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“... a beach but also how, if the colour and mistiness where sky meets the horizon are right, and a few white streaks of surf adroitly placed, the graduated ribbon of blue on the canvas can still stand for the immensity of the ocean. In views like these, where interest is centred on the far middle distance, there was still the problem of what to do with wide strips ...”

“... to take my blood pressure when, an hour or so from landing, the cabin lights came up and the hard white light reflected from clouds below was allowed to shine through. Breakfast was on its way. This blast of light was a prelude to the bright, bright light of home. It is not just imagination that tells you there is more of the stuff out there. Fugitive magenta ...”

“... They wanted textiles: silk from China and ‘fine muslin, printed chintz and palampores, plain white baftas, diapers and dungarees, striped allejaes, mixed cotton and silk ginghams and embroidered quilts’ from India (‘a definitive glossary of types has yet to be made’). From China they wanted porcelain and tea. Almost any product of the Asian world ...”

“... a moment or two to realise that they were moving at all – was as far from the blurred black and white videos produced in the 1960s and 1970s as Fox Talbot’s earliest photographs are from the detailed prints made by the likes of Beato a few decades later.The work exhibited in Video Acts: Single Channel Works from the Collections of Pamela and Richard ...”

“... could be turned in his clay to the bung in a wine barrel. It is a trope that recurs repeatedly in Peter Redgrove’s recent work, You take turns to be food, Before you can grind wheat you have to be wheat, Before you can eat bread you are a nice new crust Eaten by Mary, who chooses a crust-you here, A mouthful of Shakespeare’s breath there, a glass Of ...”

“... 5.1 cm x 3.8 cm and is reproduced to that size: a small dark rectangle in the middle of a large white page. Other contact prints from the first quarter of the 20th century are treated in the same way. In the London catalogue, on the other hand, what are captioned as ‘vintage’ contact prints are slightly enlarged and grouped. Washington gave the contact ...”

“... and geologists use in the field. One magnifies by 10, the other by 20. The mites, glistening white blobs, could be seen moving slowly across the grey crust. I hope, but do not expect, to have recruited at least one of the girls to the pleasures of low magnification. Since I was a child I have hankered after optical instruments. The first was a 5x ...”

“... reporter as American hero – Neil Sheehan, David Halberstam, Seymour Hersch, Jonathan Schell, Peter Arnett. They reported not only the war the government did not want its citizens to see, but also the government efforts to invent a war for domestic consumption. ‘Part of the Vietnamese Seventh Infantry Division was being assigned to make a ...”

“... and interrogation cell as well as stage and studio: ‘I photograph my subject against a sheet of white paper about nine feet wide by seven feet long ... I work in the shade because sunshine creates shadows, highlights, accents on a surface that seem to tell you where to look.’ This explains the even, clinical light which bathes the portraits. Nothing is in ...”

“... eye (violent plots have marked him), immensely charismatic – six foot six with a wonderful white smile. He is able to match the heavies blow for blow, and, when his rage at man’s destruction of nature peaks, bring passing tourist’s cars to a halt with well aimed shots. Nick Nolte seems the man for the part. In Hiaasen’s plots good people are ...”

“... 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. They almost fall as they reach for cherries which they swallow whole. It is late on a warm afternoon. We watch the birds. The titles Howard Hodgkin gives his pictures – In a Hot ...”

“... pieces won’t find much here to match the geometric designs in a few colours (red and white were particularly effective) of American examples. Those could be read as prefiguring the abstract painting of the 1950s and 1960s; the exhibition Abstract Design in American Quilts at the Whitney Museum in New York in 1971, organised by the collector ...”

“... type. Her jaw is rather square, her thin mouth is a little open, her lips drawn back showing white teeth – the faces of mummies shrink into similar smiles and grimaces. Her eyelids may droop heavily or be closed. She, and her less explicitly characterised sisters, are mostly skinny, but wide-hipped. When they are naked they are often standing in ...”

“... Bacon as menacing as ever. He has not petered out, and even his critics admit his achievement. Peter Fuller who ‘turns away from Bacon’s work with a sense of disgust and relief’ also describes him as ‘a good painter, arguably the nearest to a great one to have emerged in Britain since the war’. And greatness is, Bacon says, the only thing worth ...”

“... of form’, a tendency which led to the notorious Black Square of 1915 and the even more notorious White Square on White of 1918. In his lively memoirs, published as My Futurist Years, Roman Jakobson, the great Russian linguist, vividly recalled his first encounter with Malevich, in 1913. ‘I am painting new ...”