Tomás Saraceno's interests in spider webs might seem uncannily odd to some viewers, however, to put aside that arachnophobia is to produce intriguing works of art. Boxed in and spectacularly spot lit, the works are confined by an omnipresent curator and the hand of Saraceno is certainly present, yet there is still room for freedom, for uniqueness. Their display in the round enables a visitor to explore for themselves. Simplistically black and white with no fuss, they are mesmeric displays, ritualistic and quietly captivating. Saraceno has made a name for himself through 'Arachnophilia', a community of researchers striving to know more about the spider web and its uses. However, the artist has also spoken at the Max Planck Institute in Germany, he has created his own 3D models of webs and he works across both media and scale with incredible ease - for instance, in 2022, he transformed 25,000 square feet in The Shed, New York, into a web stretched at both twelve and fort...
In 1848, Millais created this work based on various literary sources, producing mixed responses at the time. Criticism was aimed mainly at the artist's disregard for academic convention. However more recently, Julie F. Codell so accurately described Millais' Isabella as a work defined by physiognomy, where facial features and gestures can determine a person's inner, true character. The foil to Isabella's delicacy, politeness and gentleness is her brother. Sitting opposite her and dressed in menacing red, his face is twisted and contorted in anger at the realisation of this love affair before his eyes. The body is strained and clenched, from the hands that grip the nutcracker to the snarling jaw and bared teeth. Isabella's brother in fact becomes more animalistic than even the calm greyhound that obediently sits at her feet. Most impressive by Millais, however, is his capturing of the straining muscles of Isabella's brother, as he reaches out his right leg to ...