To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
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A painter whose art expressed his social vision
NICK MATTHEWS recommends an exhibition by an artist who was as true to his art as he was to his radical politics
(L to R) Spring: Plum Trees in Bloom, 1877 and Self-Portrait, 1903
If you can see past the relentless commodification you will be rewarded by enormously powerful work, suggests JENNY MITCHELL
CHRIS SEARLE revels in the one-off collaboration between an American polymath and a British Muslim, and detects the presence of their revolutionary forebear
GORDON PARSONS revels in an ebullient production of Shakespeare’s magical comedy
BRENT CUTLER welcomes a thoughtful analysis of the Erdogan regime, viewed through the evolving history of a neighbourhood in Istanbul
GORDON PARSONS regrets the price, but is dazzled by an outstandingly ambitious study of the way art restoration in particular, and culture in general was weaponised by the Nazis
Pissarro: Father Of Impressionism
Ashmolean Museum Oxford
ACCORDING to the marketing bumf for the current exhibition at the Ashmolean Museum in Oxford, Camille Pissarro is the Father of Impressionism.
I first discovered his art when I was working in London. I loved the Impressionists and so made a trip to the Courtauld Institute where I came across his painting of Lordship Lane Station, Dulwich (1871). This made a big impression (ha!) as at the time I was renting a room in the same Lordship Lane, Dulwich.
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