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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.
Henri-Edmond Cross envisaged the Mediterranean as a utopia for the deserving working man
Commissioned by Catherine the Great, this was both an extraordinary example of Georgian soft power and a pictorial record of 18th-century England.
A new retrospective at Tate Britain reveals the paradox at the heart of her art: here is a narrative artist whose every painting tells a story, but it is never clear what those stories might be.
The vivid, emotional works of an artist who left Picasso in awe.
The botanical artist’s “unnatural and distressing” interest in insects led to wonderfully detailed – and radical – illustrations.
Since museums are almost as much about money as artefacts, there is a clear logic to the former chancellor’s appointment as chair of trustees.
How the painter kept an eye on the radical – but found his greatest inspiration in the most quotidian of places
Why the artist was hailed by Aaron Burr as “the first painter that now is or ever has been in America”.
For the timid 17th-century artist, painting light-hearted landscapes was a way of escaping his persecutors.
Percy Horton was a man of unwavering commitments – to his principles, to the working man, and to art.
