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The Fallen Woman: The Foundling Museum, London: Jill Hawkins visits this small but perfectly formed exhibition that examines Victorian patriarchal standards.
David Roberts: Scottish National Gallery, Edinburgh: Drummond Watson has his perceptions of this artist changed by this small but comprehensive exhibition of Roberts’ drawings and watercolours.
Marlene Dumas ‘The Image as Burden’: TateModern: Lucy Ella is compelled to write about the first exhibit in this large scale showcase of Dumas’s work.
Rubens and His Legacy (Featuring La Peregrina): Royal Academy: Notwithstanding the moderately convincing raison-d’etre of this show, the separate collection curated by Jenny Saville was the highlight for Jill Hawkins.
Solid/Divide – Liza Lou: White Cube Bermondsey: Jill Hawkins loves the shimmering beaded canvases, but wonders why there are so many…
A Victorian Obsession: Leighton House Museum: Lucy Ella says Victorian art is back in vogue: it used to be stuffy, now it is sexy. The Perez Simon Collection at Leighton House reveals deeper dimensions of female beauty in an altogether fabulous setting.
Blood Swept Lands and Seas of Red: Tower of London: A truly remarkable work in an iconic setting, but has the success of this installation ruined its intentions? Jill Hawkins considers her day out in London.
East by South East: OBS Gallery: Jill Hawkins reflects on the identity of Chinese and Tibetan artists through the art in this remarkable show.
Malevich – Revolutionary of Russian Art : Tate Modern: Drummond Watson is captivated by the spirit, but not the location, of Malevich’s Black Square, a defining moment in modern art and the focus of this major retrospective.
Ai Weiwei in the Chapel: Yorkshire Sculpture Park: Beautifully curated and deeply thought-provoking, Jill Hawkins took time to engage with the works and consider the life and impact of this leading global cultural figure.
Generation: Galleries throughout Scotland: Drummond Watson applauds an ambitious cultural programme to exhibit 25 years of contemporary art in Scotland.
Henri Matisse: The Cut Outs: Tate Modern, London: A joyful and unpretentious show that made Jill Hawkins realise that some people just won’t allow themselves to be too old to carry on doing what they enjoy.
Building the Picture: National Gallery, London: A succinct and well-scripted show that explores the use of architecture in Renaissance painting. Jill Hawkins and Antonia Edgerton spent longer than intended up close to some magnificent paintings.
Cézanne and the Modern…: Ashmolean, Oxford: Some exquisite watercolours by Cézanne are the headline of this great selection of artworks amassed by an American businessman, but there is so much more besides. Jill Hawkins visited without realising how much would be on show.
In The Flesh: OBS Gallery, Tonbridge School: An inaugural exhibition at a spanking new gallery combines famous with unknown, fun with gruesome, a wide selection of media, and even questions the concept of art. Jill Hawkins loves it.
Stanley Spencer: Heaven in a Hell of War – Somerset House, London: Preparing for a host of First World War commemorative events, Drummond Watson finds that Stanley Spencer’s depiction of the mundane, everyday life during wartime provides a unique insight into how that war may be viewed today.
Louise Bourgeois: A woman without secrets – Scottish National Gallery, Edinburgh: Jill Hawkins finally gets to understand this artist and does not bristle at her self-indulgence.
Paul Klee: Making Visible – Tate Modern: Jill Hawkins realised that Klee’s work cannot be pigeon-holed.
Allan Ramsay at 300 – Scottish National Gallery, Edinburgh: The drawings by this Scottish portraitist provide Drummond Watson with insight into how this artist might have found favour with 18th Century British society.
The Male Nude – Wallace Collection, London: Jill Hawkins got judgemental as she looked at drawings from the same eighteenth century life drawing class.
Moore Rodin- Perry Green and Compton Verney: Drummond Watson listens to a conversation between the works of these two giants of sculpture, and despite preconceptions, he encounters a very audible dialogue.
Australia – Royal Academy: aesthetic delights from Australia’s indigenous artists writes Antonia Edgerton. Paintings from the Europeans pale in comparison but provide art historical interest nonetheless.
Witches and Wicked Bodies – Scottish National Gallery, Modern Two, Edinburgh : A unique display of how witches have been portrayed in art over the last 500 years. Drummond Watson is spellbound by the works on show from Dürer to Sherman.
Laura Knight Portraits – NPG: A diverse collection of works by this feisty artist demonstrates Laura Knight’s interest in the curious. Jill Hawkins loves the gypsies and hates the clowns.
A Crisis of Brilliance 1908-1922 – Dulwich Picture Gallery : Drummond Watson explores an exhibition which reveals the impact of art school on an earlier generation of gifted Young British Artists.
Ibrahim El-Salahi – Tate Modern: Jill Hawkins went late and was almost alone in the gallery. She went from no knowledge of the artist to understanding why he is a major figure in African Modernity.
As a group of enthusiastic art historians we are keen to share an understanding of art with other interested parties. This site is primarily driven by reviews of current art exhibitions of the widest kind, but we also include reviews of galleries and their permanent collections. We invite comment from all our readers because we recognise dialogue both broadens and deepens appreciation of artworks, and promotes awareness of art-related topics.
Although our interest is academic, we aim to give informed opinion in a style that is uncomplicated and aimed at a broad audience.