wed 05/11/2025

Marina Vaizey

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Bio
Marina Vaizey was art critic for the Financial Times, then the Sunday Times, edited the Art Quarterly, has been a judge for the Turner Prize, and a trustee of several museums; books include 100 Masterpieces, The Artist as Photographer and Great Women Collectors. She's currently a freelance art critic and lecturer. This drawing of Marina as a character from Jane Austen is 40 years old.

Articles By Marina Vaizey

Thatcher: A Very British Revolution, Finale, BBC Two review - a heartbreaking account of her decline

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Edouard Vuillard: The Poetry of the Everyday, Holburne Museum, Bath review - dizzying pattern and colour

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Thatcher: A Very British Revolution, BBC Two review - demolishing the boys' club

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Leah Hazard: Hard Pushed review - a midwife's tales

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Sorolla: Spanish Master of Light, National Gallery review - a national treasure comes to London

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Frans de Waal: Mama's Last Hug review - animal feelings

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Only Human: Martin Parr, National Portrait Gallery review - relentlessly feelgood

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Kader Attia / Diane Arbus, Hayward Gallery review - views from the margins

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Fiona MacCarthy: Walter Gropius review - a master of modernism

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Sam Bourne: To Kill the Truth review - taut thriller of big ideas

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Richard J Evans: Eric Hobsbawm - A Life in History review - mesmerisingly readable

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John Ruskin: The Power of Seeing, Two Temple Place review - inside the mind of a visionary

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Don McCullin: Looking for England, BBC Four review - a hard look at home

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The Last Survivors, BBC Two review - living on

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Kristen Roupenian: You Know You Want This review - twisted tales

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Michael Peppiatt: The Existential Englishman review - we'll always have Paris

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'We are bowled over!' Thank you for your messages... ...
Benson Boone, O2 London review - sequins, spectacle and chee...

After cancelling his Birmingham gig an hour before curtain-up due to illness, the anticipatory hype around whether...

Die My Love review - good lovin' gone bad

Directed by Lynne Ramsay and based on the book by Ariana Harwicz, Die My Love is an unsettling dive into the disturbed psyche of...

Othello, Theatre Royal, Haymarket - a surprising mix of stat...

Perspectives on Shakespeare's tragedy have changed over the decades. As Nonso Anozie said when playing the title role for Cheek by Jowl in 2004,...

Midlake's 'A Bridge to Far' is a tour-de-forc...

“Climb upon a bridge to far, go anywhere your heart desires.” The key phrase from the title track of Midlake’s sixth studio album conveys the...

Macbeth, RSC, Stratford review - Glaswegian gangs and ghouli...

It’s hard to pinpoint exactly what’s so very different about Belfast and Glasgow, both of which I have visited in the last few...

Sananda Maitreya, Town Hall, Birmingham review - 80s megasta...

During a false start to “Billy Don’t Fall”, on Sunday night at Birmingham’s iconic Town Hall, Sananda Maitreya took the opportunity to address the...

First Person: Kerem Hasan on the transformative experience o...

There is a scene in the second act of Jake Heggie and Terrence McNally’s Dead Man Walking in which the man condemned to death, Joseph De...

Mr Scorsese, Apple TV review - perfectly pitched documentary...

This five-parter by Rebecca Miller is essential viewing for any...

Madama Butterfly, Irish National Opera review - visual and v...

Emotional truth backed up by musical sophistication is what saves Puccini’s drama about a geisha deserted by an American officer from mawkishness...