Two of Vincent Van Gogh’s paintings from his tumultuous year of 1889 are now presented at London’s Courtauld Gallery. The works, ‘The Ward in the Hospital in Arles’ and ‘The Courtyard of the Hospital in Arles,’ showcase his experiences during recovery after a mental health crisis, specifically following his infamous act of self-mutilation.

Art historians speculate on Van Gogh’s mental state leading to the incident, questioning whether it was influenced by his brother Theo’s engagement news, auditory hallucinations, or alcohol withdrawal. Despite these struggles, Van Gogh had a prolific period in Arles, producing famous artworks until his conflict with Paul Gauguin and recurring psychosis.

Following his self-harm, Van Gogh admitted himself to Hôtel-Dieu Saint-Esprit, where he remained for two weeks and subsequently for longer stays. He later voluntarily entered a psychiatric facility in Saint-Rémy-de-Provence, staying for a year. During his hospitalisation, he created various self-portraits and depictions of his surroundings, showcasing his determination to continue working.

‘The Ward in the Hospital in Arles’ presents a distorted view of the ward where he recuperated, intentionally creating a destabilising perspective. The foreground depicts patients gathered around a stove, implying social interactions amid their confinement. In contrast, ‘The Courtyard of the Hospital in Arles’ reflects the beauty of spring foliage but hints at melancholy with dark imagery among the greenery.

These paintings remained in Switzerland for over a century and are displayed alongside Van Gogh’s ‘Self-Portrait with Bandaged Ear.’ They’re part of the ‘Goya to Impressionism’ exhibition, highlighting a connection to both Van Gogh’s profound artistry and the broader implications of mental health in creative expression.

The Courtauld’s display allows these rarely seen works to share space with masterpieces from artists like Goya and Monet, providing a rich context for viewers to explore Van Gogh’s inner struggles and triumphs through his art.

Vincent Van Gogh’s hospital paintings offer an intimate glimpse into his turbulent period in 1889. Displayed for the first time outside Switzerland in over a century, they reflect his complex mental state and unwavering dedication to art amidst personal turmoil. This exhibition not only showcases his artistic genius but also invites reflection on the intersection of mental health and creativity.

Original Source: news.artnet.com

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Banksy’s police sentry box, adorned with piranhas, will be displayed permanently at the new London Museum. This piece is part of a series of nine animal-themed works created during his vandalism tour in London last August. Other notable pieces include a rhino on a car, elephants communicating, and monkeys on a bridge.

The museum, located in Smithfield and set to open in 2026, received the sentry box through a donation from the City of London Corporation. Sharon Ament, the museum’s director, expressed excitement about showcasing a Banksy, stating it connects with people uniquely.

Originally located at Ludgate Hill, the sentry box was relocated to Guildhall Yard after Banksy confirmed his authorship of the piece. Before the final installation, it will be stored temporarily in the museum. The project aims to attract 2 million visitors annually and create over 1,500 jobs, with £222 million invested by the City of London Corporation.

While the public speculated about the meaning behind Banksy’s animal murals, his support organisation Pest Control Office claimed the pieces are essentially meaningless.

The police sentry box by Banksy, featuring piranhas, will be a highlight at the new London Museum, which opens in 2026. This museum, with significant funding, aims to engage millions of visitors and provide jobs. Despite speculation on the artworks’ meanings, Banksy’s team suggests they are void of significance, emphasizing the artist’s unique connection with audiences.

Original Source: www.artnews.com

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For the first time in over 150 years, two halves of Édouard Manet’s painting from 1878 will reunite at the National Gallery in London. This exhibition allows a unique opportunity to explore Manet’s development as an artist and the lively café culture of Paris he aimed to portray. The original canvas, which depicted casual life in a café, was cut into two parts as Manet became dissatisfied with its composition.

Manet’s initial work featured a gentleman in a top hat and a barmaid, modelled by Henri Guérard and actress Ellen Andrée. Their ambiguous gazes imply a complex relationship, reflective of social mores prohibiting women from drinking alone. The resulting works, Au café and Corner of a Café-Concert, showcase different perspectives of the same location but evolved independently afterwards.

After their creation, both pieces were showcased at the 1879 Triennial Salon in Antwerp, acquiring separate collections after the collector Étienne Barroil’s death in 1887. Corner of a Café-Concert has been part of the National Gallery’s collection since 1924, while Au café, acquired in 1953 by collector Oskar Reinhart, is exhibited in Winterthur, Switzerland but is temporarily showcased in London.

During the exhibition, visitors will witness Manet’s artistic methodology, including early sketches from a pocketbook he used in cafés. The paintings illustrate a dynamic scene exemplifying Manet’s fluid brushwork and innovative compositional choices, such as reworking figures to enhance the vibrancy of the café atmosphere.

Before continuing to the National Gallery, Au café will be displayed alongside Manet’s renowned A Bar at the Folies-Bergère. The ongoing exhibition, Goya to Impressionism, features renowned Swiss artworks, including a notable 1901 Picasso portrait revealing hidden qualities based on recent conservation research.

The upcoming exhibition at London’s National Gallery will reunite the two halves of Manet’s painting for the first time in 150 years, offering insights into his creative process and the dynamic café scenes of Paris. The display highlights the artist’s innovative techniques and invites audiences to appreciate the art historically while showcasing significant works not previously seen outside Switzerland. Key points include: – Reunion of Manet’s split canvas at the National Gallery. – Focus on 19th-century Parisian café culture and Manet’s reworking of compositions. – Temporary display of Au café allows for broader appreciation of Manet’s influential artworks.

Original Source: news.artnet.com

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Van Gogh’s painting, “The Ward in the Hospital at Arles” (1889), is now on display at Courtauld Gallery in London, a significant event since this piece hasn’t been seen publicly for a century. The artwork reflects Van Gogh’s personal experience during his hospital stay after he mutilated his ear. It is part of the exhibition showcasing works from the Oskar Reinhart collection.

This is Van Gogh’s only painting depicting the hospital’s interior. In 1923, it was purchased by Elizabeth Workman and later acquired by Reinhart. The exhibition also features another of Van Gogh’s works, “Courtyard of the Hospital at Arles,” adding to the showcase from Reinhart’s collection.

In a letter to his brother Theo after entering the hospital, Van Gogh expressed his thoughts on the experience, writing about the fascinating aspects of hospital life. After multiple incidents concerning his mental health, he was under the care of Dr. Félix Rey, an intern who played a critical role in his treatment.

Despite being confined, Van Gogh was determined to continue painting, focusing on the ward he occupied. His frustration with limited freedom led him to explore and depict his surroundings, making the hospital’s interior his subject. The painting’s perspective creates an illusion of length, enhanced by the crucifix above the chapel door.

Van Gogh completed the work in late April 1889 while preparing to leave for an asylum in Saint-Rémy-de-Provence. He enhanced the painting months later by adding figures, showing his ongoing connection to the work. Uniquely, the painting remains unlined, preserving the integrity of Van Gogh’s thick paint.

The original hospital building was transformed into an arts centre in 1986, but regrettably, the men’s ward was demolished. Had it been preserved, it would have drawn many tourists, interested in Van Gogh’s legacy. The arts centre now houses a library and municipal archives, but the loss of the actual ward represents a significant historical gap.

The return of Van Gogh’s “The Ward in the Hospital at Arles” to London is a noteworthy occasion, highlighting the artist’s hospital experiences. The exhibition showcases the painting alongside others from the Oskar Reinhart collection. Unfortunately, the original hospital ward has been lost to demolition but still holds historical significance. The new arts centre serves the community, yet many regret the missed opportunity of preserving Van Gogh’s actual ward.

Original Source: www.theartnewspaper.com

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The exhibition titled ‘Goya to Impressionism – Masterpieces from the Oskar Reinhart Collection’ showcases how artists like Goya anticipated the styles of Impressionists such as Van Gogh, Gauguin, and Cézanne. This event highlights the interconnectedness of Romanticism, Realism, and Impressionism, displaying key masterpieces in a fresh and engaging manner, while acknowledging the rich art historical context that precedes Impressionism.

Key pieces from Goya, including his stark still life, demonstrate the continuity of artistic expression leading into the Impressionist movement. The show opens with early 19th-century works that set the stage for understanding modernist developments in art, with Goya and Gericault providing impressive examples of the genre’s evolution.

Among the Impressionists featured, Cézanne’s early work surprises as it predates the traditional period of Impressionism, offering an alternative view of his path towards post-Impressionism. Notably, Renoir’s portrayals showcase a different angle than typically expected, presenting a refreshing insight into their formative stages as artists.

Monet’s ‘The Breakup of Ice on the Seine’ exhibits vivid impressions of winter’s chill, realised through spontaneous brushwork. In contrast, Gauguin’s ‘Blue Roofs (Rouen)’ reveals his shift from stockbroker to artist, where colour took on symbolic meanings, marking his departure from Impressionism.

Other significant works include Van Gogh’s more tranquil pieces showcasing a poignant exploration of his mental health, and Toulouse-Lautrec’s energetic portrayal of Moulin Rouge life. Each curated painting offers a crisp window into the past, reviving interest in this celebrated era of art.

‘Goya to Impressionism’ is a meticulous exhibition that illuminates the influences and interrelations within the evolution of modern art. By pairing foundational works with those from the Impressionist period, it not only revitalises interest in these styles but also provides context to understand their lasting significance in the art world. This exhibition may well reignite one’s appreciation for Impressionism and its pivotal role in art history.

Original Source: www.independent.co.uk

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The recent exhibition at the Courtauld Gallery, “Monet and London: Views of the Thames,” allowed experts to collectively study Monet’s Thames paintings, showcasing their unique characteristics. Curator Karen Serres discovered an industrial chimney in Monet’s “The Houses of Parliament, Sunset,” highlighting the artist’s accurate representation of London’s landscape, blending natural beauty with industrial elements.

The exhibition sparked questions about Monet’s artistic choices, particularly regarding whether he painted sun discs based on precise observation or adjusted them for artistic effect. Richard Thomson notes that the placement of the suns in the paintings serves a compositional purpose, aiding visual contrast.

Jennifer Thompson emphasised the significance of viewing the actual paintings, stating that reproductions fail to capture the nuances of colour and atmosphere. Serres expressed concern that repeated motifs might bore viewers but found the variety and subtle differences among the pieces captivating when displayed together.

Monet created his London works during three visits from 1899 to 1901, starting from his vantage point at the Savoy Hotel. The show featured 21 paintings, some intended for a 1905 exhibition that never happened due to dissatisfaction with his collection of works. Serres reflected that the exhibition experience changed her view of the individual paintings, affirming their greater impact when observed collectively.

The Courtauld Gallery’s Monet exhibition revealed the complexity and richness in the artist’s Thames paintings. Through collective viewing, the nuances in colour, light, and composition became apparent, offering deeper insights into Monet’s artistic intent. This unique opportunity to compare paintings highlighted the importance of seeing art in person to appreciate its true essence.

Original Source: www.theartnewspaper.com

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Frank To, an accomplished lecturer at Inverness UHI, is set to display his innovative gunpowder artworks at One of a Kind Gallery in March, leading up to an exhibition in London. His artistry, which has gained international acclaim, will be showcased before a prestigious exhibition at the Mall Galleries in London, where he represents Scottish contemporary drawing.

Mr To, now a full professional member of the Society of Graphic Fine Art, emphasised the importance of exhibiting in the Highlands, noting the support he has received from the local community. He stated, “For me personally, it is important whenever I can show in the Highlands such as Inverness where I work.”

His gunpowder technique has earned him recognition among notable collectors, including actor Sir Patrick Stewart and other prominent figures. The One of a Kind Gallery, led by To’s former student, features unique artwork from local artists, supporting the Highland art community. He aims to represent the best of Scottish contemporary art through his upcoming exhibitions.

The exhibition at One of a Kind Gallery will feature several of Mr To’s gunpowder pieces, including ‘Good Omen,’ which will also be available for purchase during the Society of Graphic Fine Art Annual Exhibition in London from March 10 to March 15. His notable works, ‘Flight’, ‘Young Blood’, ‘For Fork Sake’, and ‘Blue Flight’, will be exhibited prior to the London showcase.

Frank To’s upcoming exhibitions in Inverness and London highlight his innovative contributions to contemporary drawing. As a new professional member of the Society of Graphic Fine Art, he is proud to represent Scottish art on a larger stage, while keeping his roots in the local community strong.

Original Source: www.inverness-courier.co.uk

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William S. Burroughs, the influential writer and artist, is being featured in his first major London exhibition in decades at the October Gallery. The showcase highlights Burroughs’ lesser-known works as a cross-media artist who experimented with various forms of art, including collage, painting, photography, and audio. Known for his literary classics like “Naked Lunch,” Burroughs’ extensive artistic output reflects the same revolutionary spirit.

A pivotal figure of the Beat Generation, Burroughs intentionally diverged from a conventional path after graduating from Harvard. He forged vital connections with fellow artists and writers, such as Jack Kerouac and Allen Ginsberg, contributing significantly to the cultural landscape of the 20th century. His unconventional life and work challenged societal norms, exploring themes of control and queer power.

Burroughs experimented boldly, employing dark humour, surreal imagery, and biting satire to confront societal structures. He transcended literature through his visual art, using techniques like the cut-up method introduced by Brion Gysin to create innovative pieces that reflected the fragmented style of his writing. Burroughs’ collaborations and creative output cemented his status in the avant-garde art scene.

His fruitful partnership with Gysin prompted him to produce vivid “shotgun art” and numerous collages, serving as a tribute following Gysin’s passing in 1986. Burroughs enjoyed widespread acclaim, with his works exhibited globally, including notable shows at leading institutions like the Guggenheim and the Centre Pompidou.

Burroughs’ art remains influential, displayed in prestigious museums worldwide, including the British Museum and the Kochi Museum of Art. His exploration of struggle and obsession galvanised generations of artists, maintaining his legacy. As he once remarked, “When you cut into the present, the future leaks out,” highlighting his lasting impact.

William S. Burroughs (1914–1997) was a groundbreaking figure in literature and art, known for his unique approach to storytelling and medium. As a member of the Beat Generation, he challenged conventional societal norms through his writings and visual arts. His interdisciplinary work encompassed various forms and techniques, allowing him to redefine artistic boundaries and influence both literature and contemporary art. His upcoming exhibition at the October Gallery marks an important retrospective, bringing to light his contributions to multiple forms of creative expression.

Burroughs was a pioneering artist whose work extended beyond his literary acclaim, as illustrated by the significant retrospective at the October Gallery. His innovative use of various art forms, coupled with his engagement with complex themes, has left a profound impact on cultures and art movements. The exhibition reaffirms his role as a visionary whose exploration of society continues to resonate with contemporary artists and audiences alike.

Original Source: artlyst.com

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Lawrence Alma-Tadema was a celebrated artist known for his vivid portrayals of ancient Roman life, leading to his acclaim in London and influence on Hollywood films like Gladiator. His meticulous attention to historical accuracy, combined with artistic creativity, captivated audiences in both Europe and America, making him a prominent figure among collectors and royalty. Alma-Tadema’s legacy continued posthumously, inspiring filmmakers to create visually stunning interpretations of antiquity reminiscent of his work.

In 1874, an explosion behind Alma-Tadema’s London home narrowly spared his family, prompting them to winter in Rome, the city that defined his artistic career. Alma-Tadema is famed for his captivating scenes of classical life, marked by intricate details and a focus on domestic settings before expanding to grand urban tableaux in later works.

Born in the Netherlands in 1836, Alma-Tadema faced early family struggles yet pursued art fervently. After formal training, he began painting historical scenes, expertly mastering perspective and realism. His works often depict significant events, such as Pastime in Ancient Egypt, winning recognition and awards for their authenticity and craft.

His art mirrored the Victorian fascination with grandeur, paralleling the British Empire’s aspirations. Exhibiting throughout Europe, he gained fame and flourished in the US art market. His friendship with British royals and connections with notable collectors solidified his status in the art world.

As a historical painter, Alma-Tadema painstakingly researched antiquity while embracing artistic liberty for storytelling. His sophisticated compositions, vibrant aesthetics, and romantic interpretations captivated a broad audience, symbolising a cultural longing for past splendour. He hosted renowned soirées, enabling creative dialogues among contemporaries.

Alma-Tadema passed away in 1912, honoured with a burial in St Paul’s Cathedral. Despite his works becoming outdated, they found renewal in cinema, influencing modern depictions of the classical era, notably in films like Ben-Hur and Gladiator. Designers credited him for inspiring Rome’s portrayal, merging artistry with filmic innovation.

Lawrence Alma-Tadema is regarded as a pivotal figure in 19th-century art, particularly known for crafting immersive representations of Roman life that drew heavily from historical research and imagination. His success was underscored by royal patronage and prominent collectors, establishing him as a leading painter of his time. With a career spanning decades, Alma-Tadema’s artwork reflected contemporary interests in archaeology and classical culture, which resonate in modern cinematic interpretations of antiquity.

Alma-Tadema’s talent for depicting opulent Roman scenes secured his place in art history and cinema. His work inspired filmmakers eager to recreate the grandeur of ancient times, emphasising the cultural impact of his legacy. Despite evolving artistic trends, his influence endures, captivating audiences through both his paintings and the films they inspired.

Original Source: www.christies.com

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Classic Art London (CAL) launches this summer from 23 June to 6 July, aiming to engage visitors and address the gap left by the closure of London Art Week (LAW). LAW, which promoted historical art dealers, concluded after ten years due to financial difficulties exacerbated by the pandemic and loss of sponsors.

Pippa Roberts and Silke Lohmann, who were involved with LAW PR, are behind the CAL initiative. Lohmann expressed the importance of keeping London’s pre-contemporary art scene prominent and accessible to international collectors and curators.

Dealers like Karen Taylor, who views CAL as a “welcome phoenix to rise from the ashes”, and Guy Peppiatt, note its importance for attracting private clients and curators to London’s exhibitions. Others, such as Trinity Fine Art’s Tom Dawney, believe CAL enhances the visibility of London’s key galleries.

The new campaign has already garnered participation from several galleries, including Charles Beddington, Nonesuch Gallery, and Justin Raccanello. The aim is to maintain the city’s rich art landscape while providing a collaborative platform for small galleries.

The launch of CAL follows the winding down of LAW, which previously showcased London’s historical art scene through biannual events. The decision to cease operations stemmed from challenges posed by pandemic adaptations, reduced sponsorship, and financial strain. In response, Roberts and Lohmann launched CAL to continue promoting engaging art experiences and support galleries in London amidst evolving market dynamics.

CAL seeks to reinvigorate London’s pre-contemporary art scene following LAW’s closure, offering galleries a chance to engage with collectors and curators. The initiative demonstrates a collective effort to maintain visibility and collaboration among smaller art businesses, ensuring that London remains a key player in the global art market.

Original Source: www.theartnewspaper.com

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