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...
They left their troubled homeland to seek a new life in the North, refugees fleeing poverty, war and religious persecution. But unlike many modern asylum-seekers, they didn't actually travel that far, just from Flanders to Holland. And they spoke the same language, more or less. Their destination was Haarlem, and the thousands who arrived there from the Spanish-ruled southern Netherlands in the late 16th and early 17th centuries would change the face of the city, its art and architecture for ever. They included its most famous painter, and their legacy is highlighted in an exhibition called Newcomers at the art gallery that bears his name, the Frans Hals Museum. Not surprisingly, it's Hals himself who is the star turn in this exhibition that provides an intriguing lesson in art history and Dutch history. There are nine of his paintings on show here, seven of them loaned from elsewhere. This one -- Two Fisherboys -- is a picture that really makes an im...