Yvette Coppersmith, Self-portrait after George Lambert, oil and acrylic on linen, 132 x 112 cm.
© the artist Photo: AGNSW, Jenni Carter
It is some years since such a classical work as Yvette Coppersmith's has won the Archibald.
Hers is a most intelligent self-portrait in the very mannered style of George Lambert’s work.
Detail from Tom Polo.
‘I once thought I’d do anything for you
acrylic on canvas
152.5 x 101.5cm
© the artist Photo: AGNSW, Felicity Jenkins
The lively reconfiguring of the Archibald, Wynne and Sulman exhibitions means it is harder to work out which paintings the judges are considering as potential winners.
Turkish painter Esref Armagan uses colour and perspective that he has never seen.
A self-portrait of the artist Thomas Eakins, one of the most celebrated painters in American history.
National Academy Museum, New York
If we’re going to grasp what makes Eakins' art so tragically powerful, we should be honest about the man who made them – and the impulses that drove him.
Katharina Grosse Untitled Trumpet, 2015, All the World’s Futures, 56th Art Biennale, La Biennale di Venezia 09.05. - 02.11.2015 acrylic on wall, floor, and various objects, 660 x 2,100 x 1,300 cm / 259 ¾ x 826 ¾ x 511 ¾ in.
Photo: Nic Tenwiggenhorn Copyright: © Katharina Grosse and VG Bild-Kunst, Bonn 2017
How is it that contemporary painting has dug its heels in, so to speak, and refuses to look like a painting anymore?
Rembrandt Harmensz van Rijn ‘Self-portrait as the apostle Paul’ 1661 (detail)
Rijksmuseum, de Bruijn-van der Leeuw Bequest, Muri, Switzerland
Rembrandt & the Dutch Golden Age, a major new exhibition, is the first of its kind to visit Sydney. The title is something of a misnomer – the centrepiece is a stunning work by Vermeer.
A detail from Mirka Mora’s Perth Festival Mural 1983; synthetic polymer paint on tin, 6 panels, each 120 x 280 cm (approx.)
Heide Museum of Modern Art, Melbourne, gift of Paul Swain, 2015.
In 1983, Mirka Mora painted a 21-metre mural in the forecourt of the Perth Concert Hall. The story of this remarkable painting's creation is fascinating.
Thomas Hart Benton’s murals at the Indiana University Auditorium depict the social history of the state.
A controversial panel on Indiana University's campus depicts Ku Klux Klan members, but Benton had a reason for including them. Is avoidance really the best way to deal with dark episodes of the past?
Detail from Gerhard Richter’s Reader (804), 1994 Oil on canvas.
72 x 102cm.
Collection: San Francisco Museum of Modern Art, USA Purchase through the gifts of Mimi and Peter Haas and Helen and Charles Schwab, and the Accessions Committee Fund: Barbara and Gerson Bakar, Collectors Forum, Evelyn D. Haas, Elaine McKeon, Byron R. Meye
Gerhard Richter - one of the giants of post-war German art - is elusive, enigmatic and seemingly impossible to pin down. The first retrospective exhibition of his work in Australia is a brilliant and challenging event.
Detail from Fred Williams You Yang Pond 1963.
oil on composition board
Art Gallery of South Australia, Adelaide Gift of Godfrey Phillips International Pty Ltd 1968 © Estate of Fred Williams
A new exhibition features more than 50 works by Fred Williams, centred on the You Yangs peaks, west of Melbourne. They illuminate a breakthrough moment in Australian art.
Ryan Kelly’s iconic photograph of the moment that James Fields’ car plowed into a crowd of protestors in Charlottesville, Virginia.
Ryan M. Kelly/AP
Ryan Kelly's iconic photograph from Charlottesville evokes a 'Unite the Right' moment from 1937 – and the anti-war masterpiece by Picasso that emerged from it.
Detail from Tony Albert Self-portrait (ash on me), acrylic on linen.
102 x 102 cm
© the artist Photo: Jenni Carter, AGNSW
The packers' favourite has gained prominence and there are few portraits of politicians in this year's popular art prize. The stand out work is a deceptively innocent re-appropriation of Aboriginal kitsch.
Four Seasons of the Canadian Flag, painted by Maxwell Newhouse for John Burge.
Composer John Burge speaks of his drive to create a musical piece to mark Canada's 150th year of confederation and to capture our collective experiences.
Andrew Wyeth stands by a creek on his Chadd’s Ford, Pennsylvania property in 1964.
AP Photo/Bill Ingraham
His rise was just as swift as his fall. To mark the painter's 100th birthday, an art historian explores the forces – cultural, political and personal – that created a polarizing legacy.
Hopper's brand of Americanism was a counterpoint to American optimism. Fifty years after his death, his legacy lives on.
The pigments can look very different when viewed with terahertz ‘eyes’.
Artworks can look very different if you view them with more than the unaided eye, and that can help you spot the fake from the genuine.
James Gleeson’s Delenda est Carthago offers a striking visualisation of a collapsing civilisation.
A new art festival featuring climate-related works offers a new way to see an issue that is often framed in purely scientific terms.
Part of Charles Blackman’s The Exchange, 1952,
oil on plywood on composition board.
91.7 x 91.7 cm
National Gallery of Victoria © Charles Blackman
Today, the idea of a male artist making a major series of paintings about schoolgirls, or any sort of children, sits uncomfortably with the public. But these were memorable and original works when painted in the 1950s.
A detail from Vincent Van Gogh’s, Olive grove with two olive pickers, December 1889 Saint-Rémy, oil on canvas 73.3 x 92.2 cm.
Kröller-Müller Museum, Otterlo © Collection Kröller-Müller Museum, Otterlo, the Netherlands
The pickers and sinewy olives in this painting all strain upward towards the hope of spiritual salvation. But six months after he completed it, Vincent Van Gogh walked out into a wheat field and shot himself.
Salisbury Cathedral from the Meadows. John Constable, 1830-1.
Why a mysteriously placed rainbow made perfect symbolic sense – and how weather experts knew the exact date that it appeared.