The Art Exhibitions Blog

It's bright, it's bold and it's big; everyday items in garish colours and impossible proportions. It's unmistakably a Michael Craig-Martin.   There's plenty of this in  Michael Craig-Martin  at the Royal Academy in London, the images you're possibly accustomed to. But there's more as well, some of it very intriguing, some of it a bit over the top.   And if you don't know much about the history of this Irish-born artist, it's the very first room that you'll find most surprising. We did. Because before Craig-Martin started on all this, he was a conceptual artist. Or should that be a Conceptual Artist? Either way, no need to shudder in horror. This early work is thought-provoking. And quite humorous.   The first exhibit is Craig-Martin's most famous from his conceptual period. Or perhaps most notorious.  An Oak Tree from 1973 is a glass of water on a shelf, accompanied by a Q&A. Craig-Martin tells his questioner that "I've changed

You won't find a single work of art by Gustave Caillebotte in a British public collection. And yet he's one of the key figures in the Impressionist movement, whose 150th anniversary we're celebrating this year. But over in Paris, he's the subject of a big, big exhibition at the Musée d'Orsay; we jumped on the Eurostar to see it, and, even though  Caillebotte: Painting Men   was the most crowded show we'd been to in quite some time, we absolutely adored it.  And let's start with perhaps the pièce de résistance. Even if you don't know Caillebotte at all, you may have seen this image before; there's something about it that encapsulates late 19th-century Paris, with its view of an intersection between the broad new streets pushed through by that radical city-planner, Baron Haussmann, lined by elegant new buildings. This was the modern city, the modern world. Paris Street; Rainy Day : a painting in which there's nothing really happening, and there'