Can you spot the difference?
Vincent Van Gogh
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Saturday 02 May 2009
Thursday 19 March 2009
A year ago, an exhibition at Tate Britain reminded us of the existence of the Camden Town Group of painters. Their art, chiefly urban in subject matter, represented a low-key British version of post-Impressionism. It sputtered into, and out of, life just before the First World War.
Sunday 08 March 2009
Friday 23 January 2009
Though alphabetic in order, this reader-friendly guide to the National Gallery is unconventional in every other respect. Under "Comeback Queen", we find Delaroche's 1833 narrative painting "The Execution of Lady Jane Grey". Lost in the gallery's cellar for 50 years, it was enthusiastically received when resurrected in 1973.
Saturday 10 January 2009
Wednesday 26 November 2008
Tuesday 18 November 2008
Friday 26 September 2008
Wednesday 03 September 2008
Thursday 31 July 2008
For more than 120 years, the image of the peasant woman lay undiscovered. Her creator, the Dutch master Vincent van Gogh, must have assumed she would be hidden forever.
Saturday 28 June 2008
Monday 02 June 2008
I should say, straight out, that I'm not an admirer, and later on I'll be being rude. But many people must be looking forward to this show. Since the great Art Nouveau revival of the 1960s, Gustav Klimt has become one of our favourite painters. Once his feasts of flesh and opulent decoration were a purely Viennese delicacy. Now The Kiss hangs on bedroom walls across the world.
Friday 18 April 2008
Monday 24 March 2008
Friday 21 March 2008
A remarkably honest portrait of one of Fife's more popular sons (his prints outsell Van Gogh's, Dali's and anything by his contemporary, Gordon Brown). Jack Vettriano: Studio Life (Pavilion, £25) sees the artist at home, at work and addressing his critics. "I think to have been able to create an iconic image from a £17 manual deserves a wee bit more than scorn," he says of the recent scandal over his "copying" figures from an art manual. In his introduction, friend, fan and co-Fifer Ian Rankin admires the narrative value of Vettriano's paintings, and here we see the story of their creation from beginning to end. It starts with hiring and photographing a model (right). "I don't hide from the fact that I only paint a woman if I find her attractive," he admits, obviously.
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