It is a once-in-a-lifetime experience: the chance to see one of the greatest -- and most fragile -- works of European art before your very eyes. The illustrated manuscript known as the Très Riches Heures du Duc de Berry contains images that have shaped our view of the late Middle Ages, but it's normally kept under lock and key at the Château de Chantilly, north of Paris. It's only been exhibited twice in the past century. Now newly restored, the glowing pages of Les Très Riches Heures du Duc de Berry are on show to the public for just a few months. "Approche, approche," the Duke of Berry's usher tells the visitors to the great man's table for the feast that will mark the start of the New Year. It's also your invitation to examine closely the illustration for January, one of the 12 months from the calendar in this Book of Hours -- a collection of prayers and other religious texts -- that form the centrepiece of this exhibition in Chantilly. It's su...
Frans Hals had 27 blacks in his paintbox, according to Vincent van Gogh. How many whites did James McNeill Whistler have in his? You can make your own judgement in Whistler's Woman in White: Joanna Hiffernan at the Royal Academy in London. Jo, the red-headed Irishwoman who modelled for the paintings at the heart of this excellent exhibition, was also Whistler's lover (and distinctly different from Whistler's Mother ), and she was central to his early development as an artist. As you enter this show, this is the picture of Jo you can see in the distance through the doorway to your right: Symphony in White, No 1: The White Girl . Whistler started the painting in Paris late in 1861, posing Hiffernan for exhausting all-day sessions, and he submitted it to the Royal Academy's annual exhibition in London the following year. "Some stupid painters don't understand it at all," Hiffernan wrote, adding that Whistler thought that "praps the old duffers may...