Private View held by Richard Andrews
Forest To The Sea: Emily Carr In British Columbia is the first major solo exhibition in Europe dedicated to the Canadian artist. Gathering together Emily Carr's paintings of the aboriginal settlements she encountered during her travels up the West Coast of Canada and her formidable landscapes and seascapes, the show exemplifies her lifelong artistic evolution, and the eventual discovery of a freedom in style that secured her position as one of Canada's best loved artists. A pioneer of modernism, fully aware of international movements in art such as Fauvism, Post-Impressionism and Cubism, Carr was fascinated by the indigenous culture of British Columbia. She immersed herself in the people and landscape, and drew upon both for inspiration and subject matter. The exhibition is a selection of more than 140 works, together with the recently discovered illustrated journal, 'Sister and I in Alaska', in which Carr documented her pivotal 1907 trip up and down the Northwest Coast. It follows a dramatic journey from darkness to light, beginning with Carr's dark and rhythmic forest scenes including 'Totem' and 'Forest', and culminating with the euphoric skyscapes and seascapes Carr painted towards the end of her career, including 'Untitled (Seascape)'. Also on display are her sketches, the 'momentary records' Carr left behind in her trunk. These include landscape studies as well as notations made on her visits to native communities and also museums, where she furthered her study of indigenous art. Carr's paintings are accompanied by more than 30 indigenous artefacts, including masks, baskets, feast bowls and ceremonial object, arranged to follow a parallel trajectory from winter feasting to summer activity. Dulwich Picture Gallery, Gallery Road, London SE21, until 8th March.
Love Is Enough: William Morris & Andy Warhol draws together iconic and rarely seen works by two giants of the 19th and 20th centuries. This unconventional combination of artists' work is curated by artist Jeremy Deller, who cites William Morris and Andy Warhol as his two greatest artistic influences. Deller draws many surprising connections between these two artists, who left an indelible mark on their generations and arguably those that followed. They both used repetitive printed imagery, one pioneering wallpaper, the other, screen prints, one looking back to a medieval workshop, the other mocking a modern factory. Morris and Warhol both established printmaking businesses and distributed their work through new forms of mass production. Both were natural collaborators who worked with the prominent artists of their time to develop working methods that did much to redefine the artist's relationship to the studio and factory. Morris achieved this through his mastering of craft techniques and his rejection of industrial processes, and Warhol through the activities of the Factory, which often parodied the industrial culture of the mid-late 20th century. The works on view include a panel from the epic and rarely seen 'Holy Grail' tapestry series completed by William Morris in 1896; a Morris stained glass window panel 'King Arthur and Lancelot'; a selection of Warhol's silkscreens such as the Elizabeth Taylor print; a Warhol tapestry of Marilyn Monroe on public display for the first time since it was created in 1968; and a signed photograph of Shirley Temple posted to a 13 year old Andy from the actress in 1941. Modern Art Oxford until 8th March.
War, Art And Surgery explores the relationship between war and surgery, past and present, examining the birth of modern facial reconstruction, and the evolution of military medicine. With unprecedented access to military facilities, the artist Julia Midgley has created over 150 pieces of reportage artwork representing military surgeons in training and recently wounded soldiers on their road to recovery. Alongside these are 72 striking pastels of wounded servicemen by Henry Tonks from 1916 to 1918, including soldiers undergoing the pioneering facial plastic surgery of Harold Gillies and their steady recovery. Tonks was a well established artist before the First World War, but he was also a trained surgeon, and served as a lieutenant in the Royal Army Medical Corp, before becoming an official war artist touring and documenting events on the Western Front. Midgley's work records much more sophisticated medical interventions in Afghanistan, as well as the contemporary training of military surgeons, bringing focus to the similarities that remain and the improvements that have been made over the last century. Her work is not as graphic as that of Tonks, not least because facial injury is much rarer in 21st century warfare. Improvised explosive devices are modern war's most destructive weapon, so much of Midgley's work focuses on limb amputation and its after-effects. The material on display is often shocking, depicting debilitating wartime injuries, as well as the work of surgeons and medical professionals in these fields. Hunterian Museum at the Royal College of Surgeons, 35-43 Lincoln's Inn Fields, London WC2, until 14th February.
Winter Wonderland, set between Hyde Park Corner and the Serpentine, returns as the ultimate winter theme park experience. The 20 acre site features London's largest outdoor ice rink - created with 130,000 litres of frozen water, weighing 130 tonnes - able to accommodate up to 400 skaters at a time, with ice guides to help beginners; a toboggan slide; a haunted mansion; an ice and snow sculpture experience; a traditional Christmas Market, with over 200 separate wooden chalets, offering arts, crafts, presents and foods; 32 cafes and bars serving traditional food and mulled wine; a 50m observation wheel providing a panoramic view of London above the park; a big top presenting Zippo's Circus with a special 50 minute Christmas themed show and Cirque Berserk featuring a Globe of Death; a double decker carousel and other traditional rides and attractions; thrill rides including Star Flyer, Power Tower and Black Hole; a ski jump and snow ride; and a selection of gentler amusement rides for younger children; plus Father Christmas in his own Santa Land. To add to the atmosphere, the trees along Serpentine Road sparkle with thousands of Christmas lights highlighting the natural beauty of Hyde Park. Entrance to the Winter Wonderland site is free, with fees for individual attractions. Hyde Park, 10am-10pm daily (except Christmas Day) until 4th January.
William Blake: Apprentice & Master explores life and work of the printmaker, painter and revolutionary poet. The exhibition examines William Blake's formation as an artist, apprenticeship as an engraver, and his maturity during the 1790s when he was at the height of his powers. It also looks at his influence on the young artist-printmakers who gathered around him in the last years of his life, including Samuel Palmer, George Richmond and Edward Calvert. Blake's radical politics were reflected in the technical innovations in the creation of his illuminated books, which brought a new sophistication to colour printing. Among the 90 works on display are several of the most extraordinary illuminated books, including 'The Marriage of Heaven and Hell', and a complete set of the plates from 'Europe: A Prophecy', together with some of the finest separate plates, among them 'Nebuchadnezzar' and 'Newton'. The centrepiece of the exhibition is a recreation of Blake's studio, based on plans discovered dating to the 19th century, showing the footprint and exact dimensions of the building in which Blake created the majority of his illuminated books and developed his method of colour printing. Late in his career Blake became interested in the great artist-printmakers of the Renaissance, such as Albrecht Durer and Lucas van Leyden, and made a series of watercolour illustrations to the Book of Job and to Dante. It was these works, and the woodcut illustrations to Virgil's Pastorals that inspired the young artists who became known as the Ancients. Among most notable of their works shown alongside Blake's are Samuel Palmer's greatest creations, the six sepia drawings of 1825, and Edward Calvert's woodcuts of the late 1820s. Ashmolean Museum, Oxford, until 1st March.
William Hogarth celebrates the 250th anniversary of the death of the artist who is often regarded as the founding father of British art. Satirist, printmaker, portraitist, history painter and art theorist, William Hogarth's ribald vision of 18th century England saw it as a land of gin-soaked alleys, drawing room greasy poles and good old roast beef. Hogarth first gained recognition painting scenes from the theatre, moving on to make his name with darkly humorous 'modern moral' series depicting the declining fortunes of foolish or ignoble characters, and bring a similar vivacity to the polite interiors of his 'conversation piece' portraits. Taking in the full breadth of Georgian society, paintings in the exhibition include his depiction of the highwayman stage hit, The Beggar's Opera, as well as his sober portraits of his patrons including Thomas Herring, the archbishop of Canterbury. Other highlights include the self portrait 'The Painter and his Pug', 'O the Roast Beef of Old England' (The Gate of Calais), 'Satan, Sin and Death' (A Scene from Milton's 'Paradise Lost') , 'The Dance' (The Happy Marriage? VI: The Country Dance), 'A Rake's Progress', 'The Enraged Musician', 'Beer Street' and 'Gin Lane', and 'Marriage a la Mode'. All human life indeed. Tate Britain until 26th April.
Peder Balke is the first exhibition in Britain to feature works by one of the most original yet least known painters of 19th century Scandinavia, now recognised as one of the forerunners of Modernism. Peder Balke was one of the very first artists to venture to the far north of his native Norway, when in 1832 he visited the distinctive, dramatic and rugged lands of the North Cape, an experience of primal nature so profound that it allowed him to define his highly individual painting style. Balke explored these bleak and original Arctic Circle land and seascape motifs in increasingly austere images throughout his life. A lack of commercial success forced Balke to abandon his career as a painter, yet this wilderness was so alluring to him, that he continued to paint small scenes purely for pleasure. In these later works the subjects are the same - lone lighthouses, mountain peaks, roiling seas - but the manner of their execution is profoundly different, and they are now recognised as highly original improvisations. They are much more experimental, with Balke using brushwork or even his hands to suggest seascapes, and are extraordinarily prescient of later Expressionism. The exhibition comprises around 50 unique, innovative and virtuosic works that represent every facet of Balke's painting. Highlights include 'The Tempest', 'Seascape', 'The Mountain Range, Trolltindene', 'From North Cape', 'Landscape from Finnmark' and 'Sami with Reindeer Under the Midnight Sun'. National Gallery until 12th April.
Rebel Visions: The War Art Of CRW Nevinson explores the powerful art and contradictory personality of the mercurial British war artist. Famous for his dramatic, often haunting images of the First World War battlefield and its soldiers, CRW Nevinson's arresting paintings, drawing, prints and posters also acknowledged the sometimes unpalatable effects war had on British society. Always a rebel, Nevinson produced work that ranged in variety from official government war propaganda to later more jaggedly geometric anti-war protest compositions, some of which were censored. Nevinson's visions of the First World War range from sympathetic and largely realistic depictions of the soldiers during moments of quiet, to violently abstract visions of mechanised warfare that owe much to the influence of Futurism. The exhibition features 21 works from throughout Nevinson's career. Highlights of include 'La Patrie', 'A Star Shell', 'Returning to the Trenches', 'The Dressing Station ', 'War Profiteers', 'Britain's Efforts and Ideals: Acetylene Welding' and 'The Unending Cult of Human Sacrifice'. Barber Institute Of Fine Arts, Birmingham, until 25th January.
Edward Steichen: In High Fashion, The Conde Nast Years 1923 - 1937 offers a rare insight into a distinctive approach towards portraiture and fashion photography. This exhibition features over 200 vintage prints from when Edward Steichen was working for Conde Nast on Vogue and Vanity Fair. First and foremost an independent art photographer, Steichen was a major pioneer in the development of the medium and its status as an art form. He was already an internationally celebrated painter and photographer when he was offered the position as chief photographer at Conde Nast. For the next 15 years, Steichen took full advantage of the resources and prestige conferred by his role to produce an oeuvre of unequalled brilliance. His work defined the culture of his time, capturing iconic figures in politics, literature, journalism, dance, theatre and the world of haute-couture. The works in the exhibition convey Steichen's forward thinking and 'painterly' techniques. He borrowed from a range of aesthetic movements including Impressionism, Art Nouveau and Symbolism to create a characteristic Art Deco style. Within his meticulous compositions, he treated his subjects as vehicles through which to explore shape, form, texture, light and shade. These photographs depict designs from Chanel, Lanvin, Lelong, Patou, Schiaparelli amongst many others, alongside portraits of Greta Garbo, Cecil B De Mille, Winston Churchill, Marlene Dietrich, Josef von Sternberg, Frank Lloyd Wright, Amelia Earhart, W B Yeats, Colette, Martha Graham, Fred Astaire, Vladimir Horowitz and George Gershwin. The Photographers Gallery, 16 - 18 Ramillies Street, London W1, until 18th January.
Late Turner - Painting Set Free reassess the extraordinary body of work during the final period of Britain's greatest painter, when some of his most celebrated paintings were created. The exhibition begins in 1835, the year that Joseph Mallord William Turner reached 60, and closes with his last exhibits at the Royal Academy in 1850. It demonstrates how his closing years were a time of exceptional energy and vigour, initiated by one of his most extensive tours of Europe. The show includes iconic works such as 'Ancient Rome; Agrippina Landing with the Ashes of Germanicus', 'The Wreck Buoy', 'Heidelberg: Sunset' and 'Peace - Burial at Sea'. Rather than focusing on any assumptions about the pessimism of old age, Turner maintained his commitment to the observation of nature. He brought renewed energy to the exploration of the social, technological and scientific developments of modern life, in works such as 'Rain, Steam, and Speed - The Great Western Railway'. He also continued to engage with the religious and historical themes that linked him to the cultural traditions of his era, such as 'The Angel Standing in the Sun'. Turner consciously developed his style and technique with each subsequent painting he produced. These works were often poised equivocally between finished and unfinished, for example in a series of reworkings in oil of subjects originally published as prints in his 'Liber Studiorum'. From pictures of the whaling industry in the 1840s to 'sample studies' and finished watercolours such as 'The Blue Rigi, Sunrise', Turner constantly sought to demonstrate his appeal to new admirers. Featuring many large-scale oil paintings alongside drawings, prints and watercolour, the exhibition addresses the sheer range of materials and techniques Turner embraced, and demonstrates his radicalism. Tate Britain until 11th January.
Ming: 50 Years That Changed China explores a pivotal period that transformed China during the rule of the Ming dynasty. In the years between 1400 and 1450 in China bureaucrats replaced military leaders in the hierarchy of power, the emperor's role changed from autocrat to icon, and the decision was taken to centralise, rather than devolve, power. China's internal transformation and connections with the rest of the world led to a flourishing of creativity from what was, at the time, the only global superpower, evidenced here through gold, silver, paintings, porcelains, sculpture, ceramics, silk hanging scrolls, weapons, costumes, furniture and textiles. This is the first exhibition to explore the great social and cultural changes in China that established Beijing as a capital city and the building of the Forbidden City - still the national emblem on coins and military uniforms today. As well as the imperial court, the exhibition focuses on archaeological finds from three regional princely tombs: in Sichuan, Shandong and Hubei covering southwest, northeast and central China. Four emperors ruled China in this period, and the exhibition includes the sword of the Yongle Emperor, "the warrior"; the handwriting of the Hongxi emperor, "the bureaucrat";the paintings of the Xuande emperor, "the aesthete"; and portraits of the officials who ruled while the Zhengtong emperor was a boy. In addition to the costumes of the princes, their gold and jewellery, and furniture, the exhibition also covers court life, the military, culture, beliefs, trade and diplomacy. British Museum until 5th January.
Horst: Photographer Of Style is a retrospective of the work of one of the leading photographers of the 20th century. In an illustrious 60 year career, German-born Horst P Horst worked predominantly in Paris and New York, creatively traversing the worlds of photography, art, fashion, design, theatre and high society. The exhibition comprises 250 photographs, alongside haute couture garments, magazines, film footage and ephemera, including previously unpublished vintage black and white prints and 94 Vogue covers. The display explores Horst's collaborations and friendships with leading couturiers such as Coco Chanel and Elsa Schiaparelli in Paris; stars including Marlene Dietrich and Noel Coward; and artists and designers such as Salvador Dalí and Jean-Michel Frank. It also reveals lesser-known aspects of Horst's work: nude studies, travel photographs from the Middle East and patterns created from natural forms. Detailed studies of natural forms such as flowers, minerals, shells and butterfly wings from the project 'Patterns From Nature', are shown alongside kaleidoscopic collages made by arranging photographs in simple repeat, used as designs for textiles, wallpaper, carpets, plastics and glass. A selection of 25 large colour photographs, newly printed from the original transparencies demonstrating Horst's exceptional skill as a colourist are shown together with preparatory sketches that have never previously been exhibited. The creative process behind some of his most famous photographs, such as the 'Mainbocher Corset', are revealed through the inclusion of original contact sheets, sketches and cameras, and the many sources that influenced Horst - from ancient Classical art to Bauhaus ideals of modern design and Surrealism in 1930s Paris - are explored. Victoria & Albert Museum until 4th January.