Laura Freeman

June 26, 2020
The current mania for toppling statues might be more happily channelled into putting down roots. Spare us a new forest of old, cold, stone bodies and give us trees instead. Early one morning in the first week of lockdown after a night’s anxious unrest, I turned on the radio. Automatic pilot: tea, porridge, Roberts Revival.
March 01, 2021
The National Gallery’s sublime Albrecht Dürer exhibition gives Laura Freeman wanderlust
November 23, 2020
Gallery glory isn’t the point. The joy is in the sploshing
November 22, 2018
Lorenzo Lotto’s works rivalled the extravagance of his sitters
November 23, 2017
The National Gallery director on religious art, family singalongs, and the Marian painting that survived the Puritans
November 23, 2017
Gabriele Finaldi talks of the National Gallery as if it were a cathedral. Its doors are open, all are welcome, no fee is charged. The galleries – long naves of paintings – instil a change in visitors. “They become quieter,” he says. “They spend time looking. They perhaps don’t spend quite so much time talking.
August 31, 2017
“Ladies in hammocks,” fumed the art critic for the Spectator after an exhibition of James Tissot’s paintings in 1877, “showing a very unnecessary amount of petticoat and stocking, and remarkable for little save their indolence and insolence.” The critic for the Telegraph, equally uneasy about hammocks, was concerned for the artist’s moral health. The sooner
August 31, 2017
James Tissot was famous for his scandalous paintings before undergoing a dramatic conversion
July 13, 2017
‘God save thee, ancient Mariner! From the fiends, that plague thee thus!— Why look’st thou so?’—With my cross-bow I shot the ALBATROSS. What a shot it is, as engraved by the poet-artist David Jones (1895-1974) for his illustrated edition of Coleridge’s The Rime of the Ancient Mariner. The albatross is pierced through the breast by