Michael Prodger is an Assistant Editor at the New Statesman. He is an art historian, Senior Research Fellow at the University of Buckingham, and a former literary editor.
Michelangelo disdained most artists, but his partnership with Sebastiano produced some of the boldest works of the Renaissance.
"America After the Fall: Painting in the 1930s" explores how dark days for the economy made for a golden age in art.
For all his business acumen, Pieter the Younger was no original and his skill was weedy compared to the robustness of his father’s.
Compared to the work of their Sussex contemporaries, the paintings of the Bloomsbury Set look even more threadbare than usual.
Famous for his eerie First World War paintings, a new exhibition reminds us why Paul Nash was the greatest British artist of the first half of the 20th century.
A new exhibition at Tate Modern reveals how O'Keeffe's personality came to inform her art – and why it's time to consider them together.
Stunning new gallery spaces have opened in London and San Francisco. But which is better – the buildings or the art?
Living in an age of progress, Bosch sent his monstrous creations hurtling back to the Dark Ages.
A new exhibition at Tate Modern invites us to explore the ways we play for the camera.
In Pieter Bruegel’s hands, even black and white paintings can be full of colour, as a new exhibition at the Courtauld Gallery shows.
For the best analysis of the 8th of June General Election, subscribe today.
Be well informed. Be a New Statesman reader