Extract from our May Diary featuring Karen Smith on contemporary Chinese art
A young Jackson Pollock, inspired by Michelangelo, made the copper tondo on Apollo’s May issue cover
Extract from our April Diary featuring the director of Birmingham’s Ikon gallery, Jonathan Watkins, on the museum’s upcoming 50th anniversary
‘Building the Picture’ is accompanied by the National Gallery’s first fully digital catalogue
Ben Luke on the phenomenon of artist as print collector – what makes the medium so seductive?
Apollo’s April Forum asks whether art market hype affects emerging artists
How did our furry friends become the ubiquitous symbols of Easter?
The new culture secretary, Sajid Javid, must be as visible as possible at arts venues in the coming months
Extracts from Emma Crichton-Miller’s article on Matisse and his cut-outs, in Apollo’s April issue
In his April Editor’s Letter, Thomas Marks asks ‘Was there ever a golden age for Italian Museums?’
Our April cover features a photograph of Matisse. He is ensconced in cut-out design, intent on working the line
A look at some of the outstanding satellite shows being staged alongside TEFAF
Apollo’s March Forum asks what should be done with ‘fake’ paintings
Following MoMA’s expansion plans, is it time to ask whether large museums should look beyond themselves?
All eyes on the Mauritshuis… a striking detail from Rembrandt’s ‘The Anatomy Lesson of Dr Nicolaes Tulp’ features on this month’s cover
Is there value in fake art? Several museums and galleries seem to think so, and have mounted exhibitions to prove it
Extract from our February Diary featuring Diana Campbell Betancourt on the Dhaka Art Summit (7–9 February)
Our February Forum asks ‘Have traditional museum and exhibition catalogues had their day?’
Should the public have a say in exhibition programming? The MFA in Boston seems to think so…
Our February cover ties in with Katy Barrett’s feature article on the resurgent interest in the cabinet of curiosities…
A project initiated by the Museum of Fine Arts, Boston, to conserve two of its most prized works of classical art, the Tetnies sarcophagi, has revealed an intimate world of ancient rituals