The Easel

21st November 2023

Marie Laurencin

Laurencin was friends with the young Picasso but had no intention of following his cubist lead. Instead, she developed a world of female harmony, “diaphanous female figures in a blue-rose-gray palette”, engaged in flirtation. Notably, there were no men. To modern eyes, such images are code for gay relationships. Some might think her works too pretty but “when you’re feeling sick of great men, a dose of Laurencin is at least a sweeter kind of poison.

14th November 2023

Max Beckmann’s Singular Path

When WW1 arrived, Beckmann was nearly 30 and facing a creative crisis. Convulsing world events made his “proto-modernist” portraits and landscapes look trivial. His art shifted to focus on social observation. Appalled by Weimar Republic decadence and Italian fascism, he somehow retained an affection for his fellow humans. His realist art in the post-war decade showcased the “private splendours and public horrors” of the unfolding 20th century.

Southern photography at Atlanta’s High Museum

It must take quite a lot of local pride – or optimism – to schedule a photography show about one’s region. The US South is complex – and has many acclaimed photographers – so a “comprehensive” survey of its photography has a lot to cover. Myths abound and not just those peddled by politicians making for, says one critic, “a great mix of documentary and artistry.” And the truth about the South – well, its complicated.