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An anthology of essays and reviews by the eminent art historian and writer, Edward Lucie-Smith. The articles cover a broad span, from the Italian Renaissance of Giotto and Antonello da Messina, Leonardo, and Michelangelo, progressing to Rubens, Velázquez, and Ingres, with essays on William Hogarth, John Constable, and John Everett Millais for British art. With the experience of his landmark publications on modern art, which remain in print, the author sweeps the listener on a fabulous journey of perception.

This audiobook considers the magnetic poles of post-war modernism and the towering figures of Pablo Picasso and Jackson Pollock. The essay considers the history of French avant-garde art led by Picasso to the post-war years and the increasing dominance of American artists foregrounded by the advent of Abstract Expressionism in the 1950s.

Eduardo Paolozzi: Newton Figures features a conversation with the celebrated sculptor Sir Eduardo Paolozzi (1924-2005), recorded at The Royal College of Art in 1990. In it he discusses work in progress of The Newton Figures (Master of the Universe) and commissions for The Royal Jockey Club Kowloon. He reflects on artists from Fragonard to Rodin and points to effects of the machine on the condition of people's lives which drove his work.

This essay takes as its focus two paintings by Johannes Vermeer (1632-75): The Milkmaid c.1661-62 and Woman Holding a Balance c.1662-65, and considers critical approaches to the artist by four historians, Edward A. Snow, Lawrence Gowing, John Michael Montias, and Martin Pops. Its aim is not solely to describe Vermeer's art, but by a process of comparative analysis to discern the various standpoints of his biographers, and to clarify their methodologies in research.

Yayoi Kusama is now one of Japan’s best-known contemporary artists. She was the recipient of her country’s Praemium Imperiale for painting in 2006 - the most prestigious award Japan can offer to any painter, native or foreign. Her rise to fame has been unconventional, even by the standards of the art world of the 21st century, where eccentricities of all kinds pass without question.

Feature by David Rose first published in Cv Journal of Art and Crafts 2/4 December 1989, in which he describes craft practices of individual makers in the county of West Cork, Ireland. The monograph also includes a survey of Dublin colleges of art and design by Margaret MacNamidhe, first published in Cv Journal 4/2 July 1991. From Cv/VAR Archive. Crafts Directory surveys practices in the applied and decorative arts in the UK and Ireland. The anthology of interviews and features was first published in the quarterly review Cv Journal of Art and Crafts 1988-91, and includes showcases of emerging practices, studies of crafts education, and a comprehensive index of specialist producers and suppliers in the flourishing arena of crafts design and distribution.

This essay considers the major Cézanne exhibition at the Tate Gallery London, staged from 8th February until 28th April 1995. Rather than focusing exclusively on the artist's work, the piece attempts to place the exhibition in context, exploring the institutional arena of presentation and the social and economic strata to which the retrospective is mainly addressed.

The photographers discussed in depth in this essay have all engaged with the everyday or the quotidian, yet they are a small sampling of the numerous photographers who have engaged with this subject.

From the earliest times, human beings have found it difficult to represent their own bodies in a straightforward way. The rare painted images of humans in Paleolithic art are much less naturalistic than the images of animals created at the same epoch. At the dawn of art, representations of the nude body were simply vehicles for statement about the need for fertility if the human race was to survive successfully.

Magdalena Wasiura returns to Morocco after a holiday to live and work with the Berber community, sharing their experiences, customs, and way of living. Part One describes the author's first step into the life of her Moroccan family hosts, takes you to the souk and hammam, explains the importance of Fridays for Muslim society, sulks itself in whisky and the problems caused by it. In this part we are introduced to countless opportunists and amiable characters, and we visit a rather lavish circumcision party.

Renowned artist Lucian Freud (1922-2011) was commemorated in an exhibition of 50 portraits spanning his working life, held at The National Portrait Gallery London from February to May 2012. The review explored the development of his art from the potent and hypersensed studies of the 1940s to major paintings in the later phase, where the artist engaged in a complex and sometimes brutal meditation on the human being, drawn from an intimate engagement with the sitter.

A review of Anselm Kiefer exhibition at White Cube Bermonday tours room by room, with analytic descriptions of the large scale works on view.

A review of the retrospective exhibition of sculptor Sir Antony Gormley OBE held at the Royal Academy London. Encounters varied works from studies and notebooks to gigantic installations.

A review of Nam June Paik at Tate Modern, explores the exhibition room by room. "When asked about his practice Paik replied "I am aware of Zen, but I am an artist: I react to Zen in the same way I react to the music of Johan Sebastian Bach."

Frieze Masters, London, October 6, 2019. Into the broad arena of the covered awnings of this enormous tented gathering of leading art dealers and the first gallery space is Aquavella, with a variety of exhibits; and come face-to-face with an absolutely spiteful acid green and fluorescent pink abstract by Keith Haring (1958-1990). It’s on canvas dated 1982 and signed lower left. The green is painted in a random ventilated grid over the hyper-intense pink with a bold line of a green stripe on the top edge of the work, which is encased in a glass vitrine.

Review of the exhibition of visionary artist William Blake at Tate Britain, September 2019: The exhibition is arranged in eight rooms of the downstairs gallery spaces of Tate Britain, low-lit, maroon-painted walls, a very comprehensive collection of a highly original and complex visionary creator.

Seven days in Funchal on the Island of Madeira. Journal notes of the settings, locations, and personal stories in diary entries.

A collection of reviews made from January to June 2019 of exhibitions in museums and galleries in London and Oxford. The volume proceeds from Small Histories, published in 1996 then updated in 2011. Contents include: Mantegna/Bellini at the National Gallery, John Ruskin at Temple Place, Elizabethan Miniatures at the National Portrait Gallery, Pierre Bonnard at Tate Modern, Mary Quant at the V&A, Jeff Koons at the Ashmolean Oxford, and Anish Kapoor at the Lisson Gallery London.

Here can be no doubt that the Chinese exhibition at the Royal Academy in London is more than a merely artistic event. It represents a new stage in the burgeoning relationship between contemporary China and the West. The opening, originally scheduled for January, was brought forward to coincide with a State Visit to Britain by the Chinese president, Hu Jintao. The "Three Emperors" of the title were the second, third, and fourth rulers of the Qing Dynasty, and their period in power spanned nearly a century-and-a-half, from the mid-17th century until the end of the 18th.

The 251st Summer Exhibition at the Royal Academy London in a review recorded at the press view on 3rd June 2019. The Summer Exhibition is most popular event in the nation’s cultural calendar, and commercially the most successful. It allows works in all media, print/photography/painting/sculpture/architectural models - with rooms arranged by different Royal Academicians, some of whom, like Barbara Rae’s Arctic room, set a theme to their hang.