The British abstract artist Carol Robertson has been making paintings based on geometric forms for many years but consistently returns to the circle. In her current London exhibition, Circular Stories, the paintings are entirely based on circular motifs. Of these she says:
The circle is the purest and most archetypal geometric form. It has a universal resonance, so is frequently found in art, architecture and ritual. It’s an evocation of the universe and the heavens, the journey inward or outward to the centre: a symbol of wholeness, completion and infinity, the unbroken line with no beginning or end, the eternal cycle.
A look at the artist’s first international solo exhibition
Was the artist an exploitative pornographer or one of the greatest artists of the 20th century?
Memorial to a metropolis
David Lewis is too modest. “There was never any game plan,” he said in a recent interview with Apollo. “In fact, I never even thought of it as a collection.” After four decades, the Schorr Collection (named after his wife’s family) consists of something over 400 paintings and 200 prints, mostly Old Masters. There are works by household names and works which are unattributable — the consistent element is Lewis’s own taste, and his interest in how works of art relate to each other across the traditions of European art.
Jacopo Pontormo and Rosso Fiorentino
From David Hockney’s latest show
The painter refused to call his drawings of disfigured soldiers art. Now they hang in the National Portrait Gallery
The Roman station church pilgrimage of Lent, an ancient Christian tradition, was revived in the late 20th century by Anglophone believers living in Rome and led by the seminarians and student-priests of the Pontifical North American College. The pilgrimage winds its way through the city from Ash Wednesday through the Octave of Easter: a specific church is assigned as the “station” of each day, in a sequence first formalised by Pope St Gregory the Great in the late sixth century.