Anna McNay

Articles

Constable and Brighton

Studio International

Anna McNay reviews Constable and Brighton at the Brighton Museum & Art Gallery, on view through October 8, 2017. McNay writes: "The exhibition is structured around three walks that Constable would regularly make: westwards towards Shoreham Bay, northwards towards Devil’s Dyke, and eastwards to the Chain Pier. Largely eschewing the town centre, he would systematically

Vanessa Bell: 1879-1941

Studio International

Anna McNay reviews Vanessa Bell: 1879-1941 at the Dulwich Picture Gallery, London, on view through June 4, 2017. McNay concludes: "[Bell's] art and her life were inextricably intertwined: as her art was her life, so her life was her art. As [curator Ian A C ] Dejardin notes, in his preface to the exhibition catalogue:

Bonnard: En toute intimité

Studio International

Anna McNay reviews Bonnard: En toute intimité at the Musée Bonnard, Le Cannet, France, on view through April 23, 2017. McNay begins: "With the title Bonnard: En toute intimité, one might well expect an exhibition focusing on the artist’s nudes, or more erotic elements of his work, but, just as Tracey Emin’s tent, Everyone I

Fabienne Verdier: Interview

Studio International

Anna McNay interviews painter Fabienne Verdier whose exhibition Rhythms and Reflections is on view at Waddington Custot, London through February 4, 2017. Verdier remarks: "All my work is a kind of meditation. When I create a background for a work, I do so layer after layer. I first try to create a kind of vibration.

Daubigny, Monet, Van Gogh

Studio International

Anna McNay reviews the recent exhibition Inspiring Impressionism: Daubigny, Monet, Van Gogh at the Scottish National Gallery. MacNay writes: "Daubigny (1817-1878) was not only one of the best-known artists in France, but one of the most successful and influential. His pioneering and innovative use of impasto techniques, the palette knife, and a sketchy application of

Paula Modersohn-Becker

Studio International

Anna McNay reviews the recent exhibition of works by Paula Modersohn-Becker at the Musée d’Art Moderne de la Ville de Paris. McNay writes: "[Modersohn-Becker's] short but highly fertile career – she produced more than 700 paintings in seven years (1900-07), working seven days a week, 'with a passion that excludes everything else' – took place