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...
Georges Seurat was on to something when he moved on from Impressionism to develop the radically different painting technique popularly known as Pointillism. He and his followers applied unmixed dots of pure colour to their canvases, separate little spots of paint that, the theory went, would come together in the eye of the viewer to create glowing, luminous pictures. Seurat died young, and Pointillism didn't really hang around for very long either. But it produced some gorgeous art, and 50 or so of its finest creations are gathered at the National Gallery in London in Radical Harmony: Helene Kröller-Müller's Neo-Impressionists . It's a glorious, light-filled, uplifting exhibition, and the most enjoyable show we've been to all year. "Art is harmony," Seurat said, and it's hard to argue with that in this show. These pictures are Helene Kröller-Müller's Neo-Impressionists, by the way, because more than half of them come from the Kröller-Müller Museum i...