The Art Exhibitions Blog

How was it that all but a few women artists became excised from art history? It wasn't as if there weren't plenty of them around, making stunning paintings, and lots of money, particularly in the Low Countries in the 17th and 18th century. Art history is of course now being rewritten, to rescue the forgotten from oblivion. To find out what happened and how the record is being put right, you should go to Ghent to see Unforgettable: Women Artists from Antwerp to Amsterdam, 1600-1750 at the Museum of Fine Arts.  Michaelina Wautier is a case in point: a woman who could compete on her own terms with the Baroque masters of the southern Netherlands, but whose work was disregarded or attributed to men until the last couple of decades. Wautier may well be the biggest rediscovery among forgotten women painters in recent years -- she's got an exhibition of her own on now at the Royal Academy in London -- and one of her pictures is among the stand-out works at this show in the heart ...

No one before had ever painted horses like George Stubbs. Not only did they look incredibly lifelike, he seemed able to capture their individual character -- a talent that ensured he could command extremely high prices for his work from wealthy and influential patrons.  There's now a rare chance to appreciate the only one of the painter's outstanding lifesize equine canvases still in private hands in a small free exhibition,  Stubbs: Portrait of a Horse , in Room 1 at the National Gallery in London. This is Scrub, eight times a race winner, who like the gallery's Whistlejacket belonged to one of those rich patrons, the Marquess of Rockingham, and he commissioned both pictures in about 1762.  Scrub, again like Whistlejacket, was depicted not just as a racehorse, under the control of a jockey or stable boy, but in a grand manner, intended to serve as the steed in an equine portrait of George III, who had recently come to the throne. Other specialist painters would be u...

"Silence is golden," according to the proverb, but the stillness in the paintings of Vilhelm Hammershøi is distinctly white, charcoal, and every shade of grey in between.   However, there's nothing dull about the Dane's restricted palette, as we were able to appreciate, not for the first time, in  Hammershøi: The Eye that Listens  at the Museo Nacional Thyssen-Bornemisza in Madrid. His subject matter -- so often sparsely decorated rooms in which the doors, windows and light sources become focal points -- is mesmerising.  This picture --  Sunbeams or Sunlight. Dust Motes Dancing in the Sunbeams. Strandgade 30 -- is so very typical. Apparently empty, lacking any subject matter -- just one wall of a room with a door, panelling and a window. Yet you are captivated by the illumination, and the space. Look how Hammershøi has depicted the light coming in through the window and on the frames round the panes. See how it casts a shadow on the jambs and follow th...

You may have noticed that it's the 250th anniversary of John Constable's birth this year, while JMW Turner was born 250 years ago last year and Thomas Gainsborough's 300th birthday falls in 2027. Put them all together and you get  Gainsborough, Turner and Constable: Inventing Landscape  at Gainsborough's House in Sudbury, Suffolk. This show, running from April 25 to October 11, explores the emergence of English landscape painting through three of its greatest exponents, and it features mostly rarely seen works from private collections -- including Turner's Abergavenny Bridge , which hasn't been on public display since 1799!  Meanwhile, the show that's just been on at Gainsborough's House --  Love & Landscape: Stanley Spencer in Suffolk  -- transfers to the Stanley Spencer Gallery in Cookham, Berkshire, starting on April 4. On till November 1, the exhibition explores the pivotal role the time Spencer spent in Suffolk had on his career. You can read he...

It might seem a bit odd travelling to Madrid to see an exhibition by a Scandinavian artist.... but the Swede Anders Zorn made the journey to Spain nine times in his career. He wasn't a painter we'd been familiar with, the Swedes lagging some way behind their Nordic neighbours in our art explorations; we'd been intrigued by the idea of seeing a retrospective of his work in Hamburg late last year but didn't make it, so we seized the chance to view the same show at the Mapfre Foundation in Madrid under the title  Anders Zorn: Travelling the World, Remembering the Land . Zorn, who lived from 1860 to 1920, was a big name in his day, and it's easy to appreciate why from this exhibition. He had fantastic technique and worked in a broad range of genres, famed particularly for his portraiture. But he's quite difficult to pigeonhole, and as for some of his early subject matter, it really is rather sickly sweet.    As the exhibition title spells out, Zorn explored the worl...

She was a highly successful artist in 17th-century Brussels, creating the sort of paintings you might have seen from Rubens or Van Dyck, but then she vanished from art history. It's only very recently she's been rescued from obscurity, her pictures rightfully reattributed.  Michaelina Wautier  comes to the Royal Academy in London on March 27 from the Kunsthistorisches Museum in Vienna, offering the first opportunity to encounter her work on a large scale. On till June 21.  And while we're on the theme of new discoveries, we've made quite a few at the Dulwich Picture Gallery down the years. The latest arrival there is a completely unknown name to us, from the Baltic:  Konrad Mägi  (1878-1925), described as a pioneer of Estonian modernism. More than 60 of his works are being shown in the UK for the first time in an exhibition that runs from March 24 to July 12.  No introduction is needed for David Hockney, and he's taking over the Serpentine Gallery on March ...