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Forbes
20-05-2025
- Entertainment
- Forbes
Seeing Each Other: Artists Through The Eyes Of Artists At Pallant House Gallery
Lucien Freud Portrait of Celia Paul at Pallant House Gallery. Lee Sharrock A powerful exploration of artistic connection and mutual gaze, Seeing Each Other: Artists Through the Eyes of Artists is a new exhibition at Pallant House Gallery featuring intimate portrayals and tributes of celebrated modern and contemporary artists, from Francis Bacon and David Hockney to Tracey Emin and Lubaina Himid—revealing the creative bonds that shape British art across generations. Step into a living constellation of faces, gazes, and friendships at Seeing Each Other: Portraits of Artists, the sweeping new exhibition at Pallant House Gallery in Chichester. Spanning 125 years of British art, this poetic gathering of over 130 works —from drawings and sculpture to film and photography—unveils the tender, complex, and often electrifying relationships between artists and their creative kin. More than 80 voices echo through this show, including Lucian Freud, Paula Rego, Lubaina Himid, David Hockney, Lee Miller, Francis Bacon, Barbara Hepworth, Maggie Hambling and Peter Blake. Their portraits do more than capture likeness; they tell stories of admiration, rivalry, love, and influence—from the intimate circles of the Bloomsbury Group to the bold bravado of the Young British Artists. Covering a period of 125 years–and featuring drawings, installations, paintings, photography, prints and sculpture–the exhibition sets out to document some of the most intriguing images by artists of their creative peers. Mary McCartney, Being Frida, London, 2000, Giclée Print © Mary McCartney © Mary McCartney At its heart, this is an exhibition of artistic dialogue—painter meeting painter, friend painting friend, and women artists capturing the essence of their peers with unwavering insight. Lindsay Mendick's ceramic tribute to Tracey Emin reshapes a moment of performance art into permanent form, while Lubaina Himid's painted wooden figures honour a lineage of women whose images and ideas continue to shape the canon, and Mary McCartney's enigmatic image of Tracey Emin as Frida Kahlo captures the spirit of both women. Highlights include; a projection of Johnny Shand Kydd's enigmatic images capturing the YBAs when they were young and hanging out at The Groucho Club and Colony Rooms in Soho; and new commissions including a magical portrait by Sky Arts Portrait Artist of the Year winner Curtis Holder and double portraits by artists and long-term friends Ishbel Myerscough and Chantal Joffe studied together at the Glasgow School of Art. Double portraits by Ishbel Myerscough and Chantal Joffe © Lee Sharrock From previously unseen gems like Seóirse MacAntisionnaigh's 1924 painting The Slade Tea Party–of Slade School students including Mary Adshead and Eileen Agar–to Curtis Holder's luminous new portrait, each piece hums with connection. Whether glimpsing Johnny Shand Kydd's Soho snapshots of the YBAs or lingering before Ishbel Myerscough and Chantal Joffe's dual portraits of one another, visitors are invited into a world where artists become mirrors. While there are many husband-and-wife artist couples featured who have painted or drawn portraits of each other–from Barbara Hepworth and John Skeaping to Winifred and Ben Nicholson, and Lucian Freud and Celia Paul –there is also a strong presence of women artists who have immortalised fellow women artists through portraiture. Lubaina Himid installation at Pallant House Gallery. © Lee Sharrock Lindsay Mendick's ceramic ode to Tracey Emin in the form of a ceramic reimagining of Emin's 1996 performance Exorcism of the last painting I ever made is a highlight, as is Lubaina Himid's sculptural artwork featuring painted wooden full length portraits of female artists from past and present, including Bridget Riley, Élisabeth Vigée-le Brun, Frida Kahlo and Himid's friend, artist Claudette Johnson. Lindsay Mendick's ceramic ode to Tracey Emin. Photograph by Lee Sharrock. Lee Sharrock The exhibition features artists' portraits of fellow artists spanning several genres, movements and locations, starting at the turn of the 20th century with portraits of Walter Sickert, Sylvia Gosse and Nina Hamnett, through to The Bloomsbury Set in London and Suffolk, Newlyn School in Cornwall, pre-war modernism in Paris, to Pop Art art, the London School, YBAs and finally to contemporary artists and photographers such as Cindy Sherman and Mary McCartney and the British Black This final chapter in Pallant House's trilogy on modern British art—following still life and landscape—offers a deeply human tapestry. Curated by Melanie Vandenbrouck with scholarly grace, Seeing Each Other is a celebration of the artist's gaze—not just outward, but across the room, into the eyes of someone who understands. Seeing Each Other: Portraits of Artists runs from 17 May to 2 November 2025 at Pallant House in Chichester, Sussex. Curtis Holder painting. © Lee Sharrock
The Guardian
15-05-2025
- Entertainment
- The Guardian
Lovers, haters, rivals and chums – Seeing Each Other: Portraits of Artists review
Standing in front of Frank Auerbach's quietly harrowing charcoal portrait of Leon Kossoff and Kossoff's own heavily textured, dour portrait of Auerbach, I felt as if I was caught between the gazes of the two artists. Caught in the balance of their stares, seeing the way each sees the other, I was both implicated and invisible. Moments like these are the most intimate and affecting in Pallant House's new exhibition of portraits of artists by artists. When a portrait of one artist by another is hung beside their portrait of the other, we find ourselves caught between them. There are many pairs of lovers featured, including Matthew Smith and his mistress Vera Cunningham or Lucian Freud and Celia Paul, as well as works by friends such as Auerbach and Kossoff or Nina Hamnett and Roger Fry. In some cases, such as the two paintings by Smith and Cunningham, it's easy to see how the two artists influenced each other as they found a shared visual language of heavy, impressionistic brushstrokes and a dark, jewel-like palette. In others, the aesthetic distinctness is what draws you in. There are also delightful little moments in which multiple paintings of the same artist are hung together, all painted by different people. The exhibition moves chronologically from the turn of the 20th century to the present, and there is a series of portraits of Walter Sickert at the start of the exhibition by three different women in his life: his friends Sylvia Gosse and Nina Hamnett, and one of his wives, Thérèse Lessore. Each portrays him entirely differently: Gosse shows him standing in profile, his middle-aged potbelly declaring his prosperity; Hamnett shows only his face, gazing directly at her from under the brim of his black hat; Lessore shows him from the back, the profile of his face hardly legible. The complexity of trying to convey a likeness in a portrait is profoundly evident when confronted with a group like this. If these women who knew Sickert so well each paint him so differently, what was he really like? Perhaps only via many representations can the real man begin to emerge. Moving from the bohemian London of early 20th century through pre-war modernism and eventually to pop art, the London School, the YBAs, and up to the present, this exhibition makes a compelling case for a story of British modern art that is communal and collaborative. The interlocking circles of portraits that emerge make it obvious that the avant garde movements that evolved in and out of existence throughout 20th-century Britain were as social as they were professional. Walking through the galleries feels like drifting through a cocktail party, going from group to group of interesting, chatty friends – much like the scene of a Slade tea party painted by Seóirse Macantisionnaigh. There is rivalry and darkness here, too – husband and wife John Bratby and Jean Cooke's portraits of each other are hung on either side of a doorway, which neatly emphasises the antagonism between them. Sickert's portrait of unhappily married couple Roald Kristian and Nina Hamnett oozes with their apathy for each other, and Cedric Morris's remarkably unflattering portrait of Barbara Hepworth can readily be read as a document of his dislike for her. The exhibition is the last in Pallant House's ambitious trilogy of exhibitions on modern British art – exploring first still life, then landscape and now portraits. There are moments when the exhibition feels like it belongs at the National Portrait Gallery, as it can feel it is tracing celebrity rather than aesthetic exchange. But for the most part, it triumphs in crafting a cohesive story of visual, and literal, conversations between artists on the canvas. I wanted it to be bigger, and kept thinking of artists who I felt were missing, which is a sign of how effective the curatorial construct is: it welcomes a way of considering the history of art via relationships, which is inherently expansive. There are always more artists to include. The contemporary section of the show is the biggest and most broad. It includes portraits of real-life friends, including a wonderful group of three iconic works by the artists Chantal Joffe and Ishbel Myerscough, who have been painting portraits of themselves together since their student days in Glasgow. It also includes portraits exploring relationships between artists of the present with those of the past. Gillian Wearing's photograph of herself as Georgia O'Keeffe, for example, or Caroline Coon's reimagined painting of the pop artist Pauline Boty, widen the notion of a relationship to include transhistorical, imagined but still intimate relationships between artists through time. The exhibition has a circular route, so it both opens and closes with Lubaina Himid's painted wooden figures of female artists from the past and present, including Élisabeth Vigée-le Brun, Frida Kahlo, Bridget Riley (represented entirely by stripes), and Himid's real-life friend, Claudette Johnson. The life-sized women are a fitting encapsulation of the exhibition's ethos: that artists see each other with profound depth, and that art itself is born out of intimacy and influence. Seeing Each Other: Portraits of Artists is at Pallant House Gallery, Chichester, 17 May to 2 November
Irish Post
06-05-2025
- Entertainment
- Irish Post
Unseen works by Lucian Freud go on display in Belfast
A NEW exhibition showcasing work by the esteemed artist Lucian Freud has opened in Belfast. Lucian Freud's Etchings: A Creative Collaboration features a collection of Freud's etchings, many of which have never been previously exhibited. It opened at the Titanic Belfast this month, marking the first port of call for its global tour. Pictured at the launch at Titanic Belfast, David Dawson, Freud's Studio Assistant (1991-2011); Judith Owens, Chief Executive of Titanic Belfast, and Gill Saunders, Curator for the V&A's Lucian Freud's etching exhibition The museum is the only Irish location which features in the tour, and its CEO Judith Owens confirmed they are 'honoured' to welcome the display. 'We are thrilled to display never seen before pieces from one of the world's most renowned artists and bring yet another reason for people to visit Belfast,' she said this week. 'The exhibition is particularly special for Titanic Belfast given its links to our Chairman Pat Doherty and will be free for people to view, and we are delighted to enhance our visitor experience over the busy summer period,' she added. The artworks featured tell the story of Freud's collaboration with the master printer, Marc Balakjian, including his 2007 piece Donegal Man - the sitter for which was Mr Doherty. Titanic Belfast currently has more than 60 of Freud's etchings on display, alongside a recreation of his Kensington studio. The exhibition gives visitors the chance to view over 60 of the renowned artist's famous etchings 'Piled with rags to clean his brushes, the studio became a living artwork itself and will bring another dimension to the exhibition experience,' a Titanic Museum spokesperson said. Visitors also get the chance to listen to interviews with key figures in Freud's life including David Dawson, Freud's long-standing assistant and frequent model; Andrew Parker-Bowles, who sat for The Brigadier; Gill Saunders, curator of the collection; and Sally Clarke, owner of Clarke's restaurant, where Freud dined daily. The exhibition run at Titanic Belfast until September 'The testimonials will offer further insight into his work, bringing the etchings to life and offering insight into the artist's habits, relationships and overall vision,' the spokesperson added. "Made over a period of 25 years, Lucian Freud's extraordinary etchings demonstrate his developing mastery of this challenging medium,' Gill Saunders, Curator of the V&A's Lucian Freud's Etchings exhibition, said. 'Shown together for the first time, this unique collection of trial proofs offers fascinating insights into Freud's working process, and shows us how his achievements in print depended on his close collaboration with the master printer Marc Balakjian.' Lucian Freud's Etchings: A Creative Collaboration is a free exhibition open to the public at Titanic Belfast until September 30. See More: Exhibition, Lucian Freud, Titanic Belfast
BreakingNews.ie
01-05-2025
- Entertainment
- BreakingNews.ie
Free exhibition of 60 Lucian Freud sketches opens at Titanic Belfast
A free exhibition of dozens of sketches by the British painter Lucian Freud opens at Titanic Belfast on Friday. More than 60 of the artist's etchings will be on view, with a new immersive experience, from May until the end of September. Advertisement The exhibition, held in collaboration with the V&A, charts Freud's development from his early explorations to his later mastery of flesh and form through line. (left to right) Curator of the V&A's Lucian Freud's Etchings exhibition, Gill Saunders, chief executive of Titanic Belfast, Judith Owens, and Freud's former studio assistant David Dawson (Liam McBurney/PA) Artwork will include Bella in Her Pluto T-Shirt; Self-portrait: Reflection; and Donegal Man – which has a special connection to Titanic Belfast as the sitter was Pat Doherty, the visitor attraction's chairman. People can get further insights into Freud through the interactive listening pods where key figures who knew him well describe his habits, his relationships and the uncompromising vision that shaped his legacy. The exhibition will also include a recreation of his Kensington studio, offering a glimpse into the space where he worked, which in itself became a living artwork. Advertisement Judith Owens, chief executive of Titanic Belfast (Liam McBurney/PA) Chief executive of Titanic Belfast, Judith Owens, said they were 'delighted' to open the exhibition. 'This stunning exhibition and immersive experience gives people the unique opportunity to view unseen work from one of the foremost British artists of the 20th century, and to become fully immersed in finding out more about this fascinating man and the stories behind his creative process and collaborations.' Lucian Freud's Etchings: A Creative Collaboration exhibition, runs from May 2 until September 30 in the Andrews Gallery on Level 2 of Titanic Belfast.
The National
25-04-2025
- Entertainment
- The National
Mount St Restaurant review: Reimagined British favourites in the heart of Mayfair
If the three Ls of location apply to food as well as homes, then Mount St is the place to eat out in central London. The invitation to this restaurant, which offers fine dining with a classic British twist, reminded me that "as we know Mayfair is a popular spot for Middle Eastern tourists in the summer months". Not just the summer, but the low hum of quiet conversation from promenading visitors in their comfort wear pervades these streets almost year round. At Mount St, it is not just the well-heeled from the region. There is a Premier League club owner, not from the Middle East, at one table, plus bodyguards in tow, on the night I visit. Mount St sits above the long-standing Audley public house, but is accessed through a private entrance. Each floor is dedicated hospitality space, including private rooms decked out in tartan. The executive chef is Jamie Shears, who was busy in service most of the evening during our visit. He has produced an ambitious menu, including the signature lobster dish for two. If Mount St was missing anything it was a red velvet chaise longue. It is that kind of space. Like an opulent salon, the atmosphere was very welcoming and the staff really went out of their way to ensure we had a pleasant experience. It helped that pieces by Lucian Freud, Henri Matisse, Andy Warhol and Frank Bowling lined the walls. The mosaic floor and array of windows at the same time lend the room a bright and airy feel during the day. Now in its third year, having opened in autumn 2022, Mount St Restaurant has become a firm favourite of many in a neighbourhood that includes legendary hotels, including Claridge's and the Connaught. The food was impressive and I thought the menu was well structured. Looking around, the lobster pie for two was the main order for many fellow diners. For something lighter at our table there was the confit smoked trout, jersey royal potatoes and watercress, topped with an egg. For meat-eaters, there was an excellent aged beef with seasonal greens. Seasonality is important to the Mount St offering. Shears explained the wider approach as expressed in two eye-catching dishes, the mock turtle croquette on the starters and the agnolotti of baked potato and black truffle on the mains. "Both dishes balance tradition with innovation, offering food that is both rooted in history and exciting for today's diners," he told The National. "I like to take familiar flavours and present them in a different or unexpected way, while ensuring that every dish feels thoughtful, considered and full of character. "The mock turtle croquette takes inspiration from a classic dish, but delivers it in a way that's unusual, refined and packed with flavour, while the agnolotti is indulgent and comforting, and is a vegetarian dish that doesn't compromise on richness or flavour. "I'm ambitious with my approach to cooking and I'm always looking to create a new take or put an unexpected spin on well-known dishes, meaning people keep coming back to try more." The knowledgeable and solicitous staff were keen that I try the hazelnut parfait and it did not disappoint. Indeed, it was superbly balanced. The buzz around the building is the product of upwards of 30 events a week, as well as breakfast, lunch and dinner settings at the restaurant. Shears says it has been a career-topping challenge to get the food operation humming in the Mayfair landmark. Before signing up with Mount St, he was at the Wolfgang Puck restaurant on nearby Park Lane. "Mount St Restaurant is about creating a space where exceptional food feels exciting in a welcoming setting," he says. "I want guests to experience dishes that are rooted in London's culinary history but presented in a way that feels fresh, relevant and effortlessly enjoyable. "I was executive chef at 45 Park Lane, which was thriving, and I was very comfortable in my role there. When I took on the challenge here, I had no idea how big we were going to become." The grilled Cornish mackerel, blood orange ponzu, monk's beard and caviar costs £28 ($37), while the lobster pie for two, with greens, is £110. A warm bitter chocolate mousse, cocoa nib and coffee ice cream is priced at £16. This review was conducted at the invitation of the restaurant
