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“... engine – a cartoonish swing. Abstract Expressionist swipes at the stone with a resist make wild white marks on a black ground in a print by Emerson Woelffer from 1951. The black and white woodcuts produced in Germany in the 15th and 16th centuries and the coloured ones made in Japan in the 18th and 19th display formidable ...”

“... oak beams, leaded window panes and small discs of bottled glass.’ The details in the black and white line drawings are wonderfully precise: not just of mouldings, doors and table ornaments, but of inhabitants too. That the furniture in ‘20th-Century Functional’ (bent plywood, Aalto perhaps) and the Bauhaus light fitting should be correct is good ...”

“... them you will note the toothed outlines of the leaves among the yellow flowers, and the black and white cat in the shade. These are uncomposed pictures, very unlike the perspective of vines. You cannot even see what they represent unless you spend a little time peering into them. That is another thing paintings do: they control the speed and direction of the ...”

“... upon the threshold dressed in a crêpe of a kind of violent blue with desultory clusters of white roses. For some ten minutes Mason had the pleasure of being witness of that series of pretty movements and preparations with which women in full dress beguile the interval before their carriage is announced; their glances at the mirror, their slow ...”

“... August), there are many examples of that freshness: two of the most famous, Thomas Girtin’s The White House at Chelsea and Turner’s Blue Rigi, hang side by side. There is also Bonington’s view of the Piazza dell’Erbe in Verona, which gives a sense of moving crowds and shifting light that makes Canaletto’s Venetian crowds and calm yellow sunshine ...”

“... in Restoration portraiture. LaChapelle’s shot of the actress Drew Barrymore in a pink and white waitress’s uniform and carefully laddered stockings, surrounded by half grapefruits, each with a cherry on top, echoing the nipple of her exposed breast, is iconographically not too far from some of Lely’s portraits.Versace does not go quite so far and ...”

“... clean clothes, but within that simple desire lie images of crisp starching, of linen whiter than white. Advertising suggests imagined outcomes. Lever’s description of a rose-wreathed cottage stands to the housing he had built as the little girl in her white frock does to the daily wash.So when one finds among the ...”

“... it spreads over the entire wall – transformed not just in scale, but in colour, from blue on white to blue on red. It is still to be seen in photographs of his studio taken in 1946. The fabrics and costumes he collected were neither an aesthetically coherent group nor intrinsically fine: their value lay in the uses he found for them. That they attracted ...”

“... steps to articulate 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 ...”

“... MIDLAND BANK – is still carved into the rusticated stonework by the entrance, while the red and white diapers of HSBC are hung out to catch the eye) and palimpsests (in Fleet Street you can still read ‘National Westminster’ on the granite, under the perkier ‘Natwest’). Badging is, of course, much cheaper and easier to apply than a deeper ...”

“... Peter Redgrove had a secret. It was called ‘the Game’. Sexual in nature, this obsessive ritual ignited some of his most arresting poetry, and was vital to his personal mythology for sixty years. Known only to his lovers and a few in his inner circle, the Game has now been made public in Neil Roberts’s remarkable biography of the poet, published almost a decade after Redgrove’s death, along with a new Collected Poems ...”

“... and clips from Hollywood gangster movies in which the photography is high-contrast black and white, best set the scene for his paintings. The paintings of George Bellows, say, who earlier recorded the look of urban America, do not imply narratives in the way Hopper’s do. His magazine illustrations and the drawings he made for his paintings have much in ...”

“... a prescription for public policy, made on the understanding that something could be done. Men in white coats should be given the funds to get back to their laboratories and defeat Aids. And ‘ought’ in the sense that we had a particular duty to a persecuted group. As well as the practical, good-housekeeping kind of ‘ought’ there was an ...”

“... it, of what the uninformed eye misses. I had noticed that there are corners where the standard white-on-blue plaques overlie street names cut in the stone of the building. I would not, however, have known to look for the evidence they offer of a revolutionary edict which removed royal and religious epithets (no saints’ names allowed). That it was ...”

“... 23 January), but there are also sober faces and black coats that contrast crisply with white neckcloths and turned up collars to set off the male complexions. There are some tremendous pictures among the things gathered here. Pictures of ‘real genius’? Well ‘genius’ is not an easy word, but certainly vivid, appealing and, sometimes, as in ...”