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Marriage

Philippe Ariès, 16 October 1980

Bastardy and its Comparative History 
edited by Peter Laslett, Karla Oosterveen and Richard Smith.
Arnold, 431 pp., £24, May 1980, 0 7131 6229 5
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... is the case with this collective study of bastardy. The authors, together with their conductor. Peter Laslett, have shrunk from the simplification necessary to communication: their concern for absolute accuracy has paralysed them. This is not a new attitude: we had grown used to it from scholars of the past. It is intriguing, however, to discover ...

God in Heaven send us peace

Peter Burke, 18 April 1985

The Thirty Years’ War 
by Geoffrey Parker.
Routledge, 340 pp., £20, January 1985, 0 7100 9788 3
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... and Hungary, Denmark and Sweden, Spain and the Netherlands, as well as from the Germanies, France and England. Having come to the conclusion that the task was ‘greater than any individual scholar could ever cope with alone’, Parker proceeded, in a characteristically energetic and enterprising manner, to recruit a team of nine collaborators (not to ...

Masters or Servants

Conrad Russell, 5 July 1984

The Young Richelieu: A Psychoanalytic Approach to Leadership 
by Elizabeth Wirth Marvick.
Chicago, 276 pp., £27.20, December 1983, 0 226 50904 4
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Richelieu and Olivares 
by J.H. Elliott.
Cambridge, 189 pp., £17.50, March 1984, 0 521 26205 4
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... to the historian. In the 19th century, in the age which, in their different ways, Freud and Peter Gay have made their own, sheer bulk of documents may to some extent compensate for this difficulty. In the 17th century, the problem of psychological interpretation is altogether more intractable. That 17th-century characters had psychologies, as much as ...

At Tate Britain

Peter Campbell: ‘Watercolour’, 3 March 2011

... Sargent’s picture of a crashed aeroplane with harvesters in the foreground, painted in France in 1918, has the gawkiness of something noticed, not composed, while in David Cox’s Tour d’Horloge, Rouen it is not so much the architecture of the clock tower as the patch of bright light seen through the arch at its base that is the subject. This ...

At Tate Britain

Peter Campbell: Prunella Clough, 2 August 2007

... and verdigris. But it isn’t just in Clough’s work that the austerity of postwar Britain and France seems to have dimmed painters’ palettes: so much of the visual documentation of that time is in black and white – newsreels, news magazines – that it’s easy to imagine a pervasively monochrome decade. Clough’s engagement with the theme of work ...

At Victoria Miro

Peter Campbell: Sarah Sze’s Art of Arrangement, 4 October 2007

... Planet. She has recently shown in Sweden and, over the last ten years, in America, Germany and France as well as in Britain. Sze’s is an art of arrangement. At first glance, across the wide floors of the gallery, these installations suggest models of cities dominated by high downtown buildings and surrounded by sprawling suburbs, or of landscapes where ...

At the Barbican

Peter Campbell: Martin Parr, 4 April 2002

Martin Parr 
by Val Williams.
Phaidon, 354 pp., £45, February 2002, 0 7148 3990 6
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... his picture of a grumpy, grey-haired man reading might be the less I wanted that man to be me. In France, where the moral right of artists and the right to privacy of subjects are particularly well-protected, there have been legal challenges to the assumption that a photographer is free to appropriate a stranger’s face – and (more particularly) make money ...

At the Royal Academy

Peter Campbell: Caravaggio, 8 February 2001

... became more scholarly. Their origins were varied: auction sales in London of pictures that left France after the Revolution; Napoleon’s loot, shown in the Louvre as his campaigns continued; the efforts of clubs of connoisseurs (e.g. the Burlington Fine Arts Club), whose exhibitions were eventually taken over by the Royal Academy; the ambitions of local ...

Hochjuden

Peter Gay, 5 January 1989

Jewish High Society in Old Regime Berlin 
by Deborah Hertz.
Yale, 299 pp., £22.50, June 1988, 0 300 03775 9
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... and just after – would appear to be irresistible. ‘It was in Germany,’ rather than in France, where Jews had been politically emancipated, ‘specifically in Berlin,’ Hertz writes, ‘that a Jewish community achieved the social glory represented by entertaining and even marrying the cream of gentile society. Nor was it only the Berlin Jewish ...

So far, so-so

Peter Clarke, 6 June 1996

One Hundred Years of Socialism 
by Donald Sassoon.
Tauris, 965 pp., £35, April 1996, 9781850438793
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... survival. The mythology of the red flag has been replaced by the iconography of the rose in both France and Britain, while the Italian socialists settled on the carnation as the symbol of their reincarnation. A common interpretation of what has happened is shared by the Old Left and the New Right. The left-wing version looks back, either in sorrow or in ...

Unembraceable

Peter Wollen, 19 October 1995

Sex and Suits 
by Anne Hollander.
Knopf, 212 pp., $25, September 1994, 0 679 43096 2
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... VII, and soon both Worth and Poole, who had actually helped finance the Emperor’s return to France, had established a vast clientele of kings, princes and grand-dukes, stretching across Europe and beyond. Worth dressed the Princess von Metternich, Poole the Prince, and so on. Both soon acquired a new clientele in the American plutocracy. Parisian ...

At the National Gallery

Peter Campbell: French Landscape Painting, 27 August 2009

... hands, and it is not always easy to guess who did which. Excavation of the Roman Theatre, Orange, France is a late example labelled ‘first half of the 1850s, French (?)’. Any of half a dozen names could plausibly be attached to it. Corot – he is the outstanding example – forsook sharp light for river mists when he developed a line in poetic landscapes ...

At Victoria Miro

Peter Campbell: William Eggleston, 25 February 2010

... artist and has found inconsequentialities to photograph well away from Tennessee in Cuba, Russia, France, Japan and the rest of the USA. In 1976 it was the colour that set him apart. Photographers who rejected the last echoes of painting’s conventions of composition and subject matter already had a standing when Eggleston’s MoMA exhibition took place. In ...

At the Barbican

Peter Campbell: Alvar Aalto, 22 March 2007

... the emergence of new forms owing to the omnipresence of an old culture, as is the case in France, for example.’ Or, one could add, in Britain. Aalto’s regionalism was more adventurous, more original and tougher than British varieties, and began earlier. While the first building illustrated in the exhibition is a neoclassical workers’ club in ...

At Tate Britain

Peter Campbell: Michael Andrews, 9 August 2001

... are all typical of English uses of painting. Things seem to have been done differently in France. Matisse’s nudes are not also portraits, and Picasso’s women, even when they are recognisable, are depersonalised and turned into players in more general mythologies. Vuillard and Bonnard made pictures of the places they lived in and the people they ...

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