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On Nicholas Moore

Peter Howarth: Nicholas Moore, 24 September 2015

... envelopes from a variety of increasingly improbable authors and sources, all in the same green ink: W.H. Laudanum, Kenelme Sexnoth Pope, H.N. (Helga Nevvadotoomuch, c/o Lord Godmanchester (Gumster), The John Peelcroft Hadmanchester Podgoets, Night Slide Clubb, P.O. Box 1AA, BBC-wise, W.1, and others. The translations were just as elastic as these ...

Art Lessons

Peter Campbell, 13 August 2020

... speed and direction of the eye as it scans the field. The olive trees were wonderful. The grey-green was beautiful, and even more beautiful when there was green grass to see it against; trunks, often gnarled, and huge stumps sometimes proved that young-looking trees grew on ancient roots. The post was a fine grey ...

At the Hayward

Peter Campbell: Dan Flavin, 23 February 2006

... units, each mounted with four fluorescent tubes. They form a glowing, waist-high wall of green light which blocks the way to the ramp leading to the upper level. Objects shown in this foyer, despite its considerable size, tend not to seem part of the rest of an exhibition. The ramp draws you on and you pass quickly (often too quickly) to what comes ...

At Tate Britain

Peter Campbell: Howard Hodgkin, 6 July 2006

... It’s elephant time for our cherry tree. Ripe fruit glistens among dark green leaves. A flock of starlings – some black, glossy and speckled, some buff-brown juveniles – land and scramble, mostly unseen, among the leaves which rustle and move with their comings and goings. They peck at the fruit. A pair of wood pigeons – soft grey backs, pink-buff breasts, white collars – land and cling unsteadily to twigs too fragile for their weight ...

Diary

Peter Campbell: In Auvergne, 1 September 2005

... painting as tools of their trade. Here in Auvergne it has been a dry summer: the fields I painted green in other years are brown; the stubble is hardly topped by new growth in meadows which have been mown; and patches of bare earth show in others which have been mown and then grazed. The cattle population has changed, too: there are fewer dairy herds, more ...

At Tate Britain

Peter Campbell: Peter Doig, 6 March 2008

... Peter Doig painted Echo Lake in 1998. A man stands on the far side of a stretch of dark water. He is quite a way off, but you can see that he wears a white shirt and a dark tie. His hands are raised to his face. Is it to keep the light out of his eyes as he looks at you? Or is it to project his voice as he shouts? A police car, lights on, is parked behind him ...

Short Cuts

Jeremy Harding: Depardieu in Belgium, 24 January 2013

... off from Gérard Depardieu, or Georges, the insidious, attractive fortysomething we remember in Peter Weir’s Green Card (1990). The idea that Depardieu has gone or is going anywhere is endlessly tantalising: he has never been more insistent, more palpably at home or preposterous than he is now, as he promises the French ...

The Strange Case of Peter Vansittart

Martin Seymour-Smith, 6 March 1986

Aspects of Feeling 
by Peter Vansittart.
Peter Owen, 251 pp., £10.95, January 1986, 0 7206 0637 3
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... Peter Vansittart, novelist, historian and writer for children, has been singled out for praise by critics as diverse as Philip Toynbee, Francis King, Angus Wilson and Andrew Sinclair. All feel that he lacks the large audience he deserves. Yet the curious reader, anxious to gain more information about this somewhat enigmatic writer, of undoubted power (and above all vision), may easily find himself defeated ...

Reading the Signs

Peter Campbell: London Lettering, 12 December 2002

... House Street, north of Oxford Street, a building by H. Fuller Clark of 1908 announces in gold and green mosaic, over a couple of floors, that it was the premises of Boulting & Son, Sanitary and Hot Water Engineers. Another of Clark’s schemes, the ground floor of the Black Friar beside Blackfriars Bridge, sets out the name in the same ...

In the Country

Peter Campbell: Trees, 24 September 2009

... bad news. The station at Agen faces a steep hillside covered with a forest in many shades of green through which the roofs of villas emerge. You don’t usually think of trees as being jolly, but that is the effect. The landscape of intensive agriculture is merely dispiriting. Dead or dying trees can make people deeply anxious. In France last month the ...

At Victoria Miro

Peter Campbell: William Eggleston, 25 February 2010

... an activity that has brought with it the habit of judging light and dark while ignoring red and green. From very early on there were painters who separated the two registers, laying in colour over monochrome underpainting; and old arguments about how pictures should be made are often driven by a sense that they are constructed, and even read, layer by ...

At Tate Modern

Peter Campbell: Miró, 14 July 2011

... is the name of the bird sitting on the goat’s back?’ ‘What is the name of the green animal beside the snail?’ ‘What is the roof made of?’ But while he was working on The Farm Miró visited Paris, and from the early 1920s Surrealist excursions into the unconscious transformed the facts of the Catalan countryside into disturbing ...

At Tate Britain

Peter Campbell: Gardens, 8 July 2004

... the greenery (which, because his photographs, like Smith’s, are in black and white, is not green at all). While water and sculpture are picked up by painters and photographers, they are not needed urgently in a real garden. The experience of walking along a big herbaceous border, taking in the complicated plant relationships one by one, is more ...

Two Poems

Peter Redgrove, 3 February 1983

... leaping Over and over each other in the tidal circus, The little snapping white horses, And the green horses racing in the oaks. What is this Lord dressed in this magnificent suit? What is there when they are removed in winter? Shall we expect mourning merely, shall he be A grim ghost with hard jaws, humourless? Then the clowns totter out of their exploding ...

Whipping the wicked

Peter Clarke, 17 April 1980

The Optimists: Themes and Personalities in Victorian Liberalism 
by Ian Bradley.
Faber, 301 pp., £12.50, January 1980, 0 571 11495 4
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... voluntary principle with the politics of conscience must have existed. The attention given to T.H. Green can be justified partly because he sought to present such a formula in philosophically cogent terms. ‘When we speak of freedom,’ he argued, ‘we do not mean merely freedom to do as we like irrespective of what it is we like. We mean the greatest power ...

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