thu 23/03/2023

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

Val McDermid: Insidious Intent review - dark and expert crime writing

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Fred Vargas: The Accordionist review - intriguing Gallic sleuthing yarn

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Utopia: In Search of the Dream, BBC Four review - the best of all possible documentaries?

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James Hamilton: Gainsborough - A Portrait review - an artistic life told with verve and enthusiasm

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Matisse in the Studio, Royal Academy review - a fascinating compilation

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Queer as Art, BBC Two review - showbusiness and the gay revolution

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Grandad, Dementia and Me, BBC One review - no easy solutions to terrifying mental condition

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Michael Connelly: The Late Show review - mesmerising and believable characters

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The Exhibition Road Quarter review, V&A - an intelligent and much needed expansion

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Jonathan Miles: St Petersburg review - culture and calamity

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Sargent, Dulwich Picture Gallery review - wonders in watercolour

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Brenda Maddox: Reading the Rocks review - revelations of geology

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National Gallery of Ireland review - bigger and better

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Elif Batuman: The Idiot review - memories of student life and travels meander

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Alberto Giacometti, Tate Modern

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Sunday Book: Henry Marsh - Admissions: A Life in Brain Surgery

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Pages

latest in today

The Chevalier, St Martin-in-the-Fields review - virtuoso jou...

Shimmeringly urbane, shifting effortlessly from intricate agility to muscular intensity, the music of the 18th century composer Joseph Bologne is...

First Person: Anna Clyne on composing collaborations, not ba...

Collaboration fuels a lot of my music – I love the interaction that takes me outside of my natural tendencies – it’s a source of...

Robert Forster, Lafayette review - élan, spontaneity and tho...

“Learn to Burn” generates the loudest and most sustained applause. As it was originally the opening track of Robert Forster’s 2015 album Songs...

Album: Black Honey - A Fistful of Peaches

There’s a disconnect on the third album by Brighton rockers Black Honey. The music is rousing post-grunge indie...

Turandot, Royal Opera review - spectacle and sound wow in th...

Nearly 40 years old, Andrei Serban’s Royal Opera Turandot feels like a gilded relic (I felt like a relic myself on learning that my...

Osborne, RSNO, Chan, Usher Hall, Edinburgh - cinematic sweep...

Two women featured prominently in this programme; the one a composer and the other a conductor.

To the composer first. Long before she hit...

The Beasts review - a countryside idyll loses its charm

The Beasts (As Bestas) is all of two hours and 17 minutes long, and yet to look away is never an option. ...

DVD/Blu-ray: Living

Mr Williams (a wonderfully restrained, Oscar-nominated Bill Nighy) is taking time off work from his job in the Public Works department at County...

Dance of Death, National Theatre of Norway, Coronet Theatre...

You don’t have to be Scandinavian to act out Strindberg’s fantastical extremes at the highest level, but I’ve not seen any British performers come...

Allelujah review - Alan Bennett put through the blender

I'm proffering just a tad less than three cheers for Allelujah, the film version of...