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“... co-ordinates one current academic strategy has to deliver; while two treatments of Caravaggio, by Andrew Graham-Dixon and by Michael Fried, come at that painter’s place in history from wildly disparate angles. Spear, Sohm and their five coauthors investigate five 17th-century urban art worlds. Those of Florence and Venice are so downbeat they would be ...”

“... Vuillard, Degas, Stella, Johns, Pollock and so on. All this Auping does. On other topics, such as Andrew Graham-Dixon’s proposition that ‘there are a lot of pictures about fucking,’ he judges it best to be non-committal; yes and no, certainly many of these works are about bodily pleasures, he says, but they ‘may or may not refer to ...”

“... fodder for harsh criticism of his work. ‘The Wandering Jew, the T.S. Eliot of painting?’ Andrew Graham-Dixon wrote in the Independent of the 1994 retrospective. ‘Kitaj turns out, instead, to be the Wizard of Oz: a small man with a megaphone held to his lips.’ Kitaj’s reviews of his reviewers are always entertaining: ‘The art critic was ...”

“... polite, then, for him to acknowledge as indispensable two particular books about Caravaggio (by Andrew Graham-Dixon and Peter Robb) from which he has drawn an enormous amount.Sudden Death is full of asides: ‘As I write, I don’t know what this book is about. It’s not exactly about a tennis match … Maybe it’s just a book about how to write this ...”