Artistic Exchanges: Corot, Costa, Leighton (National Gallery)

If you plan on visiting the National Gallery this summer, you won’t want to miss the sun-drenched Mediterranean landscapes currently on view in “Artistic Exchanges: Corot, Costa, Leighton.”  The paintings in this display reconstruct the interactions between three of Europe’s foremost artists of the nineteenth century: France’s Jean-Baptiste-Camille Corot (1796-1875), Italy’s Giovanni Costa (1826-1903), and Britain’s Frederic Leighton (1830-1896).  “Artistic Exchanges” insightfully draws attention to the admiration these men had for each other’s work, as well as their shared appreciation of the natural world.

Corot - Avignon from the West (1836)

Camille Corot – Avignon from the West (1836)

Eager to establish a landscape tradition in his native country, the Roman-born Costa sought inspiration from foreign artists such as Corot, who was keenly interested in painting the poetic effects of light and atmosphere.  Corot’s Avignon from the West (1836), for example, unites land and sky with one another through a harmonious pattern of sunshine and shadows.  The interplay of light and form became a salient feature in Costa’s own compositions, such as Bocca d’Arno (c. 1895), a sweeping riverscape bathed in subdued blue-grey tones.  The panoramic views of Italian countryside favored by Costa made a subsequent impact upon Frederic Leighton, a fellow admirer of Corot.  Throughout his life, Leighton regularly traveled to Italy for painting excursions, on which trips he was occasionally accompanied by Costa after the two met in 1853.

Frederic Leighton - An Outcrop in the Campagna (perhaps 1866)

Frederic Leighton – An Outcrop in the Campagna (perhaps 1866)

The intimate exhibition space encourages viewers to draw comparisons between the landscapes by all three featured artists.  Leighton’s An Outcrop in the Roman Campagna (c. 1866), for example, employs the broad, lateral format favored in Costa’s paintings.  Meanwhile, the loose application of pigment in this landscape resembles Corot’s mode of handling in The Roman Campagna, with the Claudian Aqueduct (c. 1826).  The two artists’ treatment of light is also similar, so much so that a different painting by Leighton—The Villa Malta, Rome (1860s)—was originally attributed to Corot.  One of the most striking similarities of design appears between Costa’s A Morning at Botri, near Lerici (1878-81) and Corot’s The Leaning Tree Trunk (c. 1860-65), both of which the motif of sinuous branches backlit against a vaporous sky.

Giovanni Costa - A Morning at Botri, near Lerici (1878-81)

Giovanni Costa – A Morning at Botri, near Lerici (1878-81)

At the same time, the display also highlights the stylistic characteristics that made each artist’s approach to landscape painting unique, such as Costa’s delicate brushstrokes, Leighton’s solid forms, and Corot’s soft-focus delineation.  Corot’s large series The Four Times of Day, which hangs in the adjacent gallery, is a fitting compliment to “Artistic Exchanges,” particularly because it was Leighton who originally purchased this work from the artist in 1865.

Overall, these landscapes construct a compelling visual argument that emphasizes how these three artists influenced one another over the course of their careers. It also underlines the international nature of landscape painting during the nineteenth century.

Lindsay Wells is an MA student at the Courtauld.

Artistic Exchanges is in Room 42 of the National Gallery from 7 May – 3 September 2014 .

Thank Francis It’s Friarsday: Art, Architecture and the Friars: New Work and Future Prospects (23rd May 2014)

S. Caterina, Treviso. Friary with temporary wall for unbuilt nave. Fresco attrib. Tomaso di Modena.

S. Caterina, Treviso. Friary with temporary wall for unbuilt nave. Fresco attrib. Tomaso di Modena.

This was no Friday, but a Friarsday, when the lecture theatre became like a plenary general chapter meeting of scholars working on mendicant art and architecture, discussing the large amount of scholarship that has recently appeared on the friars in Italy. It was a highly discursive day at which the Courtauld excels, highlighting the new avenues of enquiry medieval art history is taking in pursuit of meaning.

The first papers were given by Caroline Bruzelius and Erik Gustafson, focusing on the architecture of the mendicants. They investigated the social context of the friars’ vast hall-like churches, generally held as being tremendously influential on urban late Gothic architecture, a tall order for men who asserted monastic poverty. The architecture certainly suited the uncertain nature of their income from lay bequests: built piecemeal, but of high impact in terms of sheer scale. The twelfth-century reformed Vallumbrosan and Camaldolese monks were also shown as important precedents for both their rule and architecture, a revelation to many.

John Renner and the statue of St. Francis in San Francesco, Siena

John Renner and the statue of St. Francis in San Francesco, Siena

In the next session imagery took the fore, something the Franciscans are commonly credited in having an enormous influence in, trailblazing a new naturalism looking forward to the Renaissance. Janet Robson demonstrated through the fresco cycle at Assisi how we should not treat images as encoded texts, but instead as lived intellectual experience tied up in artistic representation. This was also how John Renner engaged with the statue of St. Francis in Siena, performing a sculptural exegesis on its form to interrogate it as an object of Franciscan belief and self-identity.

The Morgan Codex f.22, Pacino di Buonaguida, c.1320s

The Morgan Codex f.22, Pacino di Buonaguida, c.1320s

Donal Cooper and Claudia Bolgia returned to buildings to look at them as  as venues for art and ritual. What was revealed here was that narrow genres are unhelpful. Objects and spaces are not limited to one purpose nor does form prove function, the church had many spaces common to both layman and friar. Then the final pairing continued to investigate these concepts with more specific approaches. Amy Neff showed how prayer books could carry specifically Franciscan strategies of ascent through prayer outside the convent, influencing the wider world. Finally Michaela Zöschg took us beyond the visual into the world of sound: and how the female convent allowed not just avenues for seeing, but also for hearing, and how the acousmatic could even more so demolish ideas of segregated space and experience.

This was a conference not just of relevance to those who work on the religious orders, but also medieval art generally, and it showed how art history needs to branch out into many disciplines, methods and sources if it is to uncover the situation of the making of the work of art. One figure who cropped up in the discussions was T. S. Eliot, appropriately for modern medievalists, a trailblazing Modernist with great esteem for the past and tradition. “Last year’s words belong to last year’s language, and next year’s words await another voice”, he writes towards the end of The Four Quartets. It seems however, with the variety of approaches embodied in every paper, next year’s art historians will need to speak in  tongues to really comprehend the intellectual and material context of mendicant art.

Curating the Immaterial: Histories, Theories and Practices of Sound Art


By Carlos Kong

Sound Art Curating Conferece

Sound Art Curating Conference

“Sound Art Curating Conference: Histories, Theories, and Practices of Sound Art” (15-16 May) brought together an interdisciplinary community of curators, artists, and academics to discuss the philosophical, aesthetic, and practical challenges of curating sound art. The conference, held across three days at Goldsmiths, University of London, and The Courtauld Institute of Art and co-chaired by Lanfranco Aceti (Sabanci University), Janis Jefferies (Goldsmiths), Martin Sørengaard (Aalborg University of Copenhagen), and Julian Stallabrass (The Courtauld), fostered interdisciplinary conversations that explored sound art at its curatorial, theoretical, and sociopolitical intersections. Sound art has recently emerged in circuits of public space and art institutions, evident in exhibitions such as Revolutions Per Minute: Sound Art China (Shanghai, 2013), The Heard and the Unheard (Taiwanese Pavilion at the 54th Venice Biennale), and Her Noise: Feminisms and the Sonic (Tate Modern, London, 2012), and Soundings: A Contemporary Score (MoMA, New York, 2013). Despite its ontological absence, sound is accruing a significant presence at the forefront of contemporary art and media culture. Its elusive materiality, unstable objecthood, and relational aesthetics are expanding both the parameters of art historical discourses and the social engagements of curatorial practices, which the conference participants discussed and debated throughout a lively weekend of sonic musings.

The conference featured a variety of compelling sessions and panel discussions, examining diverse audiovisual interstices that ranged from sound art and globalized politics, the spatial considerations of curating sound, writing about sound art, the philosophy of listening and audibility, sound art and issues of conservation and copyright, sound art and the mediatization of the artist, and the relation of sound art to other forms of visual, performance, and digital art. One r session that I found particularly fascinating was “Event Making and Identity Politics Beyond the Dirty A-Word of Authenticity: The Case of ‘Sound Art’ in China”. The speakers, professors and curators from China and Taiwan, problematized the politics of curating nonwestern sound art. Their papers challenged the western, orientalized formation of a distinctly “Asian” soundscape and questioned the possibility of authenticity in the transnational politics of Asian art. Through analyzing various case studies of recent sound art exhibitions, “noise” festivals, and multimedia installations throughout China and Taiwan, the panel participants (one of whom included Dajuin Yao, curator of Revolutions Per Minute: Sound Art China) concluded that curators of nonwestern sound art must maintain a sensitivity to the geographical and material conditions of the work of sound to prevent the spectacularization of nonwestern culture that pervades globalized networks of artistic exchange. The speakers advocated that the relational intervention and social praxis of curating sound art could potentiate a reversal of the “ethnographic ear” of sonic orientalism- an idea that I found particularly compelling, as sound so potently bears the politics of nationality and identity despite its lack of a representational referent.

Another highlight was a keynote address by Atau Tanaka, Professor of Media Computing at Goldsmiths, University of London. As a practicing electroacoustic musician and multimedia artist, a curator of sound and media art, and a scholar of media studies, Tanaka discussed the curatorial instability of sound in his talk, “Curating and Exhibiting Performative Systems”. Tanaka drew on specific examples from his prolific career in electronic audiovisual art to thematize both the risks and richness of sonic performances across networks and spaces, utilizing interactive systems as musical instruments. His anecdotes and artworks emphasized hybridity, complicating the distinctions of physical, virtual, immaterial, and embodied, while collapsing the epistemological divides of data, sound, and image. Tanaka’s virtuoso installations and curatorial projects posit interactivity across geographical cities and continents, and formulate temporal simultaneities of the art event, at once live, re-performed, online, aired on the radio, and networked across galleries and time zones. By expanding and experimenting with the responsiveness of the “embodied audiovisual interaction” of sound with other forms of digital and performative media, the artistic and curatorial practices that Atau Tanaka presented captivatingly gestured towards the redefinition of contemporary aesthetic experience as we know it.

The interdisciplinary conversations at this year’s “Sound Art Curating Conference: Histories, Theories, and Practices of Sound Art” reflect the exciting, albeit challenging developments of incorporating sound art into curatorial programs and academic institutions. Sound- its elusiveness, intangibility, and ephemerality- is emerging to the globalized forefront of contemporary art, exposing the productive, transmedial spaces for curating and scholarship. The conference’s discussions signified a stimulating start to the examination and curation of sound art towards its affective, sociopolitical potential.

Pangaea: New Art From Africa and Latin America (Saatchi Gallery)

‘Pangaea: New Art From Africa and Latin America’ is a moving, intriguing exhibition of wide-ranging art from sixteen contemporary artists, often with complex socio-political influences. The diversity of media and raw talent of several of the artists on display promised a successful, unconventional display, something achieved in part. Unfortunately, something is missing.

This issue could relate to the vague curatorial purpose of the exhibition, evident in its very name; Pangaea refers to an ancient supercontinent, which united most continents in one landmass, and began to separate around 200 million years ago. The word roughly translates to ‘all lands’: an alarmingly wide theme to cover. Latin American and African art is rapidly gaining wider recognition, with recent art fairs such as 1:54 setting precedent for further platforms in London, and it is refreshing to see such art on display in such a prominent gallery. However, Saatchi Gallery offers no explanation for the specific combination of Latin America and Africa, other than their roles as former ‘sister continents’, and the ‘parallels between their distinctly diverse cultures and creative practices’. This puts the exhibition at risk of ‘otherising’ its contributors; emphasis is placed upon continent-of-origin rather than preventing generalisation by selecting a narrower curatorial theme.

Aboudia Untitled (Diptych) 2011 Acrylic and mixed media on canvas © All rights reserved - The Saatchi Gallery / Aboudia

Aboudia – Untitled (Diptych), 2011
Acrylic and mixed media on canvas
© All rights reserved – The Saatchi Gallery / Aboudia

Despite this, many of the actual works on display counter generalisation. This is exemplified in Aboudia’s powerful canvases, carried out upon collages of newspaper clippings, including images of hair braiding techniques and African masks. This, juxtaposed with the violence of over-painted imagery of childlike figures brandishing guns, displaces simplistic understanding of culture by bringing to light the trauma of the political state of his native Republic of the Ivory Coast. The cacophony of vibrant colour, combined with an unsettling naivety of figuration, challenges Western expectations of primitivism, displaying instead politically charged imagery of the complexities of contemporary urban life.

Leonce Raphael Agbodjélou - Untitled triptych (Demoiselles de Porto-Novo series) Leonce Raphael Agbodjélou Untitled triptych (Demoiselles de Porto-Novo series) 2012, C-print

Leonce Raphael Agbodjélou – Untitled triptych (Demoiselles de Porto-Novo series) 2012, C-print, © All rights reserved – The Saatchi Gallery / L. R. Agbodjélou

This challenge to the viewer is also evident in the series of large-scale photographs by Leonce Raphael Agbodjélou, entitled ‘Desmoiselles de Porto-Novo’. These works present semi-nude female models in a colonial mansion, addressing the viewer from behind wooden ceremonial masks. The series’ title suggests a play upon Picasso’s ‘Desmoiselles d’Avignon’, referencing the influence of African art and masks upon the development of cubism, yet with a melancholic realism which draws the viewer back to the social reality of life in Porto Novo, and the impact of colonisation.

Rafael Gómezbarros Casa Tomada, 2013 © Gabriela Salgado, © Saatchi Gallery

Rafael Gómezbarros – Casa Tomada, 2013
© All Rights reserved – Gabriela Salgado / Saatchi Gallery

Further highlights include work from Oscar Murillo, who draws on his experience of emigration from Colombia to London to create a chilling examination of class, cultural coding and migration of materials, and Rafael Gómezbarros’ simultaneously playful and macabre installation of oversized ants, referencing the plight of displaced immigrants. However, the exhibition’s overall effect is shaken by curious juxtaposition of such powerful and unconventional works with garish Pop Art inspired canvases and somewhat derivative abstraction. Having said this, any questionable curatorial choices are more than made up for by the quality of several of the artists on display.

Izzie Hewitt is a third year BA at the Courtauld.

Pangaea: New Art From Africa and Latin America is at the Saatchi Gallery until the 2nd November 2014

Converging on the Object: The Courtauld Metal Bag

By Clara Chivers

The Converging on the Object symposium took place just before closing of The Courtauld Gallery exhibition Court and Craft: A Masterpiece from Northern Iraq. ‘The Courtauld Bag’, a piece of Islamic metal work dated c.1300, is the focus of this exhibition, which argues that the object is of the Mongol Ilkhanid dynasty. Court and Craft, alongside this symposium, marks a significant moment in the history of The Courtauld, which is consciously widening the scope of their scholarship into non-western art. The bag is intriguing; there are questions about its provenance, date and purpose. The coordinator of the symposium Dr Sussan Babaie aptly descried the event as ‘a response to the challenges posed by the silence of the object.’ Converging on the Object was a hugely rewarding day. By approaching the ‘Courtauld Bag’ through their various specialities, the speakers brought it to life and this interdisciplinary approach opened up the transcultural possibilities for its interpretation.

Curator at The Courtauld Gallery, Alexandra Gerstein, revealed how the gallery came to acquire the bag. Considering the collecting practices in 19th-century England, Alexandra discussed the object within the context of the collecting of Thomas Gambier Parry (1816-88), whose collection is now at The Courtauld. Judith Pfeiffer from the University of Oxford dated the bag in the Ilkhanid period of Mongol rule (1255-1353 CE). She explored the richness of the visual and literary changes which reveal the complex and ongoing cultural exchange during this time.  Pfeiffer focused the historian and statesman Rashid al-Din, who developed a new vision of the human past and present. As the Mongols adopted Islam, Islam itself changed, which had significant ramifications for its material culture.

Ruba Kana’an from the Aga Khan Museum analysed the bag into the marketplace and the context of Mongol traders and craftsmen. This paper explores the rich material culture of Mosul and by focusing on legal texts it reveals how metalworks were commissioned. Many of the objects in the exhibition describe Mongol ritual feasting and so a timely (post lunch) speaker, Paul D. Buell of the Max Plank Institute, Berlin shed analysed Mongol food and drink.

Ladan Akbarnia from the British Museum presented an interesting comparative piece: a coffer at the the Brooklyn Museum. Comparing this to the Courtauld Bag was an opportunity to discuss the fluidity of cultural identity, East-West cultural connections and Chinese synthesis in the post-Mongol period. Independent Conservator Diana Heath offered us a wealth of information from her close technical examination, showing some fascinating images from before and after the conservation work occurred.

In a thought-provoking finale, the contemporary Iraqi-born artist, Jananne Al-Ani, discussed her recent series of film and photographic works. It became clear how her artistic practice impacts the way she understands the surface of the bag. For Jananne the intricate patterns on the surface of the object naturally translate into the abstract forms of desert landscapes from her aerial photographs.


The Courtauld Metal Bag

The Courtauld Metal Bag

In her conclusion, Sussan remarked that the bag remains ‘alive.’ Indeed, the symposium considered only a handful of ways this piece could be interpreted and showed that there were many other avenues of research. In the final discussion Professor Deborah Swallow commented that the notion of the limitless ways in which we can see objects is an inspiring metaphor for what our discipline of art history is about.

Seventeenth-Century Oil Paintings on Canvas from Safavid Iran: People from ‘Parts Unknown’

As part of the pioneering Persian and Islamic arts lecture series at the Courtauld, eminent Persianist scholar Dr Eleanor Sims examined the case of ‘people from parts unknown’. The works in question were two suites of almost life-size oil paintings from the second half of the seventeenth century, which, being unsigned and un-dated, have both ambiguous origin and purpose. Their style is eclectic, and the subject hybrid, fusing the technique and pictorial conventions of contemporary European ‘prospect portraits’ with anonymous subjects dressed in luxurious Persian, Georgian and Armenian fashions. The suites are further paired off into couples of men and women who turn to each other from the left and the right.

The works are the subject of Sims’s current research, but both scholar and subject have been well acquainted throughout her career. Having originally catalogued the paintings for an exhibition in London in 1975, Sims’s talk presented new ways to think about the emergence this material, which has often been a subject of scholarly disagreement. Questions of who painted these figures is an issue which is perhaps no longer as relevant now as it may have been in the more connoisseurial atmosphere when the images surfaced in the 1970’s. Instead, Sims focuses on the possible intention of the paintings though an expert analysis of the costume of the figures, the curious nature of the objects that adorn the interior settings, any stylistic similarities to European equivalents and the cultural context in which they were produced.

Isfahan, Persia’s seventeenth century capital, was an international showplace populated by a cosmopolitan community including farangi envoys and missionaries from Europe as well as a prominent Armenian community established in the New Julfa quarter of the city. Sims’s analysis of these works interprets them as having been made in Persia, possibly by a European artist working there or within a dedicated atelier producing this type of image. They function then as the grandest of postcards representing the diverse ethnic groups that one would encounter in early modern Isfahan: a souvenir for the European traveller to take home from his Eastern grand tour. Similar large scale figural paintings were not unusual at this time, but could be found around the city in niches of buildings (such as Armenian houses or on the exterior walls of the Chehel Sotun Palace, which also turned a hand to the depiction of the exotic foreigner but from a Persian point of view). The intention of a European clientele is derived from the rectangular shape of the canvas, which hints at an element of portability. These suites lack the architectural jigsawing of their Persian equivalents that have intentionally arched tops in order to fit snugly to a façade.

The parallels drawn with Mannerist inspired image series including those by Spanish artist Francisco de Zurbarán (Jacob and His Twelve Sons, c.1640-44) placed the Isfahani oils in a context of contemporary practice. Sims’s identification of quotations from European sources, including those from portraits of Charles I and his wife Henrietta Maria that were owned by Shah Safi (r. 1629 – 1642) amongst others, further demystified stylistic elements within the Safavid canvases and made direct connections with their possible sources. The two suites of ‘people from parts unknown’ still pose more puzzles for the viewer, particularly the enigmatic blonde male which remains without a matching female equivalent but who possesses a strikingly individualized face. Their abusiveness is however an enduring factor in their fascination, and some of the pairs recently provided the grand finale to the exhibition Sehnsucht Persien in Zurich earlier this year. They have too evidently provided a fertile riddle for Sims to decipher, but one that she eloquently unravels to great effect.


Design to the T: The Glamour of Italian Fashion 1945-2014 (Victoria and Albert Museum)


Photo © Victoria and Albert Museum, London

Squeals of delight slip from the lips of students, older ladies and a few gentlemen at the Victoria and Albert Museum’s new exhibition of Italian fashion from 1945 to the present, a show promising to be both comprehensive and glamorous. And, like a good stilista, or fashion designer, the V&A delivers with great taste.

Displaying Italian trends chronologically, the exhibit is divided into five sections. Each section is designed differently and provides a palette for the clothing on view. Wood covers the walls and the floors in the first room that is dedicated to Giovanni Battista Giorgini’s fashion shows in Sala Bianca, or ‘White Hall’ in Florence’s Pitti Palace in the 1950s. When the gowns are displayed in front of this organic material, rather than standard white walls, they take centre stage.


Photo © Victoria and Albert Museum, London

The next section, ‘Tailoring,’ is a room with black walls and black felt-like floors bringing the viewer into the designer’s studio. The wall text is displayed on an oversized wooden textile spool, subtly reminding the viewer of Italian fabric factories. In the 1960s, the popularity for ready-made suits and garments tailored to individual clients increased. As much as the stitching of skirts and non-matching menswear suits impressed me, I could not help but examine the unexpected wallpaper. A detail of a pattern for tailoring (1960) covered the walls, marrying historical documents with contemporary design.

The third room, ‘Made in Italy,’ demonstrates the campaign of the same name that ensured style. In the new fashion capital, Milan, manufactured fashion became wildly popular in the 1970s. The wall text notes that a stilista ‘aimed not to create the perfect outfit but the perfect style.’ The floor-to-ceiling mirrors in this section enable visitors to gape at and appreciate each detail of each outfit from multiple angles. More importantly, the mirrors reflect the viewer and their style in tandem with the fashion on view. The mirrors force the questions: What is your personal style? How does your ensemble measure up to the ones on display?


Dolce & Gabbana: Ankle boots, black leather stiletto heels with gold, white and pink embroidery, Photo © Victoria and Albert Museum, London

The showstopper is the section about The Cult of the Fashion Designer. Since the 1990s, designers have become celebrities, often more photographed than their own designs. Upon entering this room, paparazzi cameras flash and click on a large video screen in the white circus tent that hovers over the runway-like display. The dressed mannequins’ shadows grow larger-than-life against the white fabric echoing the image of the celebrity designers who made them.

This exhibition reminds the public of a time when fast fashion was not consumed daily. The way in which the show demonstrates Italian designers’ dedication to each stitch is with its own attention to exhibition design. Like all the shoes that are displayed with one foot slightly in front of the other, as if the mannequin is taking a step forward, Italian fashion is leaping into the future. The question is not whether Italian fashion has a future, but how other designers will keep up with the Italians’ pace.

Aimee Rubensteen is an MA student at the Courtauld.

Design to the T: The Glamour of Italian Fashion is at the V&A til the 27th July 2014.

Matisse: the cut-outs (Tate Modern)

After an eleven-year interlude, the works of Matisse return to Tate Modern. After the Matisse Picasso exhibition in 2002, the focus is now solely on Matisse and his now iconic, paper cut-outs, and related works of his late period. Not surprisingly for one of the most celebrated artists of modern times, the show was heavily marketed as a ‘blockbuster’  and predictably, the crowds are flocking to Bankside. And rightfully too, for the objects here engage on a profoundly material level.

The exhibition consists of fourteen rooms, beginning with a video of an elderly Matisse cutting curved shapes into a piece of blue-painted paper. This emphasis on the physicality of the works as well as the creative process is continued in the presentation of the works through each room, despite the additional roughly chronological lay-out of the exhibition itself. This proves highly effective; visitors are able to walk through each room and feel the development of the works by engaging visually with the exhibits.

Icarus 1946 Maquette for plate VIII of the illustrated book Jazz 1947 © Succession Henri Matisse/DACS 2013

Icarus 1946
Maquette for plate VIII of the illustrated book Jazz 1947
© Succession Henri Matisse/DACS 2013

The displays are also sensitive to the content and colour palette of each, although not always. For example, a cabinet shelf is used in the third room to display all of the bright pages of the printed JAZZ book (1947), with some of the key prints framed above in their original paper cut-out form. The following room is appropriately much smaller and emptier, displaying Matisse’s more spontaneous, less colourful ‘Oceania’ cut-outs as they would have been in his apartment where they had first been pinned. Less inspired is the display of works in the eighth room, where cut-outs like ‘Zulma’ and ‘One Thousand and One Nights’ are simply hung around the white room.

In my mind, the exhibition rightly supports an entirely visual experience. There are of course information labels with the title, date and extra information about each work, but the placement of these labels means the viewer does not see them and the works; instead the labels and titles, to this end often coloured a more subdued grey, are there as a reference should the viewer wish to engage with them. If not, all the main texts throughout the exhibition are usefully included in the free exhibition information booklet.

Henri Matisse, The Snail 1953 Gouache on paper, cut and pasted on paper mounted to canvas © Succession Henri Matisse/DACS 2013

Henri Matisse, The Snail 1953
Gouache on paper, cut and pasted on paper mounted to canvas
© Succession Henri Matisse/DACS 2013

Many key pieces are displayed, in particular the Blue Nude cut-outs (which are given their own room and comparing them to some of his earlier sculptures) and The Fall of Icarus, building up to his larger and more abstract cut-outs such as The Snail. But, what ultimately makes this exhibition well-worth visiting is the chance to see the smaller details often lost in reproductions of them: to see every little pin-hole, and every crease on the painted paper.

Tijana Todorinovic is a first-year BA student at the Courtauld.

Henri Matisse: The Cut-Outs is at Tate Modern until 7th September 2014.