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Cv/VAR series 104 reviews "David Hockney RA: A Bigger Picture", exhibited at the Royal Academy from January to April 2012. The project of creating monumental landscape paintings was based on a small area near the artist's home at Bridlington in East Yorkshire. Works developed with time-framed films, photographs, iPad studies, drawings, sketchbooks, oils, and watercolors, recording particular motifs and places in the changing seasons.

Cv/VAR 31 documents Francis Bacon, discussed in a seminar for the MA History of Art course at Kingston University in 1995. It considers varied aspects of the artist, the circumstances of his social milieu, his painting methods, and the iconography of his work comparing him with predecessors in Western art from Goya to Picasso as well as contemporaries such as Lucian Freud. A second part reviews works in an exhibition held at the Hayward Gallery London 1998.

The first edition of Curators and Collections, published in 1997, was based on interviews and features published in the quarterly review, Cv Journal of Art and Crafts (1988-1991). These recorded the launch of the Irish Museum of Modern Art in 1991, the construction of Tate Modern in 1997, as well as exploring special collections at the National Gallery, Courtauld Gallery, The British Museum, and Royal Photographic Society.

Despite his short span of activity, from 1423 to 1428, Masaccio can be placed as the signifier of a radical break with the period of Italian painting known as the Trecento, and, alone among his contemporaries, in his use of dramatic realism points the way to the spectacular creations of the High Renaissance, in which artists such as Michelangelo, Raphael, and Palladio achieved a fusion of classic and humanist ideals in painting, sculpture, and architecture.

A study of three leading German artists presently exhibited in London at Tate Modern, the British Museum and the Royal Academy. In 2014, a resonant series of anniversaries and commemorations prompted an enhanced awareness in London of the history of the Teutonic world in general, and - specifically - a sense of post-war Germany in terms of three of its most symbolic and emblematic visual artists.

The photographers discussed in depth in this essay have all engaged with the everyday or the quotidian, yet they are a small sampling of the numerous photographers who have engaged with this subject.

Ben Luke, resident art critic of the London Evening Standard, calls Ai Weiwei "probably the most famous artist in the world. He has transcended the world of museums and galleries, and exerts a newsworthiness that no other artist competes with." This statement, if one bothers to look through the kind of publicity that Ai now attracts - thanks to the digital revolution most of this is easily available with a few clicks on one’s computer - is self-evidently true.

The immense and very sudden success of contemporary Chinese art in Western markets is a phenomenon that Western critics are still struggling to assess. Many link it, not unreasonably, to the economic resurgence of China during the past decade and a half. This resurgence should not have been unexpected. Up to and perhaps including the period of the Ming emperors, China represented as much as 25% of the whole world economy.

A good art collection is always much more than the sum of its parts. This applies with especial force to collections of contemporary work. A collection of this kind, whether the collector intends it to be so or not, is always a portrait - a reflection in the mirror of a particular epoch, and, willy-nilly, a self-portrait of the person who takes the trouble to bring it together.

The term avant-garde continues to be used, in my opinion with far too much frequency, in discussions of contemporary art. It derives, of course, from military terminology, and implies that the art to which it is applied is somehow ahead of the game. It’s worth taking a look at how this assumption works in practice. Essentially, Western and now world art has witnessed the emergence of a series of avant-gardes since just before the third quarter of the 19th century.

An essay by Edward Lucie-Smith explores aspects of the mysterious and private character of the renowned American society artist John Singer Sargent.

Going to the Frida Kahlo exhibition current at Tate Modern in London is like entering the shrine of a secular saint. The rooms are thronged. People peer closely at the paintings, many of them very small. They seem afraid to talk much above a whisper. There are a number of reasons for this reaction. One is Hayden Herrera’s highly readable biography of the artist, first published in 1983, and now established as a classic feminist text. Another is the feminist movement’s general need for heroines, which has had a similar effect on the posthumous reputation of Georgia O’Keeffe. A third, probably the most powerful, reason is Kahlo’s own personality, which combined self-assertion, defiance and masochism in almost equal proportions. In this respect Kahlo can be compared with a slightly later generation of English-language poets, male and female. Prominent among them are Robert Lowell, John Berryman, Sylvia Plath and Anne Sexton.

Explores the structure and development of the Pre-Raphaelite movement in the mid-19th century and works that figure among the most enduring and generally popular in British art. Renowned writer and art critic Edward Lucie-Smith contributes a study of the brotherhood of seven artists and their interconnection and intricate links with the social establishment of the time. James Cahill has a special interest in the movement, having studied Dante Gabriel Rossetti and Holman Hunt. He reviews a major exhibition of 150 works at Tate Britain launched in September 2012.

This article is essentially a follow-up to a piece by The Jackdaw’s revered editor, David Lee, published in The Times on July 25, 2013. In it, he detailed just what a fiasco the Arts Council’s contribution to an otherwise successful Olympic year was, with £5.4 million spent and nothing to show for it.

An anthology of essays and reviews by the eminent art historian and writer, Edward Lucie-Smith. The articles cover a broad span, from the Italian Renaissance of Giotto and Antonello da Messina, Leonardo, and Michelangelo, progressing to Rubens, Velázquez, and Ingres, with essays on William Hogarth, John Constable, and John Everett Millais for British art. With the experience of his landmark publications on modern art, which remain in print, the author sweeps the listener on a fabulous journey of perception.

It is understandable that, in current circumstances, major arts institutions should try to ally themselves with the more anarchic, contrarian elements in contemporary culture. Perhaps this is especially true of those dealing with the contemporary visual arts, committed as these still are to the myth of avant-gardism. One problem that immediately presents itself, of course, is that this myth is not itself contemporary - it is rooted in the very earliest years of the century before ours.

There are three things that we have to take into account when attempting to assess the impact of the contemporary sensibility in art on the culture of the various countries bordering the Mediterranean. First, the way in which each of these territories responds to the idea of the contemporary is bound up with its own cultural history. Every Mediterranean coastline possesses a hinterland, and this hinterland exercises an enormous influence on what is seen on the coast itself.

The first body art performer, as well as the first professional bodybuilder, was the showman Eugene Sandow (1867-1925). Though Sandow’s heyday occurred before the birth of the Modern Movement, there are compelling reasons for giving the primacy to him. Sandow, born Friedrich Wilhelm Müller in Prussia in 1867, left his native country in 1885 in order to avoid military service and first appeared on the London stage in 1885. His real celebrity began when the American impresario Florenz Ziegfield hired him to appear at the 1893 World’s Columbian Exhibition in Chicago.

Edward Lucie-Smith reviews Frieze Art Fair London 2013, in a critical take on the contemporary scene. It's pretty easy to get the point of the Frieze Masters art fair, now in its second edition, after a very successful start last year. Its purpose is to present the best of the best - or, at the very least, a good slice of the top quality art that is currently on the market. One of the great pleasures of Frieze Masters, this year more than ever, is the accidental confrontations the event manages to set up.

More than 30 years ago - in 1977, to be exact - I co-authored a book called Work and Struggle: The Painter as Witness. Its subject was one aspect of the academic painting of the late 19th and very early 20th century - art which dealt not with the comfortable lives of the rich but with all the social problems of the time. There were over 200 illustrations, most of them drawn from publications issued in conjunction with the official Salons of the period, but when we searched for these, they were largely missing.