marketing, really – the notion that creativity comes from the lone genius. It plays into the human fascination with famous names and gives us what we’ve been taught every good story needs: a protagonist.
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Laura Knight was still in her teens when she first flouted convention. Banned from drawing nudes at art school because she was a woman, she hired a private model to pose for her at home.
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It’s a fact that the Courtauld has reopened to the public following a three-year, £57m makeover, but I can’t help thinking about fiction.
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