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Shortly after midnight on September 2, 1666, a fire broke out in a bakery on Pudding Lane in the City of London. Within three hours the house was engulfed and fire had begun to spread through the city of closely-built, half-timbered houses, dry as a tinderbox after a long hot summer.
The exhibition Fire! Fire! marks the 350th anniversary of the Great Fire which destroyed much of the old medieval city and became a turning point in the story of London.
Tate Modern has a exhibition on Wifredo Lam, the 20th-century Cuban modernist, whose work is so often compared to Pablo Picasso. This is the first museum exhibition of Lam’s work in London since 1952, and is a major retrospective covering 50 years of the artist’s career.
Lam’s modernist art spans 20th-century traditions including Cubism and Surrealism, mixed with Afro-Cuban imagery. The artist was born and brought up in central Cuba, one of eight children of a Chinese immigrant father and Cuban mother of Spanish and African descent. As an adult, Lam moved first to Havana, then Madrid in 1923 to study art. He stayed in Spain for 15 years, where he met and married his wife with whom he had a son, both of whom he lost to tuberculosis in 1931. He went on to fight for the Republican side in the Spanish Civil War, eventually fleeing to France in 1938 when Barcelona fell to Franco.
The Donmar Warehouse is staging a new production of The Tempest, alongside revivals of Julius Caesar and Henry IV, with all-female casts, starring Dame Harriet Walter.
The trilogy of plays is being performed at a new purpose-built 420-seat temporary theatre in the round at King’s Cross, put up for the plays’ 13-week run.
Michelangelo Merisi da Caravaggio was a Baroque Master; a sublime painter and rock-star artist, but also aggressive, ill-tempered and a murderer — he lived fast and died young (at only 38 in 1610), while still effectively on the run from authorities in Rome for killing a man in a brawl.
His paintings show all of this; the drama of his life reflected in his revolutionary use of everyday subjects in theatrically-lit religious paintings.
Paul Nash was one of the most important British artists of the first part of the 20th century, whose paintings of the ruined landscapes of First World War battlefields show a bitter reflection on the horrors of the war.
This is the first major retrospective on the artist in a generation, showing his early Symbolist work through the First World War, and his landscapes of the interwar period in which he moved towards Surrealism. He was appointed as an official war artist for both the two world wars.
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