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Michael Prodger is Reviews Editor at the New Statesman. He is an art historian, Senior Research Fellow at the University of Buckingham, and a former literary editor.
Why the little-known artist of the Spanish Renaissance deserves wider recognition.
Krasner was a pioneer of abstract expressionism, but it took the death of her husband Jackson Pollock for her to start painting like one.
Why the black British painter is back in the limelight again.
The Beggarstaff brothers’ advertisting partnership may have been a financial failure, but it transformed the nature of graphic design.
President Macron’s promise to rebuild the cathedral within five years ignores the realities of restoration.
350 years after his death, how can we see art's great humanist afresh?
The artist discusses the need for greater creativity in the modern age, sculptural outreach, and why he always returns to bodies in his work.
The painter’s Norwegian landscapes throb with an indefinable intensity.
Michelangelo and Bill Viola both set out to investigate the ineffable – but in a new double show at the Royal Academy, affinities between them are not enough to bridge the divide.
Pierre Bonnard painted what he remembered not what he saw, and his enigmatic pictures are ripe with the immanence of decline.
