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“... development within an artistic tradition, a development irreducible to non-aesthetic determinants? Michael Podro, in his difficult, scholarly and condensed book The Critical Historians of Art, carefully charts a debate on just these issues among a group of German art historians in the century between 1827 and 1927. By no means all of his selected group ...”

“... predecessor), Sir John Pope-Hennessy (Sir Roy’s predecessor), Sir Ernst Gombrich, Professor Michael Jaffé and Denys Sutton, to name only the most eminent among those British art historians who have spoken out against her – it would be hard to imagine any other topic that would have united them. It is not only the treatment of the senior curators that ...”

“... time, another traveller, The Jewish Rider (1985/86), is deep in a book. He looks remarkably like Michael Podro, but it may be a disguise or a trick of the light – one can’t be sure. Down the corridor we can see the conductor – dressed like a bell-hop in an old comedy – brandishing a riding-crop. Out of the carriage window, crucifix and death ...”

“... first time I saw, or looked repeatedly at, a painting by Frank Auerbach was in the art historian Michael Podro’s living room – it must have been in 1968. The painting was Primrose Hill, Autumn Morning. I’d barely heard of Auerbach at that point (modern painting for me was French and American), and I certainly didn’t have a clue who had done the ...”

“... close on the flat. And this uncertainty spreads. Writers on Infidelity have often been aware – Michael Podro most eloquently – that Veronese’s main way of conveying the uncertainty of ‘positions’ in the circuit of Love is by drawing the viewer into a game of unreadable orientations. The woman’s back, shoulders and arms are at the heart of ...”