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Michael Prodger

Reporter · GB

Indexed articles, last 90 days
3
Latest publication
Sep 9, 2026
Outlet visibility, for New Statesman
Top 500K sites
Earliest in this view
Jul 22, 2026

Latest articles

  1. Article · Sep 9, 2026 · Michael Prodger

    A PSA to art thieves: paintings are not worth stealing (opens the original)

    Excerpt · Critical tone · English

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    This is proving a bad time for French museums. Since November 2024, there has been a spate of thefts, the most high-profile being the audacious break-in at the Louvre last year when a cluster of the French crown jewels were stolen. They have yet to be recovered and it is unlikely they ever will be. But also, 2,000 gold and silver coins were taken from the Maison des Lumières, 13 pounds of gold were stolen from the Natural History Museum in Paris in September 2025 and various ceramics, the earlie

  2. Article · Sep 2, 2026 · Michael Prodger

    Decoding the Bayeux Tapestry (opens the original)

    Excerpt · English

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    There are many things the Bayeux Tapestry is held to be that, in fact, it is not. Most obvious of all is that it is not a tapestry, woven on a loom, but an embroidery, stitched by hand. Its misnaming is perhaps the result of an 18th-century antiquarian account describing it as a tapisserie – a wall-hanging rather than explicitly a tapestry. It is also called the Bayeux Tapestry not because it was made there but because it was hung there – around the nave of the cathedral once a year, certainly s

  3. Article · Jul 22, 2026 · Michael Prodger

    Agnes Martin's paintings can save you (opens the original)

    Excerpt · English

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    Agnes Martin is the painter we need today. In 1991, she wrote that: “To a detached person the complication of the involved life is like chaos” – but an uninvolved life now seems an impossible dream. Her solution, rather than face that chaos, was to number herself among those “people that look out with their back to the world”. For 50 years she never read a newspaper and for large swathes of time she lived not just alone but in isolation. Her paintings – large, abstract grids in muted colours – a

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