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At the Hayward and the British Museum

Peter Campbell: With Goya and Rembrandt, 8 March 2001

Rembrandt the Printmaker 
by Erik Hinterding and Ger Luijten et al.
British Museum, 384 pp., £50, January 2001, 9780714126258
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Goya: Drawings from His Private Albums 
edited by Juliet Wilson-Bareau.
Hayward Gallery, 207 pp., £24.95, February 2001, 1 85332 216 4
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... with the inquisitive faces peering around corners and the eloquent back of the figure who sits reading. In the case of Christ Healing the Sick,(also known as the Hundred Guilder Print) drawings exist which show Rembrandt thinking about the gestures of the invalids who surround Christ: they were not so much studies which arrived at a conclusion that could ...

Art Lessons

Peter Campbell, 13 August 2020

... Elevation is dignified. The long wall leads your eye away. The wall behind the man in profile reading the newspaper holds him and stops the eye. Noticing, here, that the reflection is darker than the thing reflected, and the edge of the shadow inside the pot is sharper than the edge of the white wall above it, is the beginning of representing it. But ...

Groupie

Robert Morley, 21 June 1984

Personal Mark 
by Alec McCowen.
Hamish Hamilton, 236 pp., £7.95, May 1984, 9780241112632
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Feeling you’re behind: An Autobiography 
by Peter Nichols.
Weidenfeld, 242 pp., £10.95, May 1984, 0 297 78392 0
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... as Father Brown.’ The other Alec (McCowen) has arrived at his state of grace after a year or two reading the Gospel of St Mark to hugely appreciative audiences in theatres rather than churches. In Personal Mark he writes about the life of Jesus, as seen through his own and St Mark’s eyes. He thinks that St Mark’s primary source was St ...

Fallen Women

Patricia Highsmith, 21 June 1984

‘Somebody’s Husband, Somebody’s Son’: The Story of Peter Sutcliffe 
by Gordon Burn.
Heinemann, 272 pp., £9.95, May 1984, 0 434 09827 2
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... us no comment of his own on the story he has to tell – just the facts: no speculation as to why Peter Sutcliffe behaved as he did, just the events, the family life, anecdotes that may or may not be pertinent, the pubs and their atmosphere. And we go back, or rather from the beginning of the book we go forward – from Sutcliffe’s grandparents on both ...

Urgency Is Not Enough

Peter Campbell, 6 April 1995

Don’t Leave Me This Way: Art in the Age of Aids 
compiled by Ted Gott.
Thames and Hudson, 246 pp., £12.95, March 1995, 0 642 13030 2
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The End of Innocence: Britain in the Time of Aids 
by Simon Garfield.
Faber, 406 pp., £17.50, November 1994, 0 571 15353 4
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... well-worn counters. While the symbolism – names written in sand, on the wind, in water; the reading which destroys what is being read – are well-worn poetic images, the literal illegibility and real fragility of Leone and Macdonald’s pieces seem to have had a remarkable effect. Works of art like these offer experiences which bypass pure frustration ...

Roasted

Peter Robb, 6 March 1997

Oyster 
by Janette Turner Hospital.
Virago, 400 pp., £14.99, September 1996, 1 86049 123 5
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... made no sense at all of his injuries. The man died, I believe, and that was the end of it. After reading Oyster I remembered this and wondered whether any account of the man’s fate reached his friends or family, if he had any. Oyster is about the strangers and drifters who turn up in such outback places and people them. Outer Maroo is delineated by real ...

Recognising Mozart

Peter Gay, 7 July 1988

Mozart the Dramatist: The Value of his Operas to Him, to his Age and to Us 
by Brigid Brophy.
Libris, 322 pp., £17.50, June 1988, 1 870352 35 1
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1791: Mozart’s Last Year 
by H.C. Robbins Landon.
Thames and Hudson, 240 pp., £12.95, March 1988, 0 500 01411 6
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Mozart: Studies of the Autograph Scores 
by Alan Tyson.
Harvard, 381 pp., £27.95, January 1988, 0 674 58830 4
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... to be condemned to hell for his sins. But this, it seems to me, is too severe and one-sided a reading of what may be the greatest scene in all opera – the scene in which the statue comes to supper with the Don and invites him to accompany him to the nether world. Chilled to the bone by the touch of the statue’s hand, the Don is vanquished by ...
The Shorter Strachey 
selected and introduced by Michael Holroyd and Paul Levy.
Oxford, 288 pp., £6.95, April 1980, 0 19 212211 8
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Lytton Strachey 
by Michael Holroyd.
Penguin, 1143 pp., £4.95, December 1979, 0 14 003198 7
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... of view’. That he possessed the first has occasionally been questioned. Admittedly, his copious reading may not have conformed to the orthodox procedures of scholarly research, but it is his grasp of a situation which gives remarkable coherence to his best work. As to his capacity for stating facts, even sceptics have to concede the triumph of Eminent ...

At Tate Modern

Peter Campbell: The fairground at Bankside, 22 June 2006

... for example, by videos. In one, made by Gary Hill in 1994, you see his young daughter Anastasia reading from Wittgenstein’s Remarks on Colour. She is pretty and reads very nicely, stumbling only on the odd long word, but not, one assumes, understanding any part of it. Another, Anri Sala’s Dammi i Colori (2002-03), is about the effect of buildings ...

In Paris

Peter Campbell: ‘The Delirious Museum’, 9 February 2006

... the flâneur’s disengaged observation of the city’s unfathomable complexity. At the time I was reading The Delirious Museum I took a Saturday walk in Paris from the Musée Carnavalet, which stands in the narrow streets of the Marais, to the Musée d’Orsay, grand enough in itself and made grander by its position, across the river from the Tuileries and ...

At Home

Peter Campbell, 22 September 2011

... UPVC glazing bars. It used to seem to me that terraced houses were infinitely adaptable. But after reading Rasmussen I came to believe that the changes from dwelling house to publishing house or lawyer’s chambers were no greater than the social and structural ones that came when a big house in Central London was turned first into flats and then ...

At the National Portrait Gallery

Peter Campbell: Thomas Lawrence, 6 January 2011

... arch, careless, spirited, elegant, and engaging’ – are a reminder of how foreign the idea of reading a portrait as one would a character description in a work of fiction has become to us. The fiction Lawrence’s pictures bring to mind is of an indulgent, romantic kind. Thinking about the Lawrence portraits I had a look at some of Georgette Heyer’s ...

En route

Peter Campbell, 28 January 2010

... dozed off. Not many of the little screens that give blurred versions of movies were lit up. Few reading lights were on. I remember making this journey at other times and looking at the Himalayas and the red Australian desert or, when taking the western route, at the Canadian tundra and the Hoover dam. Try to look at the view now, I thought, and the ward ...

At the National Gallery of Scotland

Peter Campbell: Joan Eardley, 13 December 2007

... de Kooning in America made pictures in which the bones of an unseen landscape seem to direct the reading of a field of abstract marks. But such mapping of similarity and influence shows little more than that Eardley’s way of drawing and painting was, as you would expect, of its time. More interesting connections are suggested by the fact that she took ...

At the Door

Peter Campbell: Open Sesame!, 19 June 2008

... in architectural dress overcomes more flamboyant detail. A modern flush door can seem, on this reading, an evolutionary end point. Whether they’re emphatic or discreet, it would be odd if the doors of houses weren’t built on a human scale. Cathedral doors, even some church doors, can take up a substantial part of an end wall. When there is no ...

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