Thanks to everyone who entered the Tate calendar giveaway!

I now know all about some of your cultural highlights for the summer, including the Royal Academy Summer Exhibition, the Magritte exhibition at Tate Liverpool, the Camberwell Arts Festival, and of course the mighty Manchester International Festival, which this time round features everything from an opera inspired by John Dee to The Day We Sang a 'love story with singing' created by Victoria Wood.

I've now randomly selected the two winners and they are:

Ben for the Miró calendar
Kate for the Watercolour calendar

I've emailed you both so get back to me as soon as you can to receive your calendars.

I really enjoyed taking a slow wander around Tate Modern's Joan Miró exhibition this week. Galleries often describe their exhibitions as a 'must-see' but for me, this show really was. I've always loved the deep, powerful colours of Miró's paintings  and I'm endlessly intrigued by his spidery, fantastical shapes and symbols, so it's no wonder that this exhibition has been in my calendar for a while.

This is a very comprehensive retrospective, bringing together more than 150 paintings, drawings, sculptures and prints from moments across the six decades of Miró's career. Interestingly, it also traces the more politically engaged aspects of his work, tracing the development of his artistic practice in relation to political and social upheaval during the Spanish Civil War, the Second World War and in Franco's Spain.  In a more straightforward way, however, this work is also a great pleasure simply to explore and experience: for me, the especial highlights were the incredible black and white Barcelona Series, but also the meditative, colour-saturated Bleu triptych.

Miró is at Tate Modern until 11 September 2011.

Giveaway!

To celebrate this exhibition at Tate Modern, I'm excited to have a lovely Tate Miró calendar to give away courtesy of Flame Tree Publishing, as well as a beautiful calendar from Tate's Watercolour exhibition over at Tate Britain, which I blogged about back here.

If you'd like to enter the giveaway to win one of the calendars, simply leave me a comment at the end of this post to tell me what exhibition, event or other cultural happening coming up in the next few months you'll be putting in your calendar.

As well as telling me what cultural highlight is your 'must-see', don't forget to include whether you would prefer the Watercolour or the Miró calendar. From all the comments, two whinners will be selected at random - each will receive one of the two calendars.

The closing date for the giveaway is Friday 24 June. I'm looking forward to hearing your suggestions!

[Image: Joan Miró The Escape Ladder 1940. Museum of Modern Art, New York © Joan Miró and Fundació Joan Miró, Barcelona, via Tate]

So this is an ambitious one even by Tate Britain's usual standards. Watercolour takes on a medium that has historically been associated with wishy-washy flower paintings by Victorian ladies, or runny landscapes by amateur painters, and invites us to challenge our preconceptions, in what aims to be 'a fresh assessment of the history of watercolour painting'.

The result is a whistle-stop tour through the history of watercolour as a medium, showing it to be far more than a vehicle for representing nostalgic English rural scenes. The 250 paintings in this exhibition in fact include not merely sunsets and meadows, but also maps, abstracts, botanical illustrations, and even paintings of battlefields and concentration camps. Though there are some notable omissions (David Hockney springs immediately to mind) there is a very wide range of artists repesented, encompassing both celebrated watercolorists like  J.M.W. Turner, William Blake and Paul Nash together with contemporary artists who are not primarily thought of as working with watercolour, including Anish Kapoor, Andy Goldsworthy and Tracy Emin. A central portion of the exhibition also explores the mechanics of how watercolour painting works, and the techniques that have been used by artists over the ages: small vitrines display all the paraphenalia of painting, inviting us to peer at dirty paintboxes, half-empty tubes of paint, smeared palettes and even Turner's paintbox.

The curators of this well thought out exhibition have evidently done their utmost to avoid clichés, and offer a genuinely different take on a medium that is often written off as being simply 'accessible', safe and dull. But whilst there's no doubt that this exhibition convincingly demonstrates the range and versatility of watercolour as a medium, proving that it can pack a powerful punch, at times the pace feels a little too hectic, the scope a little too wide, and there seems to be something oddly lacking.

Ultimately, for me however, the strength of this ambitious show is all in the power of the individual works that catch your eye (for me it was Patrick Heron and Howard Hodgkin, but for someone else it would doubtless be different) and stop you in your tracks, which really make you think again.

[Image: Patrick Heron, January 9: 1983: II  1983  © Estate of Patrick Heron. All Rights Reserved, DACS 2002]