Counterpoint IX 1973 – Tim Scott. ibid.
Mumdadland 1997 – Gary Webb. ibid.
Richard Long, who had made this work, was one of Caro’s students at St Martin’s in the late sixties ... Chalk Line 1984. ibid.
Carl Andre’s notorious and celebrated Equivalent VIII 1966 otherwise known as The Bricks which caused such a controversy in British art in the 70s. ibid.
Epstein’s work was no stranger to controversy ... What he did was throw down a gauntlet that was pivotally picked up by younger British sculptures not least Henry Moore and Barbara Hepworth. The sculptural language of Moore and Hepworth was developed in the 20s and 30s through the use of direct carving. ibid.
One Ball 50/50 Tank (Spalding Dr J Silver Series) 1985: Jeff Koons. ibid.
You have to absolutely acknowledge the work of Rachel Whiteread, whose now destroyed concrete casts of an entire house in East London in 1993 remains a haunting memory. ibid.
This is the most successful museum of modern art in the world. Tim Marlow on ... The New Tate Modern
A former power station turned power house of modern art. ibid.
Max Ernst: The Entire City 1934 ... A radical anarchic Dada artist ... Dada being this movement that sought to destroy art; it was ant-art. Out of the ashes of Dada came Surrealism. ibid.
This monumental and quite breath-taking work by the German artist Joseph Beuys called Lightning With Stag in Its Glare was put up when the Tate Modern was first opened. ibid.
Cy Twombly: Quattro Stagioni (A Painting in Four Parts) 1993-4: Twombly is an artist who clearly ... has come through surrealist automatic writing and doodling. But he is also the product of an American art form which he reacts against called Abstract Expressionism. ibid.
Susan Hiller: From the Freud Museum 1991-6: What she presents here in a series of boxes is a beautifully classified categorised series of objects and images and maps and words with labels ... She is drawing into question what museums do. ibid.
Picasso: The Three Dancers 1925: One of the great works of the twentieth century ... The work had surreal undertones. ibid.
Jackson Pollock: Naked Man With Knife c.1938-40: This shows a naked man with a knife involved in some kind of brutalistic sacrifice. ibid.
Abstract Expressionism: Jackson Pollock: Yellow Islands 1952. ibid.
The man they called Jack the Dripper: When Jackson Pollock’s drip paintings were first shown at the end of the 40s, beginning of the 1950s, people thought they were radical. And I think they still look radical now. I love this work: Summertime: Number 9A, 1948. ibid.
Claude Monet: Water-Lilies after 1916: An extraordinary late Monet painting of Monet’s lily pond at Giverny. Maybe the first installation of modern art. ibid.
Mark Rothko, whose wonderful abstract Untitled 1950-2 work hangs there owes a debt to Monet. ibid.
Jean Fautrier: Head of a Hostage 1943-4: A sculpture made of lead ... as part of a series that included drawings and painting called The Hostage Series. ibid.
Jean Dubuffet: The Busy Life 1953: Dubuffet was looking at what he called art informal. ibid.
Alberto Giacometti: Standing Woman x3, c.1958-9, cast released by artist 1964: These works seem timeless and incredibly of their time. ibid.
Marlene Dumas: Stern 2004. ibid.
Eberhard Havekost: Ghost 2 2004, Ghost 1 2004. ibid.
One of the most influential painters in the world today, the Belgium based and born art Luc Tuymans, Illegitimate I 1997 whose work always has this sickly feel, there is a kind of suppressed violence. ibid.
Gary Hume: Incubus 1991. ibid.
The jewel in the crown ... Seagram Murals 1958-59: Mark Rothko: They are one of the great achievements of twentieth century art ... Works that pulsate with life ... Words can never do them justice. ibid.
Metamorphosis of Narcissus 1937: This is one of the most popular and celebrated of all the Tate’s paintings. ibid.
This is part of what Dali called his Paranoiac Critical Method. ibid.
Lobster Telephone 1936: He is also emphasising their similarity. ibid.
Crucifixion Triptych: Emphasises the putrid nature of human flesh and the inevitability of decay. And it also reverberates with the post-war mood of Europe. ibid.
The Reckless Sleeper 1928: This is something akin to visual collage. ibid.
Man with a Newspaper 1928: A subversion of a comic strip where the four views seem similar but actually not quite the same ... Like an endlessly repeating dream. ibid.
The Future of Statues 1937: A copy of Napoleon’s death mask painted to look like a sky ... A man with his head in the clouds. ibid.
Louise Bourgeois: The female body, about her own body being the source of sculpture. ibid.
Amoeba 1963-6, cast 1984: Her memory of seeing tadpoles as a young girl ... Much more about the idea about giving birth. ibid.
Scylla 1938: A Dali-style paranoiac critical image ... It tells the story of a nymph in classical times ... It’s also an image of Colquhoun herself ... More about seeing things from a woman’s perspective. ibid.
Colquhoun was part of an English and then British surrealist group. ibid.
Watercolour is amongst the most popular of all visual media ... And yet it’s a medium that suffers from status anxiety, from a fear that it’s just a watered-down version of oil-painting. In an exhibition here at Tate Britain ... Watercolour’s history is in fact more richer and more varied and much more substantial than has previously been acknowledged. Tim Marlow on ... Watercolour 2011
But then watercolour in the hands of the right artists started to produce something that could rival oil painting. In particular these two works: serene, sublime, so delicate and fragile that they are rarely shown together ... Turner’s Blue Rigi and [Thomas] Girtin’s The White House at Chelsea. ibid.
It’s called the Blue Rigi, Sunrise and was painted in 1842 and was one of a series of works that Turner made around the giant Swiss mountain peak. ibid.
The sense of immersion and liquidity, the frozen gesture. The idea of recognising something that dissolves into abstraction or the other way round. These are known as Turner’s beginnings – radical experiments in part of the process that moves from sketch to the finished watercolour. ibid.
Ziggurat [Le Brun] whose fantastic architectural forms seem both of this world and another. ibid.
And the most influential of all British visionaries was William Blake. An artistic, social and political radical who effectively created his own universe, which both offered a commentary on the problems of the overweening rationalism in the material world. It also offered a form of imaginative escape from it. Here, one of his complex creations The Night of Enitharmon’s Joy ... It’s a landscape from the depths of his own being. ibid.
Over the past decade Pablo Picasso has become the most enduring subject for blockbuster exhibitions. Tim Marlow on ... Picasso and Modern British Art
A new exhibition here at Tate Britain explores the relationship between Picasso and modern British art. ibid.
Less contentious is the formative impact that Picasso had on the two most potent British painters to emerge during and after the Second World War – Francis Bacon and Graham Sutherland. Bacon destroyed most of his early work from the thirties. ibid.
Sutherland too looked closely at Guernica. ibid.
In a way [David] Hockney’s approach to Picasso typifies that which dominated at the end of the twentieth century: knowing, engaged but unthreatened. ibid.
Picasso is unsurpassed. ibid.
The most competitive British artist of the early twentieth century, and certainly the one who used Picasso as a means of attacking Roger Fry, Duncan Grant and the Bloomsbury artists, was Wyndham Lewis. ibid.
Lewis was on the warpath: he’d set up the Rebel Art Centre; he’d launched an art movement called Vorticism. ibid.
After the war Lewis began to develop a new breed of brash satirical figures: Tyros he called them. ibid.
The Courtauld Gallery in London is one of the finest small collections of art in the world ... It forms part of the Courtauld Institute: an international centre for the study of art history ... I studied here at the Courtauld. Tim Marlow at the Courtauld 1/3
The Courtauld’s strength lies in the fact that we are given the opportunity to study there lesser known masters of art history. And their presence is one of the things that make the Courtauld special. ibid.