The Art Exhibitions Blog

For the Victorians, art wasn't just about what you could see on the canvas; it could also activate your other senses.  Scented Visions: Smell in Art 1850-1914 at the Watts Gallery near Guildford takes you on an olfactory journey back in time. And it's also a social-history lesson, showing the way art reflected how Victorian life was not just a bed of roses. In this picture, the actress Ellen Terry is holding an eye-catching red flower close to her nose, which we assumed was so that she could inhale the fragrance. It's the poster image for this show and a perfect way to promote an exhibition about smell. But, as the wall caption points out, the blooms are camellias, which have no scent; she's acting smelling, and she must choose between the camellias and the nobler values of the humble fragrant violets in her other hand, reflecting her choice to give up the stage for life as the muse of the great Victorian artist, GF Watts, 30 years older than her, and who painted this ...

The headline new exhibition in London in October is Francis Bacon: Human Presence at the National Portrait Gallery, which assembles more than 55 works to examine Bacon's far-from-traditional approach to portraiture from the 1950s onwards. Among the sitters: Lucian Freud. The show runs from October 10 to January 19.  Those in search of something less visceral might prefer to Discover Constable &  The Hay Wain  at the National Gallery. This is the latest in a series of relatively small free shows at the gallery looking at a single picture in depth; we've found them very enjoyable so far. Constable's painting is now seen as presenting a traditional view of the countryside; when it was made, though, it was regarded as rather radical. On from October 17 to February 2.   More than five years ago, we went to the Nunnery Gallery in Bow in east London to see an exhibition of paintings of the local area by Doreen Fletcher . Those modern cityscapes could be seen as fo...

It's a great idea for an exhibition:  Inspired!  at the Guildhall Art Gallery in the City of London brings together paintings and sculpture for which artists found their inspiration in literature, music and the theatre.  It's a great idea, but the execution is underwhelming. Two of the four sections in this show, drawn entirely from the Guildhall's own collection, are absorbing. The other two are pretty dull. It's a bit like when you've gone to see a poor production of a favourite play; you come away feeling somewhat dissatisfied.  There are some fine artists on show: You've got Jan Steen, Thomas Lawrence, Duncan Grant, John Everett Millais, William Holman Hunt and Lawrence Alma-Tadema. But the painter with most work on display here is John Gilbert . We think you may need to look him up. And he's certainly not very inspiring. He's one of those 19th-century artists whose work is largely forgotten; so are some others here, but at least a few of them have s...

Pre-Raphaelite Sisters  doing it for themselves. That's the premise of the show at the National Portrait Gallery in London, an attempt to reclaim, to reassert the significance of the roles of women as models, wives, artists, muses in that most Victorian of art movements, one that's traditionally seen as being dominated by men with an abundance, nay, a profusion of facial hair. So a Pre-Raphaelite Sisterhood to rival the Pre-Raphaelite Brotherhood of Dante Gabriel Rossetti, William Holman Hunt and John Everett Millais? It's a neat conceit, isn't it, but it's not one that's really borne out by this rather uneven exhibition. Because some of the dozen women highlighted here were certainly quite impressive artists in their own right -- and there's a couple of surprise discoveries to be made as we go through -- but in some cases we're talking about women who were mainly active as models. And, err, muses. There's an apparently deliberate reluctance to tal...

It's not just about the art, it's about the event, the occasion. Seeing, yes, but being seen is perhaps for some just as important. That's clear right from the start of  The Great Spectacle: 250 Years of the Summer Exhibition at the Royal Academy. There are lots of reasons for visiting this show: It's an enlightening history of a great British institution; it offers a potted run-through of 2 1/2 centuries of British art (admittedly, minus a couple of big names); and astonishingly, while the 250th Summer Exhibition itself elsewhere in the RA was drawing big crowds, this 10-room display was surprisingly empty, at least when we went, giving plenty of space for contemplation and enjoyment. And what you see first is the Summer Exhibition summed up by William Powell Frith, that great Victorian painter of crowd scenes, in  A Private View at the Royal Academy, 1881 . What a line-up of distinguished gallery-goers: William Gladstone, Anthony Trollope, Lillie Langtry, Ellen ...