Leonardo, Michelangelo, Raphael around 1500

Bernard Jacobson Gallery</a> is pleased to present an exhibition of prints by <a target="_blank" href=https://www.mutualart.com/Exhibition/Leonardo--Michelangelo--Raphael-around-1/"/Artist/Howard-Hodgkin/9A982838CEDC0EAC">British artist Howard Hodgkin</a>. This exhibition focuses on the first three decades of Hodgkin’s artistic career, showcasing his energetic experiments in printmaking. The exhibition shows the artist’s close working relationship with Bernard Jacobson, who published many of his prints.&nbsp;</p><p><br></p>" />

new paintings by Alia Ahmad</a> (b.1996, Riyadh) will open at Mason’s Yard in February 2025. White Cube announced global representation of the artist in September 2024.</p><p>Ahmad’s vibrant, expressionistic paintings draw inspiration from memories and observations of her native Riyadh; informed by local textiles, poetry, calligraphy, digital graphics and the rich diversity of the surrounding industrialised desert landscape and plant life.&nbsp;</p><p><br></p>" />

new paintings by Ella Kruglyanskaya</a> (b. 1978, Riga, Latvia), the first in a series of three exhibitions across the year, with the second opening in Basel at Contemporary Fine Arts in June and the third in the autumn in New York at Bortolami Gallery. Kruglyanskaya’s forthcoming monograph, Too Much, will be published by Pacific to coincide with the opening of her Thomas Dane Gallery exhibition.</p><p>Entitled Shadows, Kruglyanskaya’s exhibition will assemble a group of new paintings and drawings that both honour and question the legacy of the artists and experiences that have shaped her practice. Drawing on the works of Josef Albers, Édouard Manet, Juan Sánchez Cotán, Anthea Hamilton, René Magritte as well as the numerous representations of odalisques in art’s history, Kruglyanskaya’s new works explore the nature of artistic influence and the enduring conversation about the future of painting.</p><p>Kruglyanskaya’s many frames of reference encompass textile design, graphic arts and the histories of painting. These histories are often amusingly reformulated within large-scale portraits which combine cartoonish and sardonic figures with elements of still life, playing on the tradition of memento mori. In Everyone and Their Mortality (2024) Kruglyanskaya translates contemporary ideograms into trompe l’oeil, and places these symbols in familiar art historical scenes, wherein her humour undercuts scenes of emotional tension or confrontation.</p><p>In her new body of work, the long shadows cast by the light entering Kruglyanskaya’s New York studio reframe the images created by her painterly influences, or are dappled across rushing female figures and overlaid with references to technology, both evolving and obsolete. These acts of homage are destabilised by satirical or double entendre titles that call into question our contemporary ways of seeing and making.</p><p><br></p>" />