Lauren Elkin

Dec 4, 2024 | the-tls.co.uk | John-Paul Stonard |Elizabeth Lowry |Lauren Elkin

Hans Josephsohn began to gain public recognition for his sculpture around the turn of the century, when he was eighty. Among these late works at the Musée d’Art Moderne in Paris, four roughly modelled wall reliefs stand out, showing forms that might be interpreted as an artist and a model, a heavy lintel-like beam weighing down on the scene. Here and there a detail might suggest a face or body part, but these are quickly submerged in the overall sense of a non-specific yet hardly arbitrary object.

Nov 27, 2024 | the-tls.co.uk | Elizabeth Lowry |Lauren Elkin |Aaron Peck

Syphilitic love rat of the South Seas. Vincent van Gogh’s nemesis. The amoral genius who ditched his wife and family to flit off to French Polynesia. Paul Gauguin is the bad boy of modernist painting. His image – which he wasn’t averse to cultivating – as the savage prince of European art’s fin de siècle counterculture was already taking shape in his lifetime, and has informed his legend ever since.

Nov 20, 2024 | the-tls.co.uk | Aaron Peck |Lauren Elkin |Rod Mengham

It is hard not to think of André Breton’s writing desk when viewing the ambitious centenary exhibition on surrealism at the Centre Pompidou. In the permanent collection, on the floor directly below, the contents of its founder’s office are installed behind glass. A little like Freud’s consulting room, the French poet’s office is cluttered with fetishes and sculptures, and hung with paintings, both by his artistic peers and from Indigenous societies.

Nov 20, 2024 | the-tls.co.uk | Lauren Elkin

Welcome to the TLSWinner of the 2024 Niche Market Newspaper of the Year Award and proudly niche since 1902.

Nov 6, 2024 | the-tls.co.uk | Kathryn Hughes |Lauren Elkin |Aaron Peck

For years Isabella Stewart Gardner had been searching for a suitable Manet to hang in her eponymous Boston museum. Finally, in 1910, Bernard Berenson, acting as her adviser and scout, wrote excitedly that he had found just the thing. The picture in question was “colossal” and “vigorous”. Gardner snapped it up, and from that moment “Eugénie-Désirée Fournier Manet” (c.1866) became one of the first things visitors encountered on stepping into the museum’s Blue Room.