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Watteau’s Soldiers: Scenes of Military Life in Eighteenth-Century France

Offering the quiet thrill of a cool oasis in the park, the Frick Collection has mounted a connoisseur show of little-known work by a master of his time that both instructs and refreshes

Jean-Antoine Watteau. The Supply Train, c1715. Collection Lionel and Ariane Sauvage.
Peter Howson. Martin, 1988. Etching, 56 x 38 cm (22 x 15 in), edition of 30. © Peter Howson, Courtesy of Flowers Gallery London and New York.
This retrospective of prints produced over four decades by Scottish artist Peter Howson, one-time member of the New Glasgow Boys and a former war artist, provides an interesting parallel with his paintings.
Ragnar Kjartansson. Barbican Art Gallery. © Tristan Fewings/Getty Images. Courtesy of the artist, Luhring Augustine New York and i8 gallery Reykjavik.
The Icelandic artist’s first UK survey exhibition serves up a palimpsest of delights that gives contemporary performance art a good name.
Mariko Mori. Photograph: David Sims. Courtesy Faou Foundation.
The artist talks about her mission to place site-specific artworks honouring nature on the six habitable continents, and her involvement with the cultural programme of the Rio 2016 Olympic and Paralympic Games.
Geoffrey Rigden. The Man Who Built The Pyramids, 2002–04. Acrylic on canvas, 75 x 90 cm. Photograph: © APT Gallery.
Much here is from his house or studio, with a number of paintings stretched up for the first time since the artist died in January. Mystical and ritualistic, yet irreverent, these are a taster of Rigden’s work.
Philip Hunter. Geobloom no.3, 2016. Oil on linen, 122 x 107 cm. Copyright the artist. Courtesy Sophie Gannon Gallery.
The Australian artists talks about the influence of Sidney Nolan, his most recent body of works, Geophonics, his interest in landscape and in events that happen below the Earth’s crust.
Georgiana Houghton. The Portrait of the Lord Jesus Christ, December 8th 1862. Watercolour on paper, 58 x 49 cm. Victorian Spiritualists' Union, Melbourne, Australia.
She was an abstract painter out of time, a visionary and a maverick, but Georgiana Houghton was also a medium, whose inspiration came from an unexpected source.
Susie Hamilton. Weeping Agin the king my fathers wrack / 2 (Ferdinand), 2011. Acrylic on canvas, 30.5 x 25.5 cm. © the artist. Courtesy of Paul Stolper, London.
Concerned with the human condition and the solitary existence of individuals, Hamilton’s paintings condense figures into a couple of suggestive brush strokes, stranded in darkness or light. This retrospective offers an overview of two decades of her work.
Manolo Valdes. © Enrique Palacio, courtesy Marlborough Fine Art, London.
Like a magpie, taking fragments from works of art that he loves and reinterpreting them in new paintings on burlap or as sculptures, Valdés is always on the look out for inspiration. He explains how his entire world is seen through the lens of art history.
Harland Miller. Back On The Worry Beads, 2016, Oil on canvas, 276 x 183 cm. Courtesy the artist and Blain Southern. Photograph: Peter Mallet.
The writer and artist discusses Berlin, Bowie and alter egos, his show with Blain Southern, and why he won’t use 10 words when 20 will do.
Bhupen Khakhar. You Can’t Please All, 1981. Oil paint on canvas, 175.6 x 175.6 cm. Tate © Bhupen Khakhar.
Whether depicting the pathos of everyday tradesmen, the union of same-sex lovers, or the embattled duality of a body riddled with cancer, the Indian artist’s wry humour combines with his vibrant palette to create compelling narrative paintings that speak to viewers across the globe.
Marcus Coates. Dawn Chorus, 2007. Multi-screen film installation, gallery view, Wellcome Collection, London, 2016.
This intriguing exhibition attempts to capture the elusive nature of the human voice, with live performances by sound artists, demonstrations, paintings and medical illustrations. Curator Bárbara Rodríguez Muñoz tells Studio International about the show.
Stuart Davis. Fin, 1962–64. Casein and masking tape on canvas, 53 7/8 x 39 3/4 in (136.8 x 101 cm). Private collection. © Estate of Stuart Davis / Licensed by VAGA, New York, NY.
Showcasing his work from 1921 to his death in 1964, this exhibition allows the visitor to fully appreciate the artist’s interest in going back through his older sketches and paintings to find inspiration.
Francesca Pasquali at Tornabuoni Art, London, 24 June 2016.
The Bolognese artist uses everyday materials and plastics to replicate natural folds and textures in a manner akin to the ideas of arte povera. Currently in London for two exhibitions, she speaks to Studio International about her inspirations and aspirations.
Jennifer Wen Ma at the opening of A Beautiful Disorder, Cass Sculpture Foundation, 1 July 2016. Photograph: Martin Kennedy.
The artist talks about her new installation, Molar, at Cass Sculpture Foundation, created as a place of reflection on a disintegrating utopia.
Rana Begum at her north-east London studio, 16 March 2016. Photograph: Martin Kennedy.
Studio International visited Rana Begum in her studio in north-east London to talk to her about her creative process, and the works she has prepared for her first solo UK exhibition at Parasol unit foundation for contemporary art.
Matisse in the Barnes Foundation. Edited by Yve-Alain Bois. Published by Thames & Hudson (18 December, 2016). Courtesy of Thames & Hudson.
Art books have a special appeal: they are beautiful, collectable objects that are a pleasure to hold and be surrounded by. But the world of art publishing has changed beyond recognition in the past 20 years.
Yun-Fei Ji. The Vendors and the Wind, 2014. Ink and watercolour on Xuan paper, mounted on silk 26 1/8 x 30 3/8 in (66.3 x 77 cm). Collection of the Ruth and Elmer Wellin Museum of Art.
He may use scrolls and work in ink in the millennial-old tradition of Chinese landscape painting, but his themes are contemporary – the environmental destruction caused by vast infrastructure projects in his native country and the forced relocation of its inhabitants.
Li Jin 李津. Stare of Death 死不瞑目, 2015. Ink on paper 纸本水墨, 38 5/8 x 70 7/8 in (98 x 180 cm).
Alongside some of his older works, this exhibition focuses on his new, mostly monochrome paintings, executed in a range of black ink, whose disquieting and confrontational images shift fluidly between the abstract and the figurative.
Dóra Maurer. 6 out of 5, 1979. Acrylic on wood with vinyl, 39 3/8 x 196 7/8 in (100 x 500 cm). © the artist. Photo graph © White Cube (Todd-White Art Photography).
As a new exhibition surveys her 50-years career, the Hungarian artist talks about colour, maths and geometry – and why she doesn’t like finished work.
Ella Kruglyanskaya. Bathers, 2006. Egg tempera on board, 50.8 x 76.2 cm. Courtesy the artist, and Gavin Brown’s enterprise New York/Rome.
Colourful, cartoonesque depictions of curvaceous, sassy women people the Latvian artist’s paintings but, despite the humour, the message is clear.
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