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Michael Prodger is associate editor at the New Statesman. He is an art historian, Senior Research Fellow at the University of Buckingham, and a former literary editor.
Why Alan Reynolds was in fact two completely different artists.
With no evidence that the 17th-century Dutchman ever visited Italy, it seems rather that he invented Italy in his mind and painted that invention.
Why Cole’s wounded pride helped inspire a national school of painting.
How Altdorfer’s small and deeply enigmatic picture gave art a new direction.
Our series on landscapes continues with Christen Købke who, in art and life, ignored turbulent emotions and sought contentment.
In the first of a new series examining landscape paintings, we look at the story behind Nash’s charming and amusing countryside scene.
The relentlessly cheery pictures found in medical centres today are a far cry from the pious, grand and distressing paintings hung in hospitals throughout history.
Andy Warhol was once the embodiment of sleazy-glitzy chic, but 30 years after his death his legacy is looking shaky.
Why the Belgian artist’s work is anything but black and white.
The price for being the most famous painting in the world was that it also became the most stolen. During its long history, the altarpiece has been the victim of 13 different crimes.