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.
His paintings are joyous and beautiful, great sheets of throbbing colour interspersed with squares, circles and ragged patches of different hues.
Jones’s burners are off, but his face shows no fear: here is a creature that would luxuriate in hellfire as if it were as pleasurable as a hot shower.
It was, for the artist, a year of intense and focused activity – even by his own standards.
A striking new exhibition at Tate Britain looks afresh at the “school of London” in a period seemingly dominated by American abstract expressionism and pop art.
Monarchical pomp, misadventure and backroom deals.
They are the latest to attempt to nail down the slippery nature of paint on canvas.
The Italian artist has come to personify la vie bohème. But it wasn’t always so.
“Impressionists in London” at the Tate Britain explores the British capital’s little-known influence.
The most radical artists of the Victorian age fixed their gaze on 15th-century Netherlands.
In this Tate Britain exhibition, the mood that her pieces transmit is one of contemplative silence.
