The Art Exhibitions Blog

The year is 1843. And the theme of this hard-hitting painting is slavery, in all its gory detail, as practised in France's West Indian colonies. Slavery, you say? What about liberté, égalité, fraternité? Ah yes, slavery was abolished in 1794, after the French Revolution. But, and this takes a bit of getting your head round, it was reestablished by Napoleon eight years later. By the 1840s there was a strong abolitionist movement going in France, and an effective way to spread the message was to shock the public with the visual truth of what slavery actually meant. This painting by Marcel Verdier,  Beating at Four Stakes in the Colonies , is perhaps the most searing image in a sprawling exhibition at the Musée d'Orsay in Paris, Black Models: From Géricault to Matisse , focusing on the way black people have been depicted in French art over the past 200 years or so and taking in broader themes of black history along the way. In Verdier's picture, a black slave is stretched...

Manet, Renoir, Van Gogh: Names now so mainstream that it's hard to comprehend how challenging their art was a century and more ago. One man and his deep pockets did perhaps more than anyone else to bring their work to Britain: Samuel Courtauld. His vision is being celebrated in the hugely enjoyable  Courtauld Impressionists  exhibition at London's National Gallery. Courtauld was a textile manufacturer who in the early part of the 20th century not only built up his own impressive collection of modern French art (subsequently forming the  gallery  that bears his name) but also helped fund and acquire similar works for the nation. With the Courtauld on the Strand closed for refurbishment for the next two years, there's a rare chance to admire both sets of paintings hung side by side in the National Gallery, including some of the most recognisable images in art history, revealing how much Britain is indebted to Courtauld's daring taste for the avant-garde. Cour...