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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.
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.
This year’s exhibition calendar sees a return for some of the biggest names of the Renaissance – and Andy Warhol.
How a journey into the Arctic Circle left the painter Peder Balke with ice in his soul.
Reassessing the surrealist artworks of a woman dismissed as a footnote to the Picasso story.
How George Stubbs got under the skin of his subjects, animal and human, before he started painting.
As their portraits show, two of art’s supposed “great loners” were deeply social painters.
