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This is the second in an occasional series on the right and proper way to behave in an art gallery.  But I really made a terrible error before.  Because this is Art Gallery Etiquette 101, lesson 1.  Really, this is it…

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The Ambassadors

Who?  Hans Holbein the Younger

What?  Portrait of Jean de Dinteville and Georges de Selve.  More commonly known as The Ambassadors.

Where?  The National Gallery, London

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Desmet 

As is often the case when I find myself in a relatively unfamiliar place, a recent weekend in Manchester simply seemed too good an opportunity to miss for sampling at least some of the city’s culture (that is, in addition to the city’s music and the cricket ground).  I hastily acknowledge my habit can reveal an unappealing air of desperation at times – am I really that keen to just go see some art, any art? – but repeated self-examination reveals the sad truth: I actually like this stuff.  Other people have exotic beaches or glittery nightclubs to excite them – I’m genuinely thrilled by the chance of that one great painting I’ve never come across before leaping out at me.

On this occasion, a lot of long hard Googling came up with the Whitworth Art Gallery to explore.  A solid-sounding collection of prints, wallpapers, textiles and, erm, watercolours, my interest was truly piqued by two complementary exhibitions showing now and until the start of August. Read the rest of this entry »

 

The very, very first in a regular series:

Who?  Charles Sheeler

What?  Ballardvale

Where?  Dulwich Picture Gallery

When?  On show as part of the small-but-fascinating Coming of Age: American Art, 1850s to 1950s until 8 June 2008.

Why?  Because I took home a postcard of this having seen the exhibition recently and every time I’ve looked at it since the colours seem more perfect and the angles more dynamic.  Not a powerful picture as such, but an incredibly assured one. 

And an exhibition that is well worth seeing by the way, tracing America’s emergence as an ‘art power’, following the dramatic influence of the European avant garde, and ending up with New York effectively overtaking Paris.  A little extra exposition on the walls would not have been unwelcome though.

 

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