Search Results

“... which frame windows or mirrors (the latter reflecting the former), and between each arch the wall is enlivened by panels bordered with gilded scrolls and tendrils that break into the frames of the paintings above. The same playful spirit, the same determination to tease the mind as well as delight the eye, shaped the character of rococo furniture. The ...”

“... compiled is impressive and often amusing. Back to Seneca they go, and forwards and outwards to Richard Brautigan. Busily, the melons, pumpkins and gourds are gathered in. Each quotation is given, cacophonously, in its original language (the translations appear elsewhere, which is a monstrous imposition), and its meaning rapidly adduced. Bit by bit ...”

“... She is crouched on all fours, her head turned to one side, and positioned high up on the gallery wall. Her anatomy is deliberately hard to take in. Viewers must crane their necks to see her. She seems ready to pounce. Lilith, or the lilith, is a figure from Mesopotamian and Jewish demonology. She – in early sources Lilith was sometimes male and sometimes ...”

“... beauty of Venice lies in part in what has crumbled, in the evidence of decay. We were shown the wall of a church where tiny flakes of the original plaster indicated not only that the brickwork had been covered, but that the covering was neatly inscribed with lines – like the brick wallpaper you can get for doll’s-houses. Making any part of the city just ...”

“... Twomblys, accidental Jackson Pollocks, accidental works by Eva Hesse or Louise Bourgeois or Richard Tuttle or Jean-Michel Basquiat. (See recent coup to the right: an accidental Philip Guston. Guston’s 1968 painting Boot is above, and below a CE artist’s picture, now in my collection, of an eight-fingered glove.) At such moments, you not only feel ...”

“... and minds. The Kentish gospeller John Newman explained the matter to the turncoat bishop of Dover, Richard Thornden. He and his fellow gospellers, he declared, had drunk too deep of the teaching of the Edwardine reformers to renounce it simply on command. For, he told Thornden, their doctrine was not beleued of vs sodainly, but by their continuall ...”

“... I’m sure accurate, a burgundy moquette; patterned carpet; windows looking out onto the brick wall of the offices opposite. My father looks like my father in pictures I have of him. I look like … well, actually I don’t have any pictures of me at that age. But I’m sure I looked pretty much like the memory I can call up at will. It’s not ...”

“... strung like a harp which we gaze at in dumbfounded silence. These days, it may well be a drystone wall winding between trees before burying its end in a lake, like the great Norse serpent for ever drinking the world’s waters dry. Or a cairn on a Highland headland with a fire flaming inside it. Or a longboat made of stakes and stones and turf, grounded in ...”

“... on some of the trips for the sake of the photo opportunities. He smiled obligingly at the Great Wall, declaring that ‘a people who could build a wall like this certainly have a great past to be proud of and a people who have this kind of a past must also have a great future.’ He attended a performance of one of Madame ...”

“... down. Not good.’ (No one knows how Trump saw this on television.)The Gastronomically Inclined Richard Ford: ‘I’m sure that I could not have dinner alone with Mr Trump in my favourite restaurant in Paris. He’d ruin it.’ (In contrast, if Ford ‘decided to tell President Obama … about ordering the cod at Sur le Fil next time he’s in Paris ...”

“... by the Blackwater Estuary to the north, the River Crouch to the south and an encircling sea wall to the east, became a favourite haunt. These expanses of green are now mostly wind farm or vineyard. At the outer tip of the peninsula, the seventh-century chapel of St-Peter-on-the-Wall, built on the site of a Roman ...”

“... in Paris, but it is still the most impressive and among the most magisterially consistent. Richard Goy and Robert Berger, in their respective accounts of the construction of the Cà d’Oro and of Louis XIV’s Louvre, remove ambiguities which hang around the word ‘built’. They ask who made decisions, who paid, and how much, and why each building ...”

“... doing well’. Birt agreed, with consequences for the BBC as a whole. But it is also clear from Richard Lindley’s long, densely researched history of Panorama that the programme’s perceived importance over the past fifty years has been generated as much by its own staff, with their professional egos and particular working practices, as by outside ...”

“... on they’ll be hard to stop. The Tate’s is the kind of show that sets one generalising. Richard Dorment in the Daily Telegraph, for instance, wrote that it had managed ‘to take a non-subject (Picasso’s impact here was limited to a handful of artists) and turn it into a gripping indictment of British culture in the first half of the 20th ...”