The Saatchi Gallery - Reviews, From sublime to ridiculous at the Saatchi Gallery

SITE VISITORS VOTE FOR THEIR FAVOURITE ARTISTS FROM THE PHAIDON 500 LIST.

TOP 100 ARTISTS:

-	Pablo Picasso
-	Gustav Klimt
-	Paul Cézanne
-	Claude Monet
-	Georges Braque
-	Marcel Duchamp
-	Jackson Pollock
-	Henri Matisse
-	Andy Warhol
-	Egon Schiele
-	Willem De Kooning
-	Piet Mondrian
-	Francis Bacon
-	Paul Gauguin
-	Wassily Kandinsky
-	Amedeo Modigliani
-	Auguste Rodin
-	Constantin Brancusi
-	Paul Klee
-	Martin Kippenberger
-	Frida Kahlo
-	Edvard Munch
-	Chaim Soutine
-	Lucian Freud
-	Joan Miró
-	René Magritte
-	Mark Rothko
-	Alberto Giacometti
-	Robert Rauschenberg
-	Henry Moore
-	Cy Twombly
-	Joseph Beuys
-	Max Ernst
-	Edward Hopper
-	Richard Serra
-	Henri Rousseau
-	Kasimir Malevich
-	Arshile Gorky
-	Èdouard Vuillard
-	Donald Judd
-	Pierre Bonnard
-	Cindy Sherman
-	Marlene Dumas
-	Francis Picabia
-	Gerhard Richter
-	Louise Bourgeois
-	Barnett Newman
-	Max Beckmann
-	Jean-Michel Basquiat
-	Bruce Nauman
-	Pierre Auguste Renoir
-	Jasper Johns
-	Otto Dix
-	Yves Klein
-	Brice Marden
-	Fernand Léger
-	Carl Andre
-	Roy Lichtenstein
-	Salvador Dalí
-	Alexander Calder
-	Eva Hesse
-	Jeff Koons
-	Juan Gris
-	Jean Arp
-	Anselm Kiefer
-	Ernst Ludwig Kirchner
-	Matthew Barney
-	Philip Guston
-	Aleksandr Rodchenko
-	Barbara Hepworth
-	Sol LeWitt
-	Nan Goldin
-	Balthus
-	Robert Smithson
-	Lucio Fontana
-	Jean Dubuffet
-	Georgia O'Keeffe
-	Frank Stella
-	David Smith
-	Clyfford Still
-	Jeff Wall
-	David Hockney
-	Robert Ryman
-	George Grosz
-	Claes Oldenburg
-	Luc Tuymans
-	Sigmar Polke
-	Chuck Close
-	Kurt Schwitters
-	Gordon Matta-Clark
-	Man Ray
-	László Moholy-Nagy
-	Franz Kline
-	Richard Prince
-	Bernd And Hilla Becher
-	Richard Diebenkorn
-	Arnulf Rainer
-	Giorgio Morandi
-	Joseph Cornell
-	Ed Ruscha

CLICK HERE TO SEE ALL 500 ARTISTS AND VOTE

From sublime to ridiculous at the Saatchi Gallery

Jonathan Jones, The Guardian

The Triumph of Painting sounded on paper like a cop-out. Charles Saatchi offers an exhibition whose argument - that painting rocks - we can all get behind, and whose stars Marlene Dumas and Luc Tuymans are very much on the Tate Modern menu. But Saatchi's feel for painting reveals itself as saltier and less fashion-bound than the Tate mainstream. If he ends with the sanctified duo of Tuymans and Dumas, the meat of this show is an expressive selection of painting from Germany.

In the 1980s, Saatchi was all about neo-expressionist painting and in particular its splashiest practitioner, Julian Schnabel. In 1988 Damien Hirst must have looked to him like Schnabel's natural successor - not at that time an insult. Saatchi is loyal to his autobiography of taste in including the grandiosely historical Jorg Immendorff with his pastiches of Dix and Grosz. Immendorff's paintings do not endure as their early 20th century models will. But I was tastelessly glad to see them.

Immendorff is juxtaposed with Martin Kippenberger. For all Kippenberger's jokes - I love the painting of a bar with two cheap brass lamps fixed to the canvas - he too is a romantic. Then there's a real Wagnerian nutcase - the Viennese Hermann Nitsch, notorious for actions with blood and guts, throws red paint at giant canvases in a reductio ad absurdum of expression that is profoundly impressive.

After this sublime and ridiculous detour we come to Dumas, who suddenly looks a bit tame; only shocking if you've never looked closely at Degas, and even sharing the sentimental figuration of the exhibition's great disappointment, Peter Doig.

It is Tuymans who looks like a giant among painters. His colossal still life painted in response to a request for images of September 11 may be great, or awful or even banal - I don't know yet. But it's the only work of art I've seen whose response to recent history may survive.