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...
We went along to Tirzah Garwood: Beyond Ravilious at Dulwich Picture Gallery expecting to gain most enjoyment from the artist's witty, whimsical early woodcuts and drawings. In fact, rather to our surprise, it was her late paintings and 3-D collages that stole the show: strange, sometimes childlike, sometimes quite sophisticated art, with a touch of the surreal and a great deal of fantasy. And often very joyful, when you consider how the last decade of Garwood's short life was marked by war, death and fatal illness. That's the decade beyond Ravilious; her first husband, Eric, died in a plane crash while working as a war artist in 1942. It's only in recent years that Tirzah's own art has started to draw attention; we first came across her in a small show at the Fry Art Gallery in Saffron Walden back in 2019. This exhibition in south-east London is a much bigger, more comprehensive affair. And one that's been drawing crowds; we arrived at 1200 on a Tuesday and...