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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.
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.
Flaxman developed a style that both caught and defined the classical revival at its peak.
Thanks to a familiar, domestic material unburdened by artistic tradition, the linocut birthed fresh and colourful depictions of the everyday.
Why the little-known artist of the Spanish Renaissance deserves wider recognition.
Krasner was a pioneer of abstract expressionism, but it took the death of her husband Jackson Pollock for her to start painting like one.
Why the black British painter is back in the limelight again.
The Beggarstaff brothers’ advertisting partnership may have been a financial failure, but it transformed the nature of graphic design.