By Richard Dorment
An amazing number of over a hundred essays which distill and commemorate many of the best and such a lot memorable paintings exhibitions of the final 3 a long time. starting from early prehistoric paintings of the Ice Age to the functionality artwork of at the present time, and taking in approximately all of the major artwork in among, the ebook is an astonishingly readable and available creation to the paintings of the world's best artists.
Richard Dorment was once the paintings critic of London's day-by-day Telegraph. He wrote virtually a week concerning the most important artwork exhibitions through the united kingdom, but additionally in Paris, Amsterdam, long island, and Washington.
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Extra info for Exhibitionist: Writing about Art in a Daily Newspaper
The planes and facets in the Lespugue figure have nothing to do with that kind of abstraction. But that’s a small point, and I can well understand why the British Museum needs to put a period that is so unfamiliar to most visitors into a context we can recognise. Both in the show and in the first-rate catalogue, Jill Cook has achieved the difficult feat of making art made in the mists of time feel almost familiar. The Painted Tomb-Chapel of Nebamun It is only January, but I don’t expect to see an exhibition in the next twelve months more moving than what is on view in the British Museum’s new gallery of ancient Egyptian art.
Walking through an exhibition at the Grand Palais in Paris last week, I was seized with an irresistible desire to kiss a work of art. Or at least to press my lips passionately against a glass exhibition case. The work in question was the fragmentary face of Queen Tiy, a sensual sliver of exquisitely carved yellow jasper showing the lusciously full lips of the consort of Pharaoh Amenhotep III. And although I restrained myself, I was not alone in my osculatory urge. Queen Tiy’s lips, infinitesimally upturned at one corner as though about to curve into a mocking smile, also mesmerised a knot of French journalists who seemed unable to tear themselves away from les lèvres.
Describing the same artwork twice was always a problem for me; the second version never had the energy of the first. When I came to review Jackson Pollock’s 1998 retrospective I found I couldn’t improve on a description of his Mural written five years earlier for American Art in the 20th Century. I’ve condensed the wording in the original so you don’t have to read the same thing twice. My first thanks go to my publisher John Nicoll who didn’t flinch when I asked him whether he’d consider bringing out a book of my old reviews.