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Painting

Titian collection at National Gallery is priceless

THE paintings in the National Gallery’s Titian exhibition speak to a time when we aspired to values much higher than the pound in our pockets.

Royal Academy's Anselm Kiefer exhibition shows 'powerful vision'

German artist's retrospective charts progress from early watercolours to controversial 1970s re-enactments of Nazi salute.

Henri Matisse: The Cut-Outs - Tate Modern

Henri Matisse is a giant of modern art. This landmark show explores the final chapter in his career in which he began ‘carving into colour’ and his series of spectacular cut-outs was born. The exhibition represents a once-in-a-lifetime chance to se

Tate Britain Commission 2014: Phyllida Barlow, review

In the Duveen Galleries of Tate Britain, Phyllida Barlow's colossal reimagining of riverside London bristles with vitality, says Alastair Sooke.

Henri Matisse and the nun: Why did the artist create a masterpiece for Sister Jacques-Marie?

Famous as a great colourist, towards the end of his life, the artist Henri Matisse moved from painting towards a new art form: cut-outs.

Matisse: Nicholas Serota on curating a 'once-in-a-lifetime' exhibition

I have vivid memories of the Matisse retrospective show that opened the Hayward Gallery in 1968.

Henri Matisse: drawing with scissors

They were dismissed as paper jokes, the pictorial maunderings of an old man – but the dazzlingly bright cutouts Matisse made in his last decade show a period of vitality and radical reinvention.

Angela Lansbury in the West End; Kate Winslet in Labor Day; Sebastian Barry's new novel

At the age of 88, Dame Angela Lansbury returns to the West End theatre playing Madam Arcati in a revival of Noel Coward's wartime comedy Blithe Spirit.

Angela Lansbury in the West End; Kate Winslet in Labor Day; Sebastian Barry's new novel

At the age of 88, Dame Angela Lansbury returns to the West End theatre playing Madam Arcati in a revival of Noel Coward's wartime comedy Blithe Spirit.

Veronese’s virtues in painting

Grappling with his portrait of Greta Moll in 1908, Matisse demanded 30 hours of sittings to produce a likeness of the beautiful young woman, which delighted her but infuriated him because “I had not managed to catch her statuesque aspect”.