The production is delightful. It offers the now-57-year-old musical levity. As it opens, the lighting is rich with nuance. It feels like you’re gazing at a tableau of Rembrandt’s 1635 Belshazzar’s Feast not only for its colouration, but also in the evoked debauchery, teetering on the edge of biblical taboo.
IT IS NOT every day that an artist’s work can be contained by the conventional genres of still life, portraits and abstraction, but also by another almost invented genre: ‘Rembrandt’. The painter and arts writer, Marianne Meijer enjoyed a lifetime-long love affair with Rembrandt’s work, which brought darkness […]
FILM REVIEW: LUCIAN FREUD – A SELF PORTRAIT THE CHANCE TO be able to get so close to the work of arguably the 20th century’s most important painter, Lucian Freud, that you can see the shadow between brushmarks, is phenomenal. Exhibition on Screen: Lucian Freud – A Self […]
AN UNCOMFORTABLY DIZZYING association between the ideas of feminist magical realist writer Angela Carter and between-the-wars German collagists John Heartfield and Hannah Höch, seems the most appropriate way of describing the wild and terrifying humour, explicit and witch-like sexuality and rough and tumble gamesplaying in this, the first […]
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