Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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How scientific advances ushered in one of the best known periods in European painting
Michal Boncza on Impressionism, one of the most enduring instantly recognisable periods in art
(Left) Impression, Sunrise, 1874; (right) La rue Saint Denis - street festivities of 30 June 1878, Paris
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
IN 1874, three years after the bloody and traumatic demise of the Paris Commune, Claude Monet — son of a Parisian greengrocer — showed his work at group exhibition in Paris of like-minded painters.
His canvas, laconically titled Impression, Sunrise, depicts in swift and almost off-hand brush strokes the hazy view of the port of his adopted city Le Havre, as seen from his window at a dawn enveloped by dense fog.
The canvas's title provided the Le Charivary magazine’s art critic Louis Leroy's with the headline “The Exhibition of the Impressionists” for the review — not particularly imaginative, except for the neologism “impressionists.” It stuck like glue.
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LOUISE BOURDUA introduces the emotional and narrative religious art of 14th-century Siena that broke with Byzantine formalism and laid the foundations for the Renaissance
While the group known as the Colourists certainly reinvigorated Scottish painting, a new show is a welcome chance to reassess them, writes ANGUS REID
GORDON PARSONS recommends the biography of the German polymath whose life provides an interesting take on a revolutionary age
RINA ARYA confronts the brutal operation of Francis Bacon’s approach to portraiture