{"id":353998,"date":"2026-07-07T22:37:28","date_gmt":"2026-07-07T22:37:28","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/books\/a-day-among-londons-galleries\/"},"modified":"2026-07-07T22:37:28","modified_gmt":"2026-07-07T22:37:28","slug":"a-day-among-londons-galleries","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=353998","title":{"rendered":"A Day Among London\u2019s Galleries"},"content":{"rendered":"


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Some gallery visits leave you with a handful of favourite artworks; others leave you thinking differently about art itself. My latest day exploring London\u2019s galleries belonged firmly to the latter. Across six exhibitions, I encountered artists who challenged conventions, expanded the possibilities of painting and sculpture, and invited viewers to see the familiar in entirely new ways.<\/p>\n

The day began with Expanding Horizons, a remarkable exhibition of Francis Picabia<\/strong> (1879\u20131953) at Hauser & Wirth Gallery<\/strong>, which immediately set the tone for what would become an inspiring journey through modern and contemporary art.<\/p>\n

My favourite painting was The Red Rocks (1942 \u2013 1943)<\/p>\n

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A lot of Picabia\u2019s work is often on display at the Guggenheim and MoMA museums in NYC so to have an opportunity to see a free exhibition of his work in London is a great treat to nourish one\u2019s senses.<\/p>\n

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Francis Picabia<\/figcaption><\/figure>\n<\/div>\n

The exhibition traces Picabia\u2019s career from 1902 to 1951 and reveals a truly versatile artist who refused to be defined by a single style. Picabia was constantly reinventing himself, moving effortlessly between figurative painting and abstraction.<\/p>\n

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Francis Picabia<\/figcaption><\/figure>\n<\/div>\n

His early work was influenced by the Impressionist landscapes of Camille Pissarro and Alfred Sisley, before he embraced Fauvism, a movement known for its bold, expressive colours, and Cubism, which broke away from traditional perspective by depicting subjects from multiple viewpoints using simplified geometric forms.<\/p>\n

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Francis Picabia<\/figcaption><\/figure>\n<\/div>\n

A turning point came in 1913 when Picabia travelled to New York for the legendary Armory Show. The experience inspired him to embrace Orphic Abstraction, a colourful, rhythmic form of abstract art that focused on movement, energy and emotion rather than recognisable subjects.<\/p>\n

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Francis Picabia<\/figcaption><\/figure>\n<\/div>\n

He later became one of the leading figures of the Dada movement alongside his friend Marcel Duchamp. Born out of the upheaval of the First World War, Dada rejected artistic conventions and celebrated experimentation, humour and the unexpected, challenging audiences to rethink what art could be.<\/p>\n

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Francis Picabia<\/figcaption><\/figure>\n<\/div>\n

Between 1925 and 1933, Picabia painted his Espagnoles and surreal Monsters, before creating his layered Transparencies. From 1945 onwards, he developed a striking abstract style, experimenting with the texture and surface of paint in innovative ways.<\/p>\n

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Francis Picabia<\/figcaption><\/figure>\n<\/div>\n

What I loved most about this exhibition was seeing an artist who never stood still. Picabia was always exploring new ideas, taking risks and pushing the boundaries of modern art. It was a wonderful reminder that creativity is about curiosity.<\/p>\n

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Francis Picabia<\/figcaption><\/figure>\n
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Francis Picabia<\/figcaption><\/figure>\n
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Francis Picabia<\/figcaption><\/figure>\n
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Francis Picabia<\/figcaption><\/figure>\n
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Francis Picabia<\/figcaption><\/figure>\n
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Francis Picabia<\/figcaption><\/figure>\n
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Francis Picabia<\/figcaption><\/figure>\n<\/figure>\n

From there, I discovered A Singular Modernist at No.9 Cork Street<\/strong>, celebrating the extraordinary Indian artist A. Ramachandran <\/strong>(1935\u20132024), presented by Vadehra Art Gallery <\/strong>based in New Delhi.<\/p>\n

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Lotus Pond with Water Hyacinth (2020) by A. Ramachandran<\/figcaption><\/figure>\n
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Lotus Pond with Water Hyacinth (2020) by A. Ramachandran<\/figcaption><\/figure>\n

A. Ramachandran is regarded as one of the most significant figures in India\u2019s modern art history. Best known for his monumental murals and richly layered canvases, his work is filled with vibrant colour, expressive gestures, and intricate compositions that can draw you into immersive visual worlds.<\/p>\n

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Girl on the Swing (2017) by A. Ramachandran<\/figcaption><\/figure>\n
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Girl on the Swing (2017) by A. Ramachandran<\/figcaption><\/figure>\n
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Girl on the Swing (2017) by A. Ramachandran<\/figcaption><\/figure>\n<\/div>\n

This exhibition explores Ramachandran\u2019s lifelong fascination with Rajasthan, a region he travelled extensively throughout his five-decade career. Inspired by its landscapes and communities, he captured the beauty and cultural richness he encountered, where mythology, music, dance and everyday life exist in harmony.<\/p>\n

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Great March (Puppet Theatre Series) (1981) by A. Ramachandran<\/figcaption><\/figure>\n<\/div>\n

A Singular Modernist brings together paintings from his celebrated 1980s Puppet Theatre series alongside later paintings, drawings and sculptures. Together, these works reveal his deep connection to nature and his profound empathy for the human experiences.<\/p>\n

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Dancing on full Moon Night (2013) by A. Ramachandran<\/figcaption><\/figure>\n<\/div>\n
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Dancing on full Moon Night (2013) by A. Ramachandran<\/figcaption><\/figure>\n<\/div>\n
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Dancing on full Moon Night (2013) by A. Ramachandran<\/figcaption><\/figure>\n<\/div>\n

This was a thoughtful and beautifully curated exhibition that offered a wonderful introduction to one of India\u2019s great modern masters. This was sadly the last day for this exhibition.<\/p>\n

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Untitled (2024) by A. Ramachandran<\/figcaption><\/figure>\n<\/div>\n
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Ekalinji Series (2022) (painting on the left) and Ekalinji Series. (2023) (painting on the right) A. Ramachandran<\/figcaption><\/figure>\n<\/div>\n
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I was blown away by the colours and vibrancy of this art.<\/p>\n

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Ekalinji Fantasy Series (2018) by A. Ramachandran<\/figcaption><\/figure>\n
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Insect series (1995) by A. Ramachandran<\/figcaption><\/figure>\n
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Insect series (1995) by A. Ramachandran<\/figcaption><\/figure>\n<\/figure>\n

I can\u2019t choose my favourite one \u2013 I was impressed by all the paintings, drawings and sculptures.<\/p>\n

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Girl without Alphabets & Numbers (2012) by A. Ramachandran<\/figcaption><\/figure>\n<\/div>\n
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Girl on the Snail (2014) by A. Ramachandran<\/figcaption><\/figure>\n<\/div>\n
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At Alison Jacques Gallery<\/strong>, I was introduced appreciation to the experimental and innovative painter, Eileen Agar<\/strong> (1899\u20131991), one of the most original female artists of Surrealism. Seeing so many of her works together gave me a much greater appreciation of how experimental she was throughout her career. It is important to remember that Agar was a contemporary of Leonora Carrington, Remedios Varo and Frida Kahlo.<\/p>\n

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Eileen Agar<\/figcaption><\/figure>\n<\/div>\n

Born in Buenos Aires and later based in London, Agar was among the few women selected to participate in the landmark International Surrealist Exhibition at the New Burlington Galleries in London in 1936. She subsequently featured in several major international exhibitions, including Fantastic Art, Dada, Surrealism at the Museum of Modern Art in New York (1937) and 31 Women at Peggy Guggenheim\u2019s Art of This Century gallery in New York (1943).<\/p>\n

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Eileen Agar<\/figcaption><\/figure>\n

Just a reminder that there will be an exhibition at Royal Academy of Arts: \u201cPeggy Guggenheim in London.<\/p>\n

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Eileen Agar<\/figcaption><\/figure>\n
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Eileen Agar<\/figcaption><\/figure>\n<\/div>\n

The Making of a Collector\u201d between 21 November 2026 and 14 March 2027 where you will be able to see more work of Eileen Agar, Kandinsky, Dali and many more.<\/p>\n

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Eileen Agar<\/figcaption><\/figure>\n<\/div>\n
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Eileen Agar<\/figcaption><\/figure>\n<\/div>\n
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Eileen Agar<\/figcaption><\/figure>\n<\/div>\n

This exhibition I saw today brought together paintings and collages created between 1957 and 1985, highlighting the evolution of Agar\u2019s mature work. A recurring theme throughout the exhibition was her enduring fascination with the natural world. Her paintings and collages are filled with shells, birds, flowers, and abstract forms that seem to drift between reality and imagination.<\/p>\n

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Eileen Agar<\/figcaption><\/figure>\n<\/div>\n
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Eileen Agar<\/figcaption><\/figure>\n

I also loved seeing how she embraced new materials and techniques as she got older. She continued to experiment with acrylics, collage, colour, and texture well into her eighties.<\/p>\n

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Eileen Agar<\/figcaption><\/figure>\n<\/div>\n

Agar\u2019s work moves between Surrealism and abstraction. I am that her work is receiving renewed recognition today.<\/p>\n

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Eileen Agar<\/figcaption><\/figure>\n

For book lovers, just to let you know that Eileen Agar\u2019s autobiography, A Look at My Life, originally published in 1988, has recently been republished by Thames & Hudson.<\/p>\n

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Eileen Agar<\/figcaption><\/figure>\n
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Eileen Agar<\/figcaption><\/figure>\n<\/figure>\n

If you are in London, I highly recommend this exhibition \u2013 it\u2019s just a few minutes\u2019 walk from the Royal Academy of Arts and admission is free.<\/p>\n

The afternoon continued at Ordovas<\/strong> with RED<\/strong>, a thoughtful exhibition exploring one of the most powerful and symbolic colours in art history through works by artists including Albert Oehlen, Cecily Brown, Joan Mir\u00f3, Robert Motherwell, Eric Fischl and Bridget Riley.<\/strong><\/p>\n

The paintings that stood out to me the most were:<\/p>\n

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Untiled (1986) by German abstract painter Albert Oehlen (b. 1954)<\/figcaption><\/figure>\n<\/div>\n
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Red wHat, Red Shirt, Red Car: Storm\u2019s Coming (2025) by Eric Fischl (b. 1948)<\/figcaption><\/figure>\n<\/div>\n
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The 5 Senses (2025) by Cecily Brown (b. 1969) which forms part of a series meditating on the senses, inspired by allegorical paintings by Jan Brueghel the Elder and Rubens exhibited in the Prado Museum in Madrid.<\/figcaption><\/figure>\n<\/div>\n
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Untitled (Red Open) (1970) by Abstract Expressionist Robert Motherwell (1915 \u2013 1991) presents \u00e0 field of red interrupted by the outline of a blue window, \u00e0 motif inspired by Matisse and exhibition he saw at The Met in 1966.<\/figcaption><\/figure>\n<\/div>\n
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Rose Red (2012) by Bridget Riley (b. 1931) (with a the horizontal bands evoking \u00e0 landscape-like sensation)<\/figcaption><\/figure>\n<\/div>\n

I ended the day at Thaddaeus Ropac Gallery <\/strong>with Oliver Beer\u2019s The Sky in the Cave,<\/strong> an immersive exhibition that transformed sound, space and perception into something both contemplative and unforgettable.<\/p>\n

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Thaddaeus Ropac Gallery<\/strong><\/figcaption><\/figure>\n
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Oliver Beer<\/figcaption><\/figure>\n<\/div>\n
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Oliver Beer<\/figcaption><\/figure>\n<\/div>\n

I absolutely loved this immersive installation and the way it seamlessly brings together art, music and sound. There\u2019s something incredibly calming about Beer\u2019s work. It is an experience that encourages you to slow down, listen and be present. I love the seating area, low light, white floors, and walls and how they contrast the paintings. I spent there so much time.<\/p>\n