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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

Tuesday, 18 June 2019 Read more...

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

Tuesday, 11 June 2019 Read more...

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

Tuesday, 21 May 2019 Read more...

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

Sunday, 05 May 2019 Read more...

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

Friday, 26 April 2019 Read more...

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

Sunday, 14 April 2019 Read more...

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

Tuesday, 19 March 2019 Read more...

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

Tuesday, 12 March 2019 Read more...

Fiona MacCarthy: Walter Gropius review - a master of modernism

Sunday, 10 March 2019 Read more...

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

Sunday, 24 February 2019 Read more...

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

Sunday, 17 February 2019 Read more...

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

Thursday, 14 February 2019 Read more...

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

Tuesday, 05 February 2019 Read more...

The Last Survivors, BBC Two review - living on

Monday, 28 January 2019 Read more...

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

Sunday, 27 January 2019 Read more...

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

Sunday, 27 January 2019 Read more...

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The Midnight Bell, Sadler's Wells review - A first repr...

Rarely has a revival given a firmer thumbs-up for the future of dance-theatre. Yet Matthew Bourne’s latest show, first aired at the tail-end of...

Album: HAIM - I Quit

Haim’s profile just grows and grows. Since their last album, youngest sibling Alana’s starring role in Paul Thomas Anderson’s whimsical Seventies...

Aldeburgh Festival, Weekend 1 review - dance to the music of...

This year’s Aldeburgh Festival – the 76th – takes as its motto a line from Shelley‘s Prometheus Unbound. The poet speaks of despair “...

Bonnie Raitt, Brighton Dome review - a top night with a char...

If you walked into a bar in the US, say in one of the southern states, and Bonnie Raitt and her band were playing, you’d have the best night of...

Hidden Door Festival 2025 review - the transformative Edinbu...

"When I was your age, I worked in a corrugated cardboard factory!" is a phrase my father was fond of telling me as a teenager, presumably in an...

Edward Burra, Tate Britain review - watercolour made mainstr...

It’s unusual to leave an exhibition liking an artist’s work less than when you went in, but...

Joyceana around Bloomsday, Dublin review - flawless adaptati...

It amuses me that Dubliners dress up in Edwardian finery on 16 June. After all, this was the date in 1904 when James Joyce first walked out with...

Stereophonic, Duke of York's Theatre review - rich slic...

The tag “the most Tony-nominated play of all time” may mean less to London theatregoers than it does to New Yorkers, but Stereophonic,...

Ithell Colquhoun, Tate Britain review - revelations of a wei...

Tate Britain is currently offering two exhibitions...