David Adjaye's 'Making Memory' exhibition offers the rare chance to see buildings in the making and explore the working processes of a major architect, still in the middle of his career. Chloe-Jane Good paid a visit.
'I visited in January 1966 with a scrawled introduction from Francis Bacon, but felt too intimidated to knock on his door. Later, I learnt Giacometti had just died. This lost opportunity haunted me.'
Roger Rose of James Barclay, the rug cleaning and repair service, offers advice on caring for antique Oriental rugs.
Caroline Bugler is spellbound by the Scandinavian landscape painter’s magical evocation of fjords, villages and mountains.
'There’s that extraordinary gaze of hers, how confident and proud – she was, after all, born a princess – but, at the same time, how alluring and seductive, her eyes following you as you walk past her.'
Lilias Wigan looks at a key work by the trailblazing thinker, artist and philanthropist John Ruskin, whose focus on nature seems ever more apt with each passing year.
The regular panellist on Radio 4’s 'Gardeners’ Question Time' chooses a bucolic scene by a Flemish master.
Charles Darwent discovers the little-known influences of British art and culture on the work of Vincent van Gogh.
The head of the CLA chooses a wintry scene by Vermeulen.
This week marked the 200th birthday of London’s Burlington Arcade. Adam Hay-Nicholls goes undercover with the Beadles, its private police force. With photographs by Richard Cannon.
Rembrandt painted more self-portraits than any painter who came before him. But why? And what do they tell us about one of the great Grand Masters? Nick Trend explains.
The children's author on a key work by Georges Rouault which entranced him before he knew anything of its creator.
Welcome back to our friendly neighbourhood round-up of the best wine, furnishings and completely, utterly inessential products available now.
The explosion in watercolour painting in the 18th century came not from artists' studios but rather from the unbeatable practicality of this medium prior to the birth of portable cameras. Mary Miers explains how these pictures are now being put to use once more.
'The subject looks back to Botticelli, Titian and Ingres and forward to Picasso’s Demoiselles, but the visceral power is closer to relief sculpture.'
Ruth Guilding applauds an exhibition that rebalances the art-historical scales with a representative sweep of 50 women artists working in the first half of the 20th century.
'Does Finale mean the last notes of the music or the end of an affair?'
