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...
During and just after World War I, Fernand Léger seems to have been producing some very radical, cutting-edge art, and a number of the early works on display in the retrospective Fernand Léger: New Times, New Pleasures at Tate Liverpool convey a real sense of energy and modernity. But as the years went on, that excitement seems to have faded from Léger's work. In this slightly bitty exhibition, we were left feeling that it would have been great to have had a little more of the early stuff and fewer pictures from his later, perhaps less enthralling period. Léger, born in 1881, trained as an architect, and developed an artistic style heavily influenced by advertising and mechanisation. In The Disc from 1918, modern life is expressed in abstract forms and bright colours. Léger had survived the war, but only just: He almost died in a mustard-gas attack in 1916, and a year later produced the painting that is perhaps the most striking in the entire ...