Search Results

“... in the Liberal State to the collection of (mostly already published) essays on similar themes by David Raphael, Justice and Liberty. The clarity quotient is much higher and the pretentiousness quotient much lower; there is also a much deeper knowledge of the history of moral and political philosophy behind his pronouncements, which gives them a weight ...”

“... comrades established among the ivory towers and high tables of Oxbridge colleges, and with Raphael Samuel providing indefatigable leadership in inimitable style, the history workshop movement seems set fair to follow the path already blazed by that earlier enfant terrible, Past and Present, from mutinous opposition to respectable ...”

“... that echoed another funeral three centuries earlier, when Rome mourned the death of the ‘divine Raphael’. Such a comparison was an unusual honour for any artist, and especially for a woman, but Kauffman was seen as a prodigious exception to her gender. She was famous across Europe, a favourite of art academies and royal courts alike. After her bust was ...”

“... us think again. We need to understand how the crass and the clunky can be interesting. Frederic Raphael’s memoir doesn’t help us much here. Raphael began writing what was to become Eyes Wide Shut in 1994, and describes in detail the harrowing job of producing draft pages for the scrutiny of the courteous, but ...”

“... Ernst Gombrich long ago pointed out that these were painted as representations of the archangel Raphael, who was the object of popular cult, with many churches named after him. Raphael was almost always painted with the child Tobias, whom he helped on one occasion. There was no cult of Tobias, and no reason why anyone ...”

“... the Accademia di San Luca; to another, Bologna’s Annibale Carracci was reanimating the legacy of Raphael with ambitious frescoes. If Caravaggio had a tactic, it was to outflank the former’s theories of disegno and the very practice of drawing on which Annibale based his art, by the sheer grip of his brush on the canvases in his studio. No preparatory ...”

“... David Peterley’s Peterley Harvest was first published on 24 October 1960. The book had a curious history and, shortly before publication, stories began to appear in the press declaring it to be an elaborate hoax. The jacket of the book contained the information that David Peterley was the only son of an old Quaker family that had ‘lived in the Chilterns and been neighbours of Milton and the Penns ...”

“... seat of government in the Piazza della Signoria, he stopped in front of Michelangelo’s 15-foot David. He didn’t see in it a symbol of the Florentine nation or even identify the figure. For the abbé, it was ‘a great phantasm of white marble, well worked and all of one piece’ (‘ung grand fantosme de marbre blanc, bien ouvre et tout dune ...”

“... league; Marcel Duchamp was a joker (not in a good way); Morris Louis painted as brilliantly as Raphael. In a 1959 essay, ‘The Case for Abstract Art’, he answered his critics by drawing on Kant to argue that taste is objective because art takes its viewer outside history. A ‘mere glance’ at the picture ‘creates the attitude required for its ...”

“... are doing? What does the term mean? In the case of the splendid package inspired and edited by Raphael Samuel, it clearly means, among other things, history written by a lot of people: about fifty named authors and a ‘collective’. It also means a history arousing the active enthusiasm of a great many more. About a thousand attended the History Workshop ...”

“... its dust-jacket) there is a good colour illustration of a self-portrait and still-life painted by David Bailly of Leiden in 1651. A young artist (is it too ingenious to suggest that it represents Bailly himself as a young man?) holds Bailly’s portrait on a table where a wide variety of other works of art appear together with a candle, a skull, an hourglass ...”

“... Raphael Samuel​ adopted his notetaking method from Beatrice and Sidney Webb, progenitors of Fabian socialism, who developed it in the late 19th century:Each thought or reference to a source was written or pasted onto a single side of a loose sheet of paper. It might be the source itself – an advertisement, a jam-jar label or an extract from a Xerox – it mattered only that it was attributed and subheaded under a theme ...”

“... taken a couple of sessions for Batoni to get the sitter’s face onto canvas – the 12 he gave David Garrick were unusual. He made no preliminary drawings; when it came to finishing the figure a stand-in could take up the chosen position, usually a variation on a settled range of elegantly relaxed poses. Batoni, who was not cheap, was inclined to work ...”

“... and time horizons – and a quite extraordinary proliferation of specialist journals. David Cannadine, in an influential but pessimistic article, has argued that this is a sign of the subject’s decadence: that it involves knowing more and more about less and less. I prefer to see it as a sign of history’s generosity, and its readiness to ...”

“... by Rembrandt turn out to be by his imitators, and the copy in the basement turns out to be by Raphael. Like all of us, Wollheim has been deeply affected by the reputations which certain painters enjoy – reputations reflected in labels, in the hanging of galleries, in the emphasis given by guidebooks and general histories of art, reputations often ...”