In 1886 the philosopher Friedrich Nietzsche declared the sublime out of date. A number of artists of early and mid-twentieth century continued to engage with concepts of the sublime, though often in ...

This is one of four reports produced by researchers in the project Reshaping the Collectible: When Artworks Live in the Museum. Each offers a perspective from one of four practices that are changing ...

The Camden Town Group was composed of sixteen artists, judged by an inner core to be ‘the best and the most promising of the day’. Controversially, women were not allowed to join, though they formed ...

Contemporary artists have extended the vocabulary of the sublime by looking back to earlier traditions and by engaging with aspects of modern society. They have located the sublime in not only the ...

Robert Bevan and Stanislawa de Karlowska settle at 14 Adamson Road in the Swiss Cottage area of London. Albert Rutherston contributes two pictures to the New English Art Club and meets Walter Sickert ...

Suspended, collapsed, stacked, wrapped or folded, the works of Phyllida Barlow spring from an interrogation of some of the most fundamental aspects of sculpture: its physical attributes and its ...

‘I feel that I can best express myself, that I can best give outward form to certain inward feelings or ambitions by the manipulation of solid materials – wood, stone, or metal. The problems that ...

As a collective endeavour, the NYGW sought to redefine the practice of printmaking, setting it free from what the workshop’s founders perceived to be the stifling conservatism that constrained the ...

Jeanette Winterson is spellbound by the radical achievement of Barbara Hepworth whose centenary year is celebrated by exhibitions at Tate St Ives and in her nativeYorkshire. Henry Moore called 1932 ...

Keen to present the latest American painting to British audiences, the Tate Gallery secured a place for itself in the international tour of an impressive grouping of works drawn from the collections ...

This article examines the changes in Edward Hopper’s painting style during his stays in Paris between 1906 to 1910, and compares his work to that of certain British contemporaries, notably Walter ...