Dense with allusion and synecdoche, Rauschenberg's art work reveals an extraordinary “stream of unconsciousness”.
A new exhibition at Tate Liverpool reveals how Bacon constructed his striking faces.
“A cabbage white / bluster at the edge of sight.”
The wonder of Calder's work with wire, on display at the Tate, is that their beauty makes you laugh.
Goya’s sketched faces are haunting islands of humanity in a sea of guarded aristocrats.
I realise the purpose is to make me feel like a war criminal. Sorry, tweeters, I don’t.
Some think of the impressionists as the painterly equivalent of easy listening. Inventing Impressionism, themed around the collection of Paul Durand-Ruel, shows just how wrong they are.
A new Royal Academy of Arts exhibition makes Craig Raine yearn for the draughtsman rather than the dramatic.
Egon Schiele is candidly pornographic – but his obsession with anatomy tells the story of an artistic struggle.
When he started “drawing with scissors”, Matisse found a whole new way to overthrow the habitual.