And this too ...
01.12.2025 20:37
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And this too ...
Now this sounds interesting. If the Pattle sisters don't mean much, the names Julia Margaret Cameron and Sara Prinsep probably do. Quite a family. www.wattsgallery.org.uk/exhibitions/...
And because his work is so under-represented in British collections, it’s quite a revelation as to how luscious and painterly it is. You want to reach into some of his pictures and dip your finger into the icing oozing off a slice of cake.
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What a fabulous exhibition Wayne Thiebaud: American Still Life at the Courtauld is. No wonder he hated being labelled a Pop artist; he was in many ways a rather old-fashioned still-life painter in a tradition stretching back through Cezanne to Chardin.
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Nor had I! It just sprung to mind seeing your post.
Painted in 1897, 'Les messieurs en noir,' is a strikingly modern picture for its time yet steeped in an artistic tradition that stretches back to the 17thC. Dutch genre painting with its modest subjects and bold contrasts of light and dark was a key influence on Èdouard Vuillard.
Cf. Malcolm Drummond’s Court Scene, 1920, in the University of Hull Art Collection.
The parallel stories of the revival of mural paintings in churches (due largely to the patronage of Bishop George Bell) and of the great flourishing of murals at the Festival of Britain meet in Hans Feibusch's murals for St John's Waterloo, the 'Festival church'.
stjohnswaterloo.org/projects/han...
50% off if you're in the UK (till 30 November)!
An essay on murals and public art. Please let me know your comments. 'Life in a Boarding House,' (1930) by Eric Ravilious,' for Morley College, London was destroyed in WW2. richardmorris.org/blog-1-1/mural…
The most prolific, serious artist creating murals in Britain today is Bridget Riley; and it's notable that - apart from her wall painting at St Mary's Hospital, Paddington - almost all her murals have been commissioned by museums or public galleries.
Spot on about the ubiquitous and tiresome Banksy, Richard. The Festival of British aside, the most significant institutional patrons of murals in Britain in the C20th were churches and schools/colleges; it's hard to imagine (m)any future commissions coming from either of those sources.
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William Nicholson looking splendid at Pallant House. A beautifully-installed exhibition which will repay several visits - fortunately it’s on till May next year.
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Through works by Gwen John, Leon Kossoff, Celia Paul, Kara Walker, Rebecca Warren, Sarah Lucas, Hans Bellmer et al - as well as Rhys’s 1914 house dress - it captures much of her complex identity, chaotic life and fierce spirit.
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Very glad to have caught Postures: Jean Rhys in the Modern World, curated by Hilton Als - ‘a portrait of the artist through art’ - at Michael Werner Gallery before it closes tomorrow.
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I look forward to reading yours, too. At the time I wrote my piece, there was talk of the Public Art Foundation (now Art UK) creating a database of British murals. I don't know what's happened to that proposal.
I wrote an article for The Burlington Magazine in 2013 on twentieth-century British murals - and, how in many cases, they have been destroyed, covered up, lost etc:
www.jstor.org/stable/24240...
There is something of that air about her ... although the sitter was, in fact, a deeply religious spinster (and old family friend). I reveal her identity - and that of several other of Gilman's hitherto unrecognised sitters - in a forthcoming article in The Burlington Magazine.
My preview in @theartnewspaper.bsky.social of the William Nicholson exhibition opening at Pallant House Gallery, Chichester, this weekend.
Sarah Lucas‘s cigarette portrait of Maggi Hambling from OOO LA LA, their joint exhibition opening today at 8 & 38 Bury Street, St James’s, presented by Frankie Rossi Art and Sadie Coles HQ. A winning combination - and a brilliant show.
I don't know, every day there is something - no, there are lots of things.
So to remind us of what we are dealing with, here again is a postcard made by the great Derek Boshier back in 2016:
"I must not lie about my life - Donald Trump"
'Nancy with Feather Hat,' (1910) is a portrait of William Nicholson's daughter. Nancy was a painter and fabric designer and owed much of the style of her early designs to her mother, Mabel Pryde. In January 1918, she married the soldier-poet Robert Graves.
On view in the Nicholson exhibition opening at Pallant House this weekend.
The exhibition is on show to 30 November.
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Wonderful to see in Hitchin yesterday North Herts Museum’s complete holdings of 50+ paintings, drawings & prints by William Ratcliffe, who became a full-time artist only after meeting Harold Gilman in Letchworth in 1908 and three years later was elected a founder member of the Camden Town Group.
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The final, and poignant, wall panel - a reminder that it was not just the two Roberts whose lives were sadly truncated, but also those of many of their friends: Peter Watson, Jankel Adler, John Minton.
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I was especially pleased to see their little-known designs for Léonide Massine’s 1951 Scottish ballet Donald of the Burthens - the first, and perhaps last, last occasion on which bagpipes were played at the Royal Opera House (a challenge for @alastaircampbell2.bsky.social?)
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It effectively - and movingly - traces their entwined lives and careers from Glasgow School of Art in the 1930s to Soho in the 1950s; and even though some significant pictures are missing, it’s good to see others largely hidden in university or local council collections.
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