Open until 20.00 on Sundays, with last ticket sale at 19.00.
The exhibition has just opened and is proving very popular this weekend. Some timeslots have sold out for advance bookings on Saturday 23 and Sunday 24 February, though there are tickets available for next weekend. Please see below for booking advice.
Whaam! 1963
Acrylic and oil on canvas
support: 1727 x 4064 mm frame: 1747 x 4084 x 60 mm
Purchased 1966© Estate of Roy Lichtenstein
Tate Modern is proud to present a retrospective of one of the great American artists of the twentieth century.
Lichtenstein: A Retrospective is the first full-scale retrospective of this important artist in over twenty years. Co-organised by The Art Institute of Chicago and Tate Modern, this momentous show brings together 125 of his most definitive paintings and sculptures and will reassess his enduring legacy.
Lichtenstein is renowned for his works based on comic strips and advertising imagery, coloured with his signature hand-painted Benday dots. The exhibition showcases such key paintings as Look Mickey 1961 lent from the National Gallery Art, Washington and his monumental Artist’s Studio series of 1973–4. Other noteworthy highlights include Whaam! 1963 – a signature work in Tate’s collection – and Drowning Girl 1963 on loan from the Museum of Modern Art, New York.
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12 world famous paintings to go on show in Dulwich
By Rob Sharp, Arts Correspondent
Friday, 3 December 2010
Vincent van Gogh’s Self-portrait (1887) will be displayed at Dulwich Picture Gallery in July next year.
It’s being billed as the “advent calendar of your dreams”. Twelve of the most famous paintings in the world are to be transported to South London next year. The occasion? The 200th anniversary of Dulwich Picture Gallery.
In a dramatic coup for the institution, the first purpose-built public art gallery in England, a swathe of high-profile works will be appear as part of its year-long Masterpiece a Month exhibition. The artists featured are a dramatic cross-section of some of the greatest names ever to have graced galleries’ walls, everyone from David Hockney to Vincent van Gogh, Constable and Rembrandt. Each artwork will go on display for a month at London’s Gallery Road from 2011. The first piece to be exhibited is Sir Thomas Lawrence‘s Portrait of Sir John Soane, the gallery’s original designer.
“We wanted paintings that would knock your socks off at 50 paces,” said gallery director Ian Dejardin. “This is a very important date in the history of all museums in the country and if you’re going to celebrate, then you might as well do it all year.”
The works are loaned from a Who’s Who of A-list galleries around the world, including the Uffizi, the Frick Collection, the Tate and New York’s Met. July will see Van Gogh’s 1887 self-portrait appear in Dulwich. The Dutch post-Impressionist once visited the gallery, and broke the pen attached to the visitors’ book, said Dejardin.
The director also announced the gallery’s summer exhibition, Twombly and Poussin: Arcadian Painters, which for the first time will “bring together these two artists separated by three centuries, but sharing common themes.”
“Dulwich Picture Gallery is set to make another step forward as we enter the third century of our existence,” he added.
The gallery’s first incarnation was assembled by Sir Francis Bourgeois and his business associate Noel Desenfans as a royal collection for the then King of Poland, Stanislaus Augustus.
For more information visit www.dulwichpicturegallery.org.uk
Full list of paintings
January Sir Thomas Lawrence, Portrait of Sir John Soane
February Diego Rodriguez de Silva y Velazquez, Don Sebastian de Morra
March Johannes Vermeer, A Lady at the Virginals with a Gentleman (“The Music Lesson”)
April El Greco (Domenikos Theotokopoulos), The Vision of Saint John
May Paolo Veronese, Venus and Mercury before Jupiter
June Rembrandt van Rijn, Rembrandt’s son Titus dressed as a monk
July Vincent van Gogh, Self-portrait (1887)
August Jean-Auguste Dominique Ingres, Comtesse d’Haussonville
September Thomas Gainsborough, Mrs Richard Brinsley Sheridan
October John Constable, The Leaping Horse
November David Hockney, Mr and Mrs Clark and Percy
December Domenichino (Domenico Zampieri), The Adoration of the Shepherds
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November 2010
Miniscules have to be ‘Art’ eh?
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Liu Bolin, born 1973 in Shangdong province comes up to Beijing in 1999. He is the epitome of the up and coming: a smiling handsome young man with an angelic air who launches into his career with an energy that is barely hidden behind his air of nonchalance, whilst his assistants already refer to him respectfully as Master Liu.
Liu Bolin receives a place to study sculpture at the CAFA in 1999 and graduates in 2005. He is the student and then the assistant of the sculptor Sui Jianguo from whom he will later retain the clean shapes, striking colours such as red or white, and doubtless also certain character traits like a discrete sense of humour and humility. In reality, when Liu starts to work outside of the national education circuit he is already not really a sculptor. Like many artists in China, he experiments with an abundance of mediums and techniques that fall between his hands, and above all, his work shows relevance and talent. Sculpture becomes a pretext for performance, performance is in itself painting and then painting becomes photography.
Urban camouflage
The first work that he presents to the public is a series of photographs entitled “Hiding in the City”, in which a man, often the artist himself, camouflages his face and body to disappear into a seemingly innocent urban landscape.
Technically, he carries out the work himself or has someone paint his body and face according to the landscape that will be his backdrop. With time, he carries out the bulk of the work beforehand from photographs, and makes the final adjustments on site.
He says he sees his work as a statement on the world and its anonymous inhabitants. “My urban camouflage paint series began after Suojia Village Art Campus where I was working was shut down by the Chinese government,” said the 38-year-old artist.
“My resistance to the force of governments made me experience the life of people with no social status, no job, no family, no income and this was the emotional reason I began my series of works. My pieces talk about the question of the social status of art in general. In my work the artist is hiding to restore his strength and to protect himself.”
Nick Garrett 
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