John-Paul Stonard

John-Paul Stonard’s Creation, a history of art since ancient times, was published in 2021.

At the Guggenheim: Christopher Wool

John-Paul Stonard, 19 December 2013

The American artist Christopher Wool’s large abstract paintings are often beautiful, but they are so emptied of content that it is at first hard to know what to make of them. For the first ten years or so after he came to attention in the mid-1980s, he was considered an artist’s artist: he didn’t have a large public following or much of an international reputation. All this...

In the Studio: Howard Hodgkin

John-Paul Stonard, 23 January 2014

Howard Hodgkin has finished a new painting. It is called Summer Rain, and is painted with oils on a framed wooden panel, about two metres in length and just over one metre high. At the centre a pinkish-brown form like a cool fireball rises vividly against a background of luxuriant green – foliage perhaps, or even palm trees, which appear often in Hodgkin’s pictures. A band of...

The​ German painter Jörg Immendorff died in 2007, at the age of 61, after a long period suffering from motor neurone disease. His reputation had been tarnished by a scandal a few years earlier involving cocaine and prostitutes, but by this stage his artistic career had in any case already begun to falter; his late works never quite captured the success of his Café Deutschland...

At the RA: Anselm Kiefer

John-Paul Stonard, 6 November 2014

Anselm Kiefer​ first came to public attention in London in A New Spirit in Painting, the exhibition held in 1981 at the Royal Academy. It’s fitting, then, that this should be the venue for the first full retrospective in Britain, curated by Kathleen Soriano (until 14 December). Kiefer has always divided critics, some taking fright at his heavy Germanic imagery, others describing the...

Letter

It happens to be better

10 September 2015

Like T.J. Clark, I too had the strange experience last year of walking through Auerbach’s London, thinking of his paintings, and suddenly coming across the artist himself (LRB, 10 September). He told me the story of Michael Podro giving a lecture in Berlin, having spent weeks polishing his German – only to be asked questions at the end in flawless English. I regret now not asking Auerbach if he...

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