Articles

RA Magazine Summer 2020

Elias Allan, Astronomical Compendium

Opinion

> 2 years ago

Lockdown and luxury: the court of James I

Although his accession to the English throne was marred by plague, the Scottish Stuart brought with him vibrant art and culture, says Clare Jackson.
Olu Ogunnaike (right) with print tutor Leigh Clarke in the RA Schools print studio

Inside the Academy

> 2 years ago

It takes two: collaboration in the RA Schools

No artist is an island, as Charlotte Jansen found when she met students and their mentors at the RA’s art school.
Paul Cézanne, L'Estaque

RA Exhibitions

> 2 years ago

Cézanne and his love affair with the rocks of Provence

Curator Ann Dumas digs into how Paul Cézanne’s Provençal landscapes broke new ground with their blend of art and geology.
Hampstead Map, Mike Lemanski

Opinion

> 2 years ago

In the footsteps of Hampstead’s modernists

Hampstead in the 1930s was populated with modernist artists and architects. As Caroline Maclean gives a tour of the area, look out for the reference numbers on our illustrated map below.
Angelica Kauffman, Self-portrait of the Artist hesitating between the Arts of Music and Painting

RA Exhibitions

> 2 years ago

The meteoric rise of Angelica Kauffman RA

Historian Jenny Uglow tells the story of how Angelica Kauffman became a founding Member of the RA and one of the most revered artists in Georgian Britain.
Rana Begum RA at her home and studio in London’s Stoke Newington

Artists

> 2 years ago

Rana Begum: “My work is a release, allowing me to feel calm.”

Rana Begum RA discusses moving studios during a pandemic, its impact on her creative process and how having the children at home has introduced some new qualities into her work.
Jacopo di Cione and workshop, Adoring Saints: Left Main Tier Panel, The Coronation of the Virgin: Central Main Tier Panel and Adoring Saints: Right Main Tier Panel

Artists

< 3 years ago

Author Tessa Hadley on how we carry art around in our mind

While in lockdown Tessa Hadley pays a visit to her inner National Gallery, contemplating recollections of one of her favourite Renaissance altarpieces, Jacopo Di Cioni’s ‘Coronation of the Virgin’.