Review
The private pleasures of kings: on nudes from the Prado at the Clark Art Institute
The Spanish Catholic Church tried to curb images of nudity, but artists and patrons did not always oblige
Worth the detour: on the Andrew Lambirth collection
A show of the critic's collection amount to a self-portrait of his taste
Always the same eyes: on Robert Mapplethorpe
The artist combined provocative sex and pristine classicism in his photographs, but no one followed his lead
Looking in the dark: on artificial darkness in art and theatre
A new book by Noam Elcott unearths the role of mediated darkness in cultural history
After Caravaggio: Michael Fried on the painter's enormous influence
The art historian examines the long legacy of the Baroque painter
Undermined by silence: lack of provenance is devastating flaw of al-Sabah collection catalogue
Scholarly assessment is greatly hampered by the lack of detail on where and how the objects were acquired
All together now: on the Francis Bacon catalogue raisonné
The complete collection of Francis Bacon’s paintings is published—at last
Louder than words: on the Language of Things at City Hall Park
The show offers all visitors a chance to consider some serious ideas
From marriage bed to painted pottery: on Geothe's collection
The writer seriously collected maiolica—and enjoyed its light relief and eroticism
A bridge between New York and Paris: on Stuart Davis at the Whitney Museum
The artist's power came from his ability to navigate between American realism and European Modernism
Dis-affecting: Mostafa Heddaya on the Ninth Berlin Biennale
The show’s curators give false prominence to simple provocations
Putting history into art history: on 18th-century British Art
Recent scholarship examines the social context
The seriousness of a child at play: Kenneth Baker on Joel Shapiro at the Nasher Sculpture Center
Shapiro says he only wants to 'stick stuff in space,' which belies the many important questions his work raises
The sedulous Stanleys: power at Knowsley Hall
The cultural intersection of power, patronage and politics
Very sharp, but not long enough
This account of Islamic arms and armour is superb, but a complete catalogue would have been better
Atmosphere, thought and feeling: on Giorgione and his contemporaries
The mastery of his art and that of his Venetian contemporaries
The gospel according to Bruce Conner: on the artist's show at Paula Cooper Gallery
Biblical upheaval is at the heart of a group of tapestries by the artist
A monument to the living and the dead: on the Queen's arms and armour
Long in the making, the catalogue of her collection has been worth the wait
Tate Modern: a museum for our times
In emphasising architecture and spectacle, jettisoning chronology, pursuing diverse audiences and attracting private money, Tate Modern is the quintessential contemporary museum
Loose language: on Liam Gillick's Industry and Intelligence
The artist's new book is confused and lacking in rigour
Latin American artists triumph at South London Gallery
Gallery has partnered with New York’s Guggenheim on survey of the region
A sickly flower of Decadent London: on the work of Aubrey Beardsley
The complete works of the illustrator, presented in all their “corrupting” glory
The Greeks in Egypt: on Sunken Cities at the British Museum
The exhibition explores the interactions between two great civilizations
Venice Biennale: the multiple fronts of architecture do not disappoint
High-impact installations communicate the process of architecture to non-specialists
Cornelia Parker puts the lost and found into Foundling Museum
More than 60 fellow artists add poignant responses to history of children in need
Monster sculptures: Serra, Kapoor and Webster in New York
Three shows offer a roller-coaster study in size
The stones cry out: on Medieval art in war-torn Syria
The Ayyubid glories of Syria, now mostly in ruins
The touch behind the image: on New Imagery in Italian Art at the Guggenheim Collection
The exhibition reveals how artists imbued pictures with a sense of tactility
