News Archive

Private View held by Richard Andrews

Last updated : 26th March 2014


Veronese: Magnificence In Renaissance Venice is devoted to one of the most renowned and sought-after artists working in Venice in the 16th century. Paolo Caliari, known as Veronese, was a virtuoso and a craftsman, creating works ranging from complex frescoes to altarpieces, devotional paintings, mythological, allegorical and historical pictures, and portraits. His works adorned churches, patrician palaces, villas and public buildings throughout the Veneto region, and are inseparable from the idea of the opulence and grandeur of the Republic of Venice at that time. This exhibition of around 50 of his works brings together portraits, altarpieces, and paintings representing the very peak of Veronese's output at every stage of his career. Highlights include 'The Martyrdom of Saint George', 'The Mystic Marriage of Saint Catherine', 'Family of Darius before Alexander', 'Portrait of a Gentleman', and 'Portrait of a Woman, known as the Bella Nani'. Works are reunited in the exhibition for the first time in hundreds of years, including 'Mars and Venus United by Love' and 'Four Allegories of Love'; two companion altarpieces painted for the church of San Benedetto Po near Mantua: 'The Virgin and Child with Saints Anthony Abbot and Paul the Hermit' and 'Consecration of Saint Nicholas', displayed together for only the second time since the 18th century; and two versions of 'Adoration of the Kings' painted for different churches in the same year that have never been seen together since they were in Veronese's studio. Veronese's mastery of colour, space and light, and his feeling for beauty, for opulence and grace, captured the imagination of countless artists and art lovers, and the work of Van Dyck, Rubens, Watteau, Tiepolo and Delacroix depend upon his example. National Gallery until 15th June.

Scottish Gold offers a unique opportunity to learn about the precious metal as part of the natural history of Scotland and examine the close relationship with it over millennia. The exhibition explores the use of gold in Scotland from prehistoric times to the present, offering an informative look at the history and cultural significance of the often valuable and highly sought-after precious metal. Focussing on the occurrence of gold in Scotland and Scottish gold mining, the show also covers the natural history of gold, the first use of gold coinage in Scotland and the infamous Darien disaster of the late 1600s. Amongst the treasures on display are the 'cloth of gold' from the tomb of Robert the Bruce; a multitude of Scottish gold coins including a bonnet piece of James V; Bronze and Iron Age gold torcs, including the hoard from Law Farm, Morayshire; a gold ampulla used at the Scottish Coronation of Charles I; the King's Gold Cup from the Leith races of 1751; Queen Victoria's gold chain and badge of the Order of the Thistle; and ten of the largest gold nuggets found in Scottish rivers. Contemporary items include an 18 carat solid gold quaich made by Scottish goldsmith Graham Stewart; and a Millennium gold medal produced by Malcolm Appleby for the Royal Society of Edinburgh. Hunterian Art Gallery, Glasgow, until 15th June.

Bond In Motion is the biggest exhibition of Bond vehicles ever assembled. Cars used in films starring Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan and Daniel Craig all feature in the exhibition, including the record breaking Aston Martin DBS stunt car from 'Casino Royale'. The 50 vehicles in the display range from the real to merely fanciful, including the legendary Aston Martin DB5 seen in a number of films, with its many gadgets and ejector seat, alongside bikes, trikes, sleds and boats. Highlights include the Jaguar XKR with grille-mounted machine guns, a rear-mounted Gatling gun and boot-mounted mortars from 'Die Another Day'; the Lotus Esprit S1 that dived underwater in 'The Spy Who Loved Me'; the Fairey Huntress Speedboat from 'From Russia With Love'; Goldfinger's 1937 Rolls-Royce Phantom III; the AMC Hornet from 'The Man With the Golden Gun'; the Little Nellie autogyro from 'You Only Live Twice'; the Ford Mustang Mach I from 'Diamonds Are Forever'; the Citroen 2CV from 'For Your Eyes Only'; the folding Bede BD5 Acrostar Jet from 'Octopussy'; the SFX Cello Case Ski from 'The Living Daylights'; the Rolls-Royce Silver Shadow II from 'The World Is Not Enough'; the Aston Martin DBS from 'Quantum Of Solace'; and the 1/3 scale model of Agusta Westland's AW101 helicopter from 'Skyfall'. London Film Museum, 45 Wellington Street, Covent Garden WC2, until January.


Renaissance Impressions: Chiaroscuro Woodcuts examines the artistic development of the revolutionary, yet short lived, printing technique in the 16th century. Often based on designs by celebrated Renaissance masters such as Parmigianino, Raphael and Titian, depicting well-known biblical scenes and legends, chiaroscuro woodcuts were the first colour prints that made dramatic use of light and shadow - chiaroscuro - to suggest form, volume and depth. The exhibition presents over 100 rare prints by artists from Germany, Italy and The Netherlands. In the early 1500s, several printmakers in Germany competed to claim authorship of the chiaroscuro woodcut, which involved supplementing the black line block with one or several tone blocks to create gradations of colour from light to dark for aesthetic effect. The result produced greater depth, plasticity of form, atmosphere and pictorial quality than the earlier, plainer woodcuts. Later innovations in Italy, such as unevenly cut colour fields led to works that have a more painterly character, as if they had been modelled in colour and light. Highlights of the exhibition include Hans Burgkmair the Elder's depiction of 'Emperor Maximilian on Horseback' (widely thought to be the first known example of a chiaroscuro woodcut) and 'St George and the Dragon'; Ugo da Carpi's 'The Miraculous Draught of Fishes', and 'Archimedes'; Andrea Andreani's 'Rape of a Sabine Woman' printed in several versions; Giovanni Gallo's 'Perseus with the Head of Medusa'; and Hendrick Goltzius's series of landscapes and deities, including 'Landscape with Trees and a Shepherd Couple' and 'Bacchus'. Royal Academy until 8th June.

Cezanne And The Modern features works by some of the most important artists of the Impressionist and Post-Impressionist movements. The works on show are part of a collection formed by Henry and Rose Pearlman, which is one of the most important in North America, and this is the first time it has ever been shown in Europe. The exhibition comprises a group of paintings and watercolours by Paul Cezanne, as well as paintings and sculptures by artists including Paul Gauguin, Henri de Toulouse-Lautrec, Edouard Manet, Vincent van Gogh, Jacques Lipchitz, Edgar Degas and Amedeo Modigliani. The display includes 24 works by Cezanne: 6 oils, 2 drawings and 16 watercolours, which constitute one of the finest and best preserved groups of his watercolours in the world. The majority of these are Provencal landscapes, while others depict his characteristic motifs such as a skull, female bathers and Mont Sainte-Victoire. Other highlights are a colourful and unusual composition by Vincent Van Gogh, 'Tarascon Stage Coach'; Amedeo Modigliani's portrait of Jean Cocteau; 3 bronzes by Jacques Lipchitz and 1 by Wilhelm Lehmbruck; and an extraordinary painted relief, 'Te Fare Amu' by Paul Gauguin, from his open-air dining room in Tahiti. In addition, there are works by artists who are little known in England, notably Cham Soutine. Ashmolean Museum, Oxford, until 22nd June.

Volcanoes And Earthquakes is a new gallery devoted to the most awe-inspiring, intense, powerful and dangerous phenomena in nature. The breathtaking impact of volcanoes and earthquakes has caused worldwide fascination, making them Hollywood film spectaculars as well as the cause of the biggest global tragedies. This gallery takes visitors on a journey through the causes of the world's most devastating natural disasters and explores how science is attempting to minimise their impact around the world. Through immersive experiences, real-life case studies and up to date information from around the world, this display provides a fresh and intriguing account of the almighty force of our natural world. It reveals what it's like to be a survivor of one of the world's most dangerous earthquakes, such as the San Francisco earthquake of 1906 and most recently, the 2004 Indian Ocean tsunami; and examines the scientific foundations of a volcano such as Mount Vesuvius in Italy, which famously destroyed the roman cities of Pompeii and Herculaneum, and Mount Tambora in Indonesia, which caused of one of the most powerful eruptions in history. Exhibits include original objects from world famous events, including a calendar with a waterline and broken clock from the 2011 Tohoku earthquake and tsunami in Japan; a 3.8bn year old rock; golden strands of magma, spun into volcanic glass by high winds, known as Pele's Hair; interactives and videos showing activity from around the world, including a live earthquake data feed; an earthquake simulator; a CGI film on what scientists are doing to understand tectonics; and discoveries from recent scientific field trips. Natural History Museum, continuing.

Vikings Life And Legend focuses on the core period of the Viking Age from the late 8th century to the early 11th century. The Viking expansion from the Scandinavian homelands during this era created a cultural network with contacts from the Caspian Sea to the North Atlantic, and from the Arctic Circle to the Mediterranean. The exhibition features many new archaeological discoveries and capitalises on new research and recent discoveries that have changed our understanding of the nature of Viking identity, trade, magic and belief and the role of the warrior in Viking society. It was the maritime character of Viking society and their extraordinary shipbuilding skills that were key to their achievements. At the centre of the exhibition are the surviving timbers of a 37m long Viking warship, the longest ever found and never seen before in Britain. The size of the ship and the amount of resources required to build it suggest that it was almost certainly a royal warship, possibly connected with the wars fought by Cnut to assert his authority over this short lived North Sea Empire. The Vale of York Hoard is displayed in its entirety for the first time since it was found near Harrogate in 2007. Consisting of 617 coins, 6 arm rings and a quantity of bullion and hack-silver, it is the largest and most important Viking hoard since the Cuerdale Hoard was found in Lancashire in 1840, part of which is also included in the exhibition. Ostentatious jewellery of gold and silver demonstrates how status was vividly displayed by Viking men and women. These include a stunning silver hoard from Gnezdovo in Russia, which highlights the combination of Scandinavian, Slavic and Middle Eastern influences that contributed to the development of the early Russian state in the Viking Age. British Museum until 22nd June.

Edward Lear In Greece features collection of watercolours by the Victorian writer, poet and artist. Although now perhaps best known for his limericks and nonsense verse, Edward Lear was also a superb zoological draughtsman, a talented musician and a celebrated landscape artist. Lear began to draw commercially at the age of 16 and his illustrations of birds quickly brought him to the attention of an affluent patron. He then turned his attention to landscape drawings and moved to Rome, after which he kept travelling until his death, producing over 10,000 sketches inspired by his journeys. This display highlights Lear's draughtsmanship and versatility, examining his enchanting depictions of Greek landscapes. It includes both highly finished studio watercolours, such as 'Athens', and sketches drawn in situ and annotated with Lear's notes about details of the landscape and weather. Lear's sketches, in particular, are now widely admired for the elegance and precision of his drawing, and for their vivid and spontaneous evocation of place. Unlike many other artists of the time, he was as captivated by the recent history and contemporary life of Greece as by the country's antique past. Lear travelled widely throughout Greece, from Athens and the Peloponnese to the remote mountains of the Epirus region in the north west, which are represented in the 'Suli' watercolours. Lear wrote of his aim to travel to and paint sites not previously represented by other artists, including Mount Athos, the Holy Mountain of the Orthodox Church, and widely depicted in the display, and the island of Corfu, where he lived and worked on and off for a decade. Scottish National Gallery until 18th June.

Ruin Lust offers a guide to the mournful, thrilling, comic and perverse uses of ruins in art from the 17th century to the present day. The exhibition explores ruination through both slow picturesque decay and abrupt apocalypse with works by over 100 artists. JMW Turner and John Constable were among those artists who toured Britain in search of ruins and picturesque landscapes, producing works such as Turner's 'Tintern Abbey: The Crossing and Chancel, Looking towards the East Window' and Constable's 'Sketch for Hadleigh Castle'. John Martin's 'The Destruction of Pompei and Herculaneum' recreates historical disaster, while Gustave Dore's engraving 'The New Zealander' shows a ruined London with the cracked dome of St Paul's Cathedral in the distance. Work provoked by the wars of the 20th century include Graham Sutherland's 'Devastation' series depicting the aftermath of the Blitz; and Jane and Louise Wilson's photographs of the Nazis' defensive Atlantic Wall along the north coast of France. Paul Nash's photographs of surreal architectural fragments in the 1930s and 40s, and Jon Savage's images of a desolate London in the late 1970s show how artists also view ruins as zones of potential, where the world must be rebuilt. Britain's ruinous heritage has been revisited and sometimes mocked by later artists. Keith Arnatt photographed the juxtaposition of historic and modern elements at picturesque sites for his deadpan series A.O.N.B. (Areas of Outstanding Natural Beauty); John Latham's sculpture 'Five Sisters Bing' was part of a project to turn post-industrial shale heaps in Scotland into monuments; and Rachel Whiteread's 'Demolished - B: Clapton Park Estate', shows the demolition of Hackney tower blocks, in which Modernist architectural dreams are destroyed. Tate Britain until 18th May.


British Drawings: 1600 To The Present Day examines how artists in Britain have used drawing in a wide range of ways: to think on paper and to build up storehouses of ideas, as well as to make finished exhibition pieces. The display ranges from indigenous Brits, such as Frederic Leighton, and almost natives like Lucian Freud, to those who spent their professional life in Britain, such as Henry Fuseli, Peter Lely and Antony van Dyck. Covering 400 years of drawing practice and including works by Thomas Gainsborough, John Constable, William Blake, Dante Gabriel Rossetti, Stanley Spencer and David Hockney, this display traces the central role played by drawing in portraiture and 'landskip', and in movements from Romanticism to Minimalism. Through sketches the display sheds light on the central role of drawing in portraiture, landscape, romanticism and minimalism. Innovative contemporary works demonstrate drawing's continuing importance for artists. The staging of the display seems to have tried to emphasise the closed personal world of drawing by attempting to transport the viewer into something similar: two small rooms for meditation and private appreciation on the products of some of the world's greatest draughtsmen. A cabinet of sketchbooks, never created with a viewer in mind, further adds to this feeling. The anecdotal descriptions of the drawings match this urge for insight into the mind of the artist, for instance telling us of Jonathan Richardson the Elder's urge to draw a daily self-portrait as a kind of therapy. Victoria & Albert Museum until 13th April.

Sensing Spaces: Architecture Reimagined is a series of site-specific installations exploring the essential elements of architecture. Instead of representations of buildings in the form of models, plans or photographs, as in a traditional architectural exhibition, this immerses visitors in a multi-sensory experience. Seven architectural practices from diverse geographical and cultural backgrounds consider architecture from the angle of the human encounter: how vision, touch, sound and memory play a role in our perceptions of space, proportion, materials and light. Collaborating across the globe on this project are: Grafton Architects (Ireland); Diebedo Francis Kere (Germany/Burkina Faso); Kengo Kuma (Japan); Li Xiaodong (China); Pezo von Ellrichshausen (Chile); Eduardo Souto de Moura and Alvaro Siza (Portugal). They all create work that is particularly responsive to people and place, and they share an understanding of the sensorial capacity of architecture and its materiality. . A monumental structure by Pezo von Ellrichshausen challenges our sense of perspective; inspired by a Ko-Do, the Japanese smell ceremony, Kuma highlights the importance of scent; Kere's tunnel invites visitors to physically interact with the structure's fabric; a labyrinth by Li Xiaodong creates a sense of containment and compression in contrast to Grafton's exploration of light; and Siza and Souto de Moura's installations encourage visitors to consider the architectural history of the building. A specially made film offers an opportunity to 'meet' the architects, presenting a range of their previous building projects, from a house on the rugged Chilean coast to a school in Burkina Faso in Africa, while interviews provide further insights about their work and inspirations. Royal Academy of Arts until 6th April.

Warhol, Burroughs And Lynch features the lesser-known photographic work of three renowned American artists.

Andy Warhol: Photographs 1976 - 1987 offers the product of Andy Warhol's later career, when he focused on photography. Using 35mm black and white film, Warhol carried a camera with him most of the time, capturing everyday details, people, street scenes, celebrity parties, interiors, cityscapes and signage, reflecting his characteristic indifference to hierarchy. Warhol's interest in serial and repeated imagery, seen throughout his work, is brought to play through his series of 'stitched' photographs, with identical images arranged in grid form, stitched together with a sewing machine.

Taking Shots: The Photography Of William S Burroughs is the first exhibition in the world to focus on William S Burroughs's vast photographic oeuvre, and offers new and important insights into his artistic and creative processes. Burroughs's photographs, striking in their self-containment, lack any reference to other practitioners or genres. While they can be gathered into categories of street scenes, still lifes, collage, radio towers, people, his dynamic approach to image making sits outside of any canonical structure.

David Lynch: The Factory Photographs reveals David Lynch's enthusiasm for the industrial and the man made. Featuring black and white interiors and exteriors of industrial structures, the exhibition exudes Lynch's unique cinematic style through dark and brooding images. Shot in various locations including Germany, Poland, New York, New Jersey and England, the works depict the labyrinthine passages, detritus and decay of these man-made structures - haunting cathedrals of a bygone industrial era slowly being taken over by nature. The exhibition is accompanied by one of Lynch's sound installations.

The Photographers' Gallery, 16 - 18 Ramillies Street, London W1, until 30th March.