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Published  30/11/-0001
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Leonardo da Vinci: Painter at the Court of Milan

According to the famously unreliable Giorgio Vasari, when Leonardo...

Painting Canada: Tom Thomson and the Group of Seven

This winter, The Dulwich Picture Gallery takes us on a tour of the seductive world of Canada...

Antony Gormley

Sculpture studios are particularly fascinating places: factory-like yet traditional in terms of mate...

Reality and Romance

Iconic images of war and martyrdom present very different sides of the same coin...

Andrew Antoniou: Theatre of Chance and Enchantment

Andrew Antoniou's recent exhibition at Australian Galleries, Sydney shows his enduring fascination w...

Robert Motherwell: Works on Paper

Throughout his career, Robert Motherwell (1915...

Colour and Substance

Bermondsey Street these days exudes a growing calm satisfaction: a local Tate, its own “village fe...

Rachel Howard: Folie à Deux

Rachel Howard is not an artist to shy away from heavy subject matter; sin, suicide, madness, the fra...

Gerhard Richter: Panorama

The enigma of Gerhard Richter is not here resolved by Tate Modern’s new exhibition. Yet the exhibi...

Power of Making

A life-size crocheted brown bear (crochetdermy = due to it resembling taxidermy), a cross-stitched w...

The Spirit of Tariki Visits New York

Fibre is any material that helps to form a connection. It has wide applications in science and indus...

From Timbuktu to Shangri-La

Now that the Alexander McQueen...

A Futuristic Architectural Movement from the Past Speaks to the Present

At a critical moment in urban architectural history, the Mori Art Museum in Tokyo considers the dist...

John Martin: Apocalypse

John Martin: Apocalypse, at Tate Britain is the largest display of his work in public since 1822. In...

Post Office or Postmodern? Postmodernism: Style and Subversion, 1970-1990

'The design for the extension to the National Gallery, London, when finally won in competition by Ro...

From Neon to New Order. Postmodernism: Style and Subversion, 1970-1990

'Some of the best postmodernists are modernists on a holiday from orthodoxy' claimed Charles Jencks,...

Marius Bercea

Studio International spoke to Bercea about the medium of painting and its relationship to history, t...

Barry Flanagan: Early Works 1965

Sculptor Barry Flanagan (1941...

Rothko in Britain

In this exhibition Rothko’s work is experienced counter-intuitively. The instructions Rothko gave ...

Kitaj: Portraits and Reflections

Kitaj: Portraits and Reflections is the first major solo exhibition in the UK of the American artist...

Every Day is a Good Day. The Visual Art of John Cage

In 1952 David Tudor performed a piece by John Cage that existed in the absence of musical notation. ...

The 43 Uses of Drawing

Rugby Art Gallery and Museum’s The 43 Uses of Drawing, curated by the practitioners’ researchers...

Abstraction and Atonality: Wassily Kandinsky, Franti

František Kupka (1871–1957) is generally recognised to be the best-known Czech artist from the 20...

Fantastical notions and their strange connections

At first glance the works of Paul Etienne Lincoln might be late 18th-century diagrams of eccentric i...

Rudolf Steiner and Contemporary Art and Thinking without limits: Inspired ...

Think about a 20th century without Rudolf Steiner...

Michelangelo Pistoletto: The Mirror of Judgment

Michelangelo Pistoletto was a key figure in the development of conceptual art and a founder of the i...

Radical Bloomsbury: The Art Of Duncan Grant and Vanessa Bell, 1905

Radical Bloomsbury at the Brighton Museum and Art gallery seeks to re-evaluate the work of Duncan Gr...

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