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“... Jabès, a poetic parallel which has become ever more apparent is the remarkably individual work of Francis Ponge. By the stage of La Verité en Peinture (1978), Derrida quotes freely from Ponge. But the accents of Ponge’s playful, quasi-didactic rhetoric, steadily applied to the investigation of objects and the material world, resonate throughout Derrida’s ...”

“... tendency in Britain, as when Dr Johnson ‘reduced’ mountains to ‘pictures’ by using a Claude mirror when climbing. One puzzle in particular Fender explains with ingenuity. Why, especially because of the American propensity to advertise, was it that settlers in their letters home rarely attempted to persuade others to emigrate? The answer he ...”

“... light, not least because of his failure to invite his brilliant Chief of Staff, Major-General Sir Francis de Guingand, to share the glory. There are fascinating glimpses of Monty’s spartan tactical headquarters and of his spirited young liaison officers, or ‘gallopers’, who drove through chaos and ruin to bring back intelligence for their early-to-bed ...”

“... was often resented, creating paintings that would be regarded as modern equivalents to the work of Claude, Teniers, Poussin or Cuyp, was a fundamental ambition of artists as varied as Wilkie, Constable and Turner. The latter’s insistence that two of his paintings should hang for ever beside two Claudes in the National Gallery indicates how closely British ...”

“... of black from a print. Certainly his Monk at Prayer (1864-65) recalled Zurbarán’s Saint Francis, then the most famous work by this artist, though Manet knew it only in reproduction since the original had been bought for the National Gallery in London more than a decade before, at Louis-Philippe’s sale. As for The Tragic Actor (1865-66), it is a ...”

“... New names will appear: Clement Greenberg, Alfred Barr, Josef Albers, Jackson Pollock, Andy Warhol, Francis Bacon. All but the stodgiest departments – though this exempts many – will make gestures towards what has for the last thirty years been referred to, again tautologically, as ‘Theory’. Somewhere along the line, art history majors with professors ...”

“... attempt to subvert the democratic struggle. They saw the bug-eyed former priest as a latter-day St Francis whose almost mystical connection to the poor terrified the Haitian elite and American onlookers. They allowed that he might seem eccentric, or even touched; given the circumstances, it wasn’t unreasonable. Living nobly in an ignoble place could give one ...”

“... acrimonious. ‘I don’t think so,’ he replied. ‘There was just a lot of the “After you, Claude!” “No, no, after you, Cecil!” type of stand-off.’Finally, after the BA finance department at Speedbird House had squeezed and massaged the profit projections again and again, and redefined the acceptable level of risk, and made the maximum ...”

“... Gardens’ pavilions and supper boxes were hung with contemporary English paintings, especially by Francis Hayman. In the 1740s, Hayman painted rococo illustrations of children’s games: by the 1760s, as the Gardens became even more respectable, he was providing large-scale illustrations of British victories in the Seven Years War. Tyers was a new kind of ...”

“... came to light containing what seemed to be the work of a forgotten Victorian photographer called Francis Hetling. His photographs, somewhat in the style of Lewis Carroll, gave a feeling of everyday life in the 19th century. It was decided to rescue him from obscurity with an exhibition at the National Portrait Gallery in 1974. All was going well until a ...”

“... our social behaviour. The game? Nature v. nurture. That is a ‘convenient jingle of words’, as Francis Galton wrote in 1874, when he coined the dyad. Nature is all that a man brings with himself into the world; nurture is every influence that affects him after his birth. The distinction is clear: the one produces the infant such as it actually ...”

“... belonged was emphatically European. They venerated Raphael, Titian, Rubens, Van Dyck, Rembrandt, Claude, Cuyp and would have laughed at the proposal to confine the curriculum to native artists. This strain of writing is unfortunate because it makes it possible to dismiss Fuller’s serious and well-presented case, made most clearly in his contribution to The ...”

“... legend: ‘Love for the motherland begins with the family – F. Bacon.’ (Never mind that what Francis Bacon actually said was ‘Charity to the commonwealth begins with private families,’ and only as part of a list of rhetorical commonplaces.) Cash inducements may have had some effect – though until the onset of the economic crisis in 2008 rising ...”

“... alluring names already up on metal plates – boulevard Rubens, boulevard Van Dyck, boulevard Claude-Lorrain. On we sail. From time to time we might overhear the crew arguing about the direction of the wind; once, we get caught in a storm; one evening, in the Bay of Agay, a slim crescent moon incites the skipper to philosophical reflection and literary ...”

“... further claimed that in creating the ambitious, all-sacrificing, and finally suicidal painter Claude Lantier, Zola was trying ‘to prove the great superiority of writers over artists’. In matching painter to writer, we might presume that as Manet was to Zola, so Degas was to Mallarmé: hermetic, lofty, unpublic. But this only takes us so far: Degas ...”