First impressions are everything, and the opening room of The Rossettis doesn’t exactly wow.
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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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I’m not at all green fingered, but I could stare for hours at Berthe Morisot’s portrait of her sister Edma watering a shrub.
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Did you know that Balzac liked to work in his dressing gown? I didn’t.
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Lucie Rie’s ceramic buttons belong in a sweet shop.
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A woman’s work is never done, but come June it will be publicly celebrated.
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It’s not often an exhibition makes me feel uneasy, but a press officer from the Hayward Gallery has just appeared and I’ve jumped out of my skin.
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It’s remarkable, the amount of feeling Alice Neel can generate with a few knuckles.
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“They don’t let you smoke here, which is annoying,” Sarah Lucas not quite whispers. Still, as she shrugs on her coat, a bulky thing that swallows her whole, she slips her hands into her pockets and pulls out a tin of tobacco.
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Pity the fellow who follows Donatello — or so I thought, after kicking off my week at the V&A’s standout show. I needn’t have worried. Peter Doig’s art pulsates in a world of its own.
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Florence has come to the V&A.
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The characters in Lynette Yiadom-Boakye’s compelling portraits have been waiting for us.
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We all know nature is balm for the soul, and this show is remarkably soothing.
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The story of modernist art is crowded with women — or rather, it’s crowded with images of women depicted by men.
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This sprawling show offers a heady mix of surprise, disgust and delight.
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