The James McNeill Whistler exhibition at Tate Britain is big, probably a bit too big, but it's packed with beautiful pictures and it's not in the least bit boring. That's not surprising as Whistler led a colourful life, never shying from controversy and confrontation -- notably pursuing a high-profile libel case against John Ruskin -- and he produced art that was groundbreaking, hugely influential and enormously atmospheric. Including, of course, probably one of the most recognisable paintings in art history, that of his mother in profile, dressed in black. It's in this show, and we'll be taking a look at it shortly. But we start in Whistler's studio, where the artist has painted himself at work, palette and brush in his hands, and looking out directly at us, the viewers. This is the first picture you see in the show, and we're told that for Whistler, the studio was a place for public performance, as well as making art. So here he is, making a statemen...
Painters are such liars. Well, some of them, anyway. Take Jean-Léon Gérôme, a French 19th-century artist who travelled extensively to Egypt and rendered on canvas the exoticism of the Orient for a western audience. Snake Charmer is so lovingly detailed, so meticulously painted, it must be true. Except it's complete tosh, an utter fabrication. In a Muslim society, a small boy was never going to be performing naked in public. Why does he look like an antique statue, anyway? How has this motley audience come together in this rather splendid interior? And hang on, these turquoise tile panels are from Turkey, not Egypt.... from the Topkapi Palace in Constantinople, except that Gérôme has reassembled them in a completely different way. The picture is from Oriental Visions: From Dreams into Light , a fascinating exhibition at the Musée Marmottan Monet in Paris that looks at how European (mostly French) painters were stimulated, initially by fantasies of the East, and then later b...