As several exhibitions in london show, colour obsesses many artists – so why do critics dismiss this interest as decorative – or worse?
The V&A’s modernism exhibition presents an intriguing puzzle. Why do the style’s dogmas still exert such a grip on so many? Surely it is because modernism is in essence a religion.
Professor Sir John Boardman, Britain’s most distinguished historian of ancient Greek art, talks to
about his dazzlingly ambitious new book, his early career and his current campaign against politically correct obstacles to the collecting and study of ancient art. Portrait by .
The Cooper-Hewitt’s remarkable survey of 500 years of flatware shows how modern designers have enjoyed creating new forms for knives, forks and spoons, writes
challenges the view that the reception of the Bauhaus in 1930s Britain went little further than providing temporary shelter for some of its teachers. Common roots with the Bauhaus in the Arts and Crafts movement helps to explain a lively British interest in the school’s ideals, among not only architects but also designers – and even puppeteers.
The V&A’s ‘Modernism’ exhibition demonstrates the centrality of photography to the style. But, as
and discuss, the museum’s own collection reveals that modernism was just one strand in photographic culture between the wars.
Modernism was strongly associated with the interwar cult of sunlight and fresh air.
discusses the way that British artists of the period depicted men and women of all classes enjoying leisure pursuits out of doors, the subject of a remarkable exhibition currently in Manchester.
Ever since the publication in 1982 of The Holy Blood and the Holy Grail, the mysterious Shepherd’s Monument at Shugborough in Staffordshire has attracted numerous bizarre interpretations.
investigates its real meaning, following a trail that leads via Poussin’s vision of Arcadia to Pelham’s Urn at Esher Place, Surrey.