On view until the 2 August 2025.
Nestled just five minutes from Bond Street, The Brown Collection offers a serene refuge from the bustle of London’s shopping streets. Since its opening in 2022, this hidden gem has showcased the remarkable work of British artist Glenn Brown. The current exhibition, The Laughing Stock of the Heartless Star, curated by Brown himself alongside his husband Edgar Laguinia, reflects the artist’s inquisitive engagement with art history and humanity’s perpetual quest for meaning in an often indifferent universe.
Glenn Brown: The Art Historian as Artist
Glenn Brown is known for his intellectual approach to art. He draws extensively from his library of master drawings and prints, using these as reference points for his own practice. His works often breathe a distinctly baroque energy, evident in his sinuous hand-drawn lines (Drawing/Painting 35 after De Heer, 2015), opulent paintings (Doggerland, 2022-2024), and layered sculptures such as Morbid Fancies (2024), a sculpture found in the museum’s atmospheric catacombs together with a sculpture nearby by Anthony Caro, Table Piece CLXXXII, 1974, and a large limestone Scholar Rock possibly from the Qing Dynasty.
“Baroque and Mannerism are integral to my practice,” Brown explained during my visit. “They resonate more with our contemporary society than classical traditions because they embrace an imperfect beauty that mirrors our reconnection with nature and all its forms.” This philosophy underpins his approach.
The Art of Appropriation
Brown is also celebrated (and sometimes criticized) for his bold practice of appropriation, which he openly refers to as a form of “cannibalism.” He unapologetically reinterprets works of other artists, merging them with his own vision. “So many artists have, and still do, appropriate from others,” he remarked, citing historical precedents such as Rembrandt and Jan Lievens.
As you wander through the exhibition, the distinctions between Brown’s works and those of other artists dissolve into a seamless dialogue. This interplay of old and new, homage and innovation, reflects Brown’s conceptual rigor as a graduate of Goldsmiths in the early 1990s—a time when conceptual art was flourishing there.
Rediscovering Overlooked Artists
One of the show’s highlights is its inclusion of overlooked artists whose stories add poignant depth to the exhibition. Among them is Marion Adnams (1898–1995), whose delicate pencil drawing Lavender Stump (a surrealist reimagining of Matisse’s The Dance) captures her imaginative precision. Gertrude Hermes (1901–1983) is another standout, represented by two exquisite wood engravings, Henbane (1929) and Belladonna (1930).
Both artists faced significant challenges in their careers. Adnams struggled to gain recognition during World War II and tragically lost her sight just as she retired to focus on painting. Hermes, celebrated at the 1939 Venice Biennale, suffered a stroke at age 68, cutting short her artistic practice. These stories serve as a reminder of the resilience of women artists and the broader historical forces that often overshadow their contributions.
The Brown Collection is an unashamedly honest voice in London’s art scene, offering a space where the past and present coalesce in a celebration of creativity and inquiry. Located in a beautifully restored Marylebone mews, the museum provides free entry, making it accessible to all.
Plan your visit before August 2, 2025, when the exhibition will change. While you’re in the area, explore nearby gems like The Gallery of Everything, Atlas Gallery (celebrating 30 years), and Art Incubator, all in nearby Chiltern Street. If timing allows, SoShiro on Welbeck Street may also have an inspiring show on display.
All artists in the show:
Marion Adnams (British, 1898–1995)
Philip Akkerman (Dutch, 1957– )
Karel Appel (Dutch, 1921–2006)
Nobuyoshi Araki (Japanese, 1940– )
Simon Bill (British, 1958– )
Abraham Bloemaert (Dutch, circa 1564–1651)
Glenn Brown (British, 1966– )
Carlo Innocenzo Carlone (Italian, 1686-1775)
Anthony Caro (British, 1924–2013)
Jean-Baptiste Carpeaux (French, 1827–1875)
Morris Cox (British, 1903–1998)
Phoebe Cummings (British, 1981– )
Henri Fantin-Latour (French, 1836–1904)
Mauro Gandolfi (Italian, 1764–1834)
Hendrick Goltzius (Dutch, 1558-1617)
Ernest Henri Griset (French, 1844–1907)
Gertrude Hermes (British, 1901–1983)
Ann-Marie James (British, 1981– )
Laura Knight (British, 1877–1970)
John Martin (British, 1789–1854)
Jan Harmensz. Muller (Dutch, 1571-1628)
Grace Pailthorpe (British, 1883–1971)
Monica Poole (British, 1921–2003)
Austin Osman Spare (British, 1888–1956)
Jacques Villon (French, 1875-1963)
Elias Vonck (Dutch, 1605–1652)
Anna Zinkeisen (British, 1901–1976)
Article written by:
Jolanda Chandler
Art Curator
Exceptional Art & Design
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Jolanda Chandler is a passionate Swiss art curator and creator of art experiences, with long-lasting positive impact on the places and people I have worked with. My expertise lies in creating an inclusive atmosphere that welcomes everyone into art spaces and brings understanding of art to everyone through my writing pieces. I combine a rich academic and life experience with an original and innovative business approach to the promotion of arts & culture. Among the many reviews I have received, my favourite one is probably: "You are the best kept secret in town". I am also a mother (my kids are 12 and 14), and I have grown my business Exceptiona Art & Design organically alongside my children for more than ten years. With broad art world expertise over 15 years, and a lot more experience in the fields of project management, intercultural collaborations and life skills, topped off with a natural great eye, I bring a wealth of knowledge to the table.