It’s a common sentiment: “Modern art is just a bunch of scribbles,” or “I could have done that!”—claims often accompanied by a dismissive eye roll. But what many people are actually reacting to isn’t modern art (which refers to a specific period from the late 19th to mid-20th century), but contemporary art—the broad and ever-evolving field of art being made today.

So why does contemporary art provoke such frustration? Is it the perceived lack of skill? The ambiguity? The belief that art should be beautiful rather than conceptual? In this article, we’ll explore why so many people feel alienated by contemporary art, how art has never been just about "pretty pictures," and some ways to start engaging with it more openly.

I recently had the privilege of having my work, And When in Days Hereafter, showcased as part of Sedbergh School’s 500th Anniversary Exhibition at Bridgewater Hall. The event, which celebrated five centuries of the school’s history, was a vibrant gathering of current students, alumni, and both current and former staff. It was truly special to see our community come together, not only to honor the school’s past but also to look forward with creativity and inspiration.

The practice of restoring and retouching artworks occupies a contentious space defined by competing values—preservation versus aesthetics, authenticity versus unity, and historical accuracy versus artistic intent. As explored in Part 1, historical debates have long framed these tensions. In contemporary conservation, these issues persist, prompting ongoing critical reflection on both philosophical and ethical grounds.

The restoration of paintings, particularly the practice of retouching, has been a contentious topic in art history and conservation for centuries. How do we balance the preservation of an artist’s original vision with the necessity of compensating for losses caused by time, neglect, or damage? This dilemma has sparked debates that span the philosophical, practical, and ethical dimensions of art conservation.

This article, the first in a two-part series, delves into the historical development of retouching practices, tracing key moments, figures, and ideas that shaped how art has been restored throughout the centuries. As someone deeply fascinated by both the technical and ethical aspects of art conservation, I find it remarkable how many of our contemporary debates about authenticity and preservation echo discussions from centuries ago. This exploration of retouching's history reveals not only changing techniques but also evolving attitudes towards art's preservation and authenticity.

When I decided to pursue a career in art conservation, I wasn’t just signing up to fix paintings—I was choosing to become a steward of history. There’s something extraordinary about breathing life back into a work of art, peeling back the layers of time to uncover the artist’s original vision. These paintings hold so much more than their surface beauty; they carry stories, knowledge, and the essence of the world they were created in. Keeping them alive is my way of honoring the past and ensuring future generations can learn from these incredible artifacts.

"Flaming June," painted by British artist Sir Frederic Leighton in 1895, stands as an iconic masterpiece from the late Victorian era, celebrated for its technical sophistication and entrancing beauty. This oil painting, measuring approximately 47 by 47 inches, is enclosed in an elaborate gold tabernacle frame, designed to complement the painting's grandeur. Depicting a young woman in a languid, almost dream-like state, "Flaming June" is known for the vibrant orange gown that drapes over her, capturing light and movement with incredible precision. Through its rich colours, graceful form, and atmospheric Mediterranean background, the painting reflects Leighton’s mastery of technique and exemplifies his commitment to creating art that celebrates beauty above all else.

The sheer variety of oil paint brushes can be daunting at first, especially if you’re new to the medium. With so many shapes, sizes, and bristle types, it’s easy to feel overwhelmed by the choices. However, focusing specifically on oil paint brushes—something I am most familiar with—can demystify the selection process and help you find the right tools for your artistic journey. Understanding the unique qualities of each brush type will open up a world of creative possibilities and enhance your painting experience. This guide breaks down the essential brush types—hog, goat, badger, sable, synthetic, and blended—as well as their different shapes, empowering you to express your vision on canvas with confidence.

Easel paintings, as complex composite structures, are vulnerable to various forms of degradation. The concept of the Ten Agents of Deterioration was first introduced in the 1990s by the Canadian Conservation Institute (CCI) and has since become a foundational framework in preventive conservation. Each agent represents a specific threat that can cause physical, chemical, or biological damage to paintings over time. This topic was brought up during my induction onto the Conservation of Easel Paintings MA course - and though I was was already somewhat familiar with them, I figured it was a good opportunity to revisit the topic and write about it. This article isn’t meant to be an exhaustive exploration, but rather an overview of how these agents apply specifically to easel paintings and their conservation, providing insight into their impact and the strategies conservators use to mitigate them.

This summer, I graduated with a First-Class BA Hons in Fine Art from the University of Leeds, marking the end of an unforgettable journey that shaped me both as an artist and as an academic. As my life takes a new course, I wish to provide some updates to my readers about my recent experiences and future plans.

Following my enlightening visit to the "Prasasti Penciptaan Batuan" exhibition at the Agung Rai Museum of Art (ARMA) in Ubud, Bali, I found myself drawn deeper into the world of Balinese artistry. The exhibition, which showcased three generations of Batuan artists and paid tribute to the legendary I Nyoman Ngendon, had ignited a spark of curiosity about the techniques and traditions behind these mesmerizing works. It was this newfound fascination that led my sister and I to participate in ARMA's exclusive cultural workshop on Balinese painting, a two-hour journey that promised to immerse us in the very artistic practices we had so admired in the museum's halls.

In the heart of Ubud, Bali, a remarkable exhibition unfolds at the Agung Rai Museum of Art (ARMA), showcasing the rich tapestry of Batuan artistry across three generations. This exhibition, running from September 3rd to 22nd, is a testament to the enduring legacy of I Nyoman Ngendon and the vibrant artistic tradition he helped shape.

Barnett Newman, a pivotal figure in Abstract Expressionism and Color Field painting, created works that provoke both profound admiration and controversy. As a Jewish American artist, his contributions to modern art are notable for their emphasis on spirituality, simplicity, and the exploration of the sublime. Yet, his works have also been targets of vandalism, revealing deeper societal tensions and misunderstandings surrounding abstract art. This article delves into the instances of vandalism against Newman's paintings, exploring the motivations behind these acts, their impact on the art world, and the challenges of restoration.

The 20th century marked a pivotal era in the field of art conservation, presenting unprecedented challenges and spurring remarkable innovations. As artistic practices evolved rapidly and new materials emerged, conservators found themselves grappling with complex issues that demanded fresh approaches and methodologies. This article explores the key conservation challenges that arose during this transformative century and examines how the field adapted to meet these new demands.

In the world of art conservation, a groundbreaking development has emerged that promises to transform the way we approach the restoration of historic paintings. A team of researchers, in 2023, from King's College London and the University of Edinburgh has developed a novel technology that harnesses the power of fluorescence to remove the guesswork from painting conservation. This innovative approach, utilizing macroscopic fluorescence lifetime imaging (FLIM), offers unprecedented accuracy in identifying and removing old varnish from paintings, potentially revolutionizing the field of art restoration.

"The Unequal Marriage" is a notable oil painting by Vasili Vladimirovich Pukirev, a Russian artist who gained prominence in the 19th century. Created in 1862, this painting is widely recognized for its poignant portrayal of a marriage ceremony characterized by a stark contrast between the bride and the groom. Pukirev’s work not only reflects his artistic prowess but also offers a critical commentary on the societal norms and issues of his time. This analysis aims to provide a comprehensive examination of the painting, covering its visual aspects, the background of the artist, details about the subjects depicted, the historical context, and the symbolic meanings embedded within the artwork.

Bitumen, also known as asphaltum or simply asphalt in some regions, is a naturally occurring, highly viscous form of petroleum. This complex hydrocarbon substance has been utilised by humans for millennia, with its applications ranging from construction and waterproofing to its use as a pigment in art. Bitumen's deep brown to black colouration and its ability to produce a glossy finish have made it an attractive option for artists throughout history.

The use of bitumen as a pigment dates back to prehistoric times, with evidence of its application found in cave paintings dating back tens of thousands of years. Ancient civilisations in Mesopotamia, Egypt, and the Indus Valley were among the first to exploit bitumen's versatile properties, using it not only in art but also for waterproofing, as a binding agent in construction, and even in early forms of mummification.

Pompeo Batoni's portrait of Sir Thomas Barrett-Lennard, his wife Anna Maria Pratt, and their daughter Barbara Anne is a poignant testament to the profound emotional and social dynamics of the 18th-century British aristocracy. This family portrait, capturing a moment of introspective sadness, encapsulates both the personal depth and the cultural milieu of its subjects. As the Barrett-Lennard family navigates their emotions, the overall composition of the painting reveal layers of meaning that extend beyond mere representation, reflecting their somber dignity and understated elegance. This article delves into the artist behind the work, the historical context of the portrait, and the rich symbolism embedded within this evocative piece.

In celebration of the 150th anniversary of the birth of Impressionism, an extraordinary new exhibition has opened at Milan's Palazzo Reale. The exhibition brings together 52 masterpieces by two of the movement's most influential figures - Paul Cézanne and Pierre-Auguste Renoir. The works on display span from the pioneering 1870s through the early 20th century, allowing visitors to trace the evolution of these French artists' groundbreaking styles. I had the privilege of visiting this remarkable exhibition and witnessing firsthand the profound impact of these two masters on the art world.

Our degree show, Sardines, has now concluded, and the deinstallation process is underway. I want to extend my heartfelt gratitude to everyone who attended the opening night, which turned out to be the largest the university has seen in recent years, with over 200 people in attendance. It was incredible to witness such a tremendous turnout, affirming the value of our hard work.

The countdown is finally over - tomorrow is opening night for "SARDINES", our degree show at the University of Leeds. After months of tireless work, countless sacrifices, and more than a few headaches, we're just hours away from unveiling our labor of love to the world.