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.
“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.
Tate Modern offers a powerful glimpse into the civil rights struggle.
Spiky and unlikeable, the painter was blighted for years by his flirtations with fascism.
A revealing retrospective of the sculptor's work speaks to mankind’s alienation, loneliness and smallness
As Lenin led his overthrow of the old order, Russia’s artists engaged in one of their own
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.