Modes en Miroir: la France et la Hollande au temps des Lumieres
After the recent decision of the Musée Galliera to collaborate with other Eu...
Matisse, His Art and His Textiles. The Fabric of Dreams
The premise of 'Matisse, His Art and His Textiles' is that textiles were 'the key to (Matisse's) vis...
![Jeremy Moon. Collage [ C3/71], 1971, pencil & pastel on paper, 52 x 63.5 cm, 20.5 x 25](/images/articles/m/moon/smallpix/moon_b-300.jpg)
Mr Jeremy Moon experiments. Jeremy Moon: drawings and collages
In 1972, the year before artist Jeremy Moon's untimely death in a motorcycle accident, Peter Fuller ...
MACO: Mexico Arte Contemporaneo
'MACO: Mexico Arte Contemporaneo' is considered to be the most important art fair ...
The exhibition of the photographic work of Bill Henson is notable. He is one of Australia's leading ...
Moving Horizons: The Landscape Architecture of Kathryn Gustafson and Partn...
Today, Kathryn Gustafson is one of the six or seven leading landscape designers in the world. She ha...
Mark Rowan-Hull: Seeing Music, Hearing Colour
Mark Rowan-Hull's abstract paintings form a dialogue with music. Firstly a pianist, Rowan-Hull (born...
This important volume is, as the publisher Prestel says, 'the keystone of a major pr...
The Mori Art Museum opened in Tokyo this October. It is part of the 11-hectare urban development en...
Monet: The Seine and the sea, 1878-1883
Of the best exhibitions at the Edinburgh International Festival this year, Monet is at once the most...
Marc Chagall: Ceramic Masterpieces
Marc Chagall (1887-1985) was a storyteller with a magical dimension. His popularity ...
To accompany the exhibition Max Beckmann, a collaboration between the Centre Pompidou, Paris, Tate M...
Last year the National Portrait Gallery in London put together an exhibition of over 100 works by ph...
Outsider Art comes Full Circle – 'John the Painter'
'Outsider Artists' are not only untrained, but have also avoided 'social conditioning and cultural i...
The superb exhibition now filling four rooms of the Sackler Wing at the Royal Academy, London, is ap...
Max Beckmann (1884-1950) has long been recognised as one of Germany's leading 20th century artists...
Metamorphing: Transformation in science, art and mythology
For humans, change has always been essential, but difficult nonetheless. For most of...
Millennium Bridge Gateshead – miles better. Chris Wilkinson and Jim Eyre of Wilkinson Eyre have ma...
Matisse Picasso at Tate Modern has just finished, but moves on to Paris and New York later this year...
Next month (September) sees the figure of St Peter suspended face downwards between two Doric pillar...
Masters of Colour: Derain to Kandinsky
Only 30 years ago, Gabrielle and Werner Merzbacher began to form a collection of early 20th century ...
No single model of self-portraiture can stand for the experiences of women generally, or fully expre...
Where there are monuments, there is the urge to destroy them, through history. The twin towers of th...
If there was ever a clearer purpose and definition of the respective rationale behind the division o...
Milton Avery Late Works — Landscapes and Seascapes, 1951–1963
It was an unexpected pleasure to see an exhibition of Milton Avery paintings in London this Autumn (...
In the summer of 1986 there burst upon London, virtually unheralded, a major series of paintings, by...
Marcel Duchamp's Anémic-Cinéma
Translating the nine linguistic configurations of Marcel Duchamp’s film ANÉMIC-CINÉMA is impossi...
On Purpose: An enquiry into the possible roles of the computer in art
This is not another article about ‘computer art’...
One nice thing about technology is that it can neither be called serious nor the opposite. It just i...
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