MICHAL BONCZA and MARIA DUARTE review The Stranger, Undertone, and Outcome
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Cubism, The Scottish National Gallery of Modern Art
Paintings which changed the way in which we look at the world on show in Edinburgh
POTENT: (Left to right) Lyubov Popova: Painterly Architectonic, 1916; George Braque: Le Bougeoir (The Candlestick), 1911; Robert Delaunay: L’Equipe de Cardiff (The Cardiff Team), 1922-23
George Braque: Le Bougeoir (The Candlestick) © ADAGP, Paris and DACS, London 2018
[Antonia Reeve]
WILL STONE applauds the anniversary tour of Pills 'n' Thrills and Bellyaches by Madchester icons, Shaun and Bez
JAN WOOLF invigilates images that meditate on Palestine, and the people who witness them
A murderous convention of crime writers, a hymn to nursing, a monster hunt, and robber baron capitalism
MARY CONWAY is disappointed by a three-hander that broaches big themes, but doesn’t transcend dry academia
DAN GLAZEBROOK eavesdrops on the bourgeois intelligentsia and the stories it tells itself at this moment of crisis
THIS compact exhibition packs a potent aesthetic punch. All the principal Cubists are represented, with work that allows a full appreciation of the movement that shook and shaped 20th-century art in all its diverse strands.
With the world in rapid flux, Cubism burst onto the scene around the turn of the 20th century. It challenged established but tired post-Renaissance canons with canvases that communicated simultaneous viewing of the subject from different perspectives.
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