August 1, 2014 5:29 pm

More exhibitions including JD Fergusson and Max Weber

John Duncan Fergusson, Summer 1914, 1934, oil on canvas

John Duncan Fergusson, 'Summer 1914', 1934, oil on canvas

JD Fergusson, Pallant House, Chichester

The Scottish colourist is convincingly reinvented as a European modernist in his first museum retrospective ever to take place in England. Unlike his fellow colourists, Fergusson was primarily interested in the female form and fashion, and his pioneering years 1907-13 are superbly represented here – “The Spanish Shawl”, “Blue Hat, Closerie des Lilas”, “Voiles Indiennes” – with some flamboyant works shown for the first time. A concurrent courtyard exhibition of Emily Young’s stone heads, hewn from ancient rock, is a bonus.

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IN Exhibitions

pallant.org.uk, 01243 774 557, to October 19

. . .

The Visual Revolution: Russian Avant-Garde Photography, Richard Saltoun Gallery

Close and Far: Russian Photography Now, Calvert 22 Gallery, London

London’s season of Russian photography continues with Richard Saltoun’s comprehensive exhibition drawn from a private collection concentrating on constructivist-suprematist artists, social realism and the second world war, including a strong focus on Rodchenko’s defining images of 1920s Moscow life – “Woman with a Baby”, “Portrait of Mayakovsky”, “Portrait of Varvara Stepanova” – and his significant but still under-exposed Vkhutemas Workshop.

Calvert 22 is displaying work by a young generation exploring identity and place in the aftermath of the Soviet Union, alongside imperial images by Sergei Prokudin-Gorsky.

richardsaltoun.com, 020 7637 1225, to August 29;

calvert22.org, 020 7613 2141, to August 17

. . .

Henri Matisse: The Cut-Outs, Tate Modern, London

Tate Modern’s most visually stunning, historically significant and emotionally gripping exhibition since “Matisse Picasso” in 2002. Revealing at unprecedented scope the breakthrough works of the artist’s final decade when he abandoned easel painting for cutting into coloured gouache paper, developing a new hybrid form between painting and drawing, the show is a marvel of spectacle but also deepens our comprehension of Matisse’s entire oeuvre and recurring concerns: colour versus line, decoration, the human form.

tate.org.uk, 020 7887 8888, to September 7

. . .

Max Weber: An American Cubist in Paris and London, Ben Uri Gallery, London

Another modernist beneath the radar, Weber was born in Russia, emigrated to Brooklyn, travelled to Paris, and returned to the US to introduce a tentative version of cubism with a show in 1911 at Alfred Stieglitz’s gallery, which was savaged. This first UK museum survey encompasses still lifes made in homage to Cézanne and wistful cubist enquiries such as “Dancers” and “New York”.

benuri.org.uk, 020 7604 3991, to October 5

. . .

In Homage, Skarstedt Gallery, London

The destination picture here is Francis Bacon’s great “Study for a Pope III”, last exhibited in London in 1962, and inspired by Velázquez’s “Portrait of Pope Innocent X”. Around it, Skarstedt builds a show about appropriation and assimilation: Richard Prince responding to de Kooning, Sigmar Polke to Goya, Martin Kippenberger to Baselitz. Final week.

skarstedt.com, 020 7499 5200, to August 8

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