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Diary

Andrew Brighton: On Peter Fuller, 7 November 1991

... of Oxbridge voices reviewing an exhibition selected by and posthumously mounted as a tribute to Peter Fuller. The wannabe Oxbridge voice of Giles Auty, art bumbler for the Spectator, declares ‘Peter’ was led by his arguments rather than his eyes. Up speaks real Oxbridge voice, while duly patronising to Auty ...

Seeing through Fuller

Nicholas Penny, 30 March 1989

Theoria: Art and the Absence of Grace 
by Peter Fuller.
Chatto, 260 pp., £15, November 1988, 0 7011 2942 5
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Seeing through Berger 
by Peter Fuller.
Claridge, 176 pp., £8.95, November 1988, 1 870626 75 3
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Cambridge Guide to the Arts in Britain. Vol. IX: Since the Second World War 
edited by Boris Ford.
Cambridge, 369 pp., £19.50, November 1988, 0 521 32765 2
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Ruskin’s Myths 
by Dinah Birch.
Oxford, 212 pp., £22.50, August 1988, 9780198128724
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The Sun is God: Painting, Literature and Mythology in the 19th Century 
edited by J.B. Bullen.
Oxford, 230 pp., £27.50, March 1989, 0 19 812884 3
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Artisans and Architects: The Ruskinian Tradition in Architectural Thought 
by Mark Swenarton.
Macmillan, 239 pp., £35, February 1989, 0 333 46460 5
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... true that some modern art has imitated the primitive energy, the folk spells, of graffiti. Peter Fuller’s Modern Painters, a quarterly ‘journal of the fine arts’, launched last spring, challenges many of the fashionable practices and assumptions which I have just reviewed. At first, its opponents in the art world said it wouldn’t ...

Best of British

Nicholas Penny, 2 December 1993

Glenkiln 
by John McEwen and John Haddington.
Canongate, 96 pp., £20, November 1993, 0 08 624324 1
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Henry Moore: An Interpretation 
by Peter Fuller, edited by Anthony O’Hear.
Methuen, 98 pp., £16, September 1993, 9780413676207
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... Ironically, working on a monumental scale involved a loss. In his short, ardent, posthumous book Peter Fuller concedes that there was some unevenness in Moore’s sculpture, but he has no time for the ‘waves of intellectuals’ who have expressed serious reservations in recent decades. Moore is presented as an embodiment of ancient sagacity, a lonely ...

At the Newport Street Gallery

Ben Eastham: John Hoyland , 7 January 2016

... romanticism soon felt dated, and by the late 1970s he was a straw man new critics such as Peter Fuller could use to attack the conservatism of British art. Hoyland’s struggles to find a new direction are apparent in the variety of his experiments in colour and texture. The excellence of his eye means that even in the least convincing mid-career ...

Francis and Vanessa

Peter Campbell, 15 March 1984

Francis Bacon 
by Michel Leiris, translated by John Weightman.
Phaidon, 271 pp., £50, September 1983, 0 7148 2218 3
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Vanessa Bell 
by Frances Spalding.
Weidenfeld, 399 pp., £12.95, August 1983, 0 297 78162 6
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The Omega Workshops 
by Judith Collins.
Secker, 310 pp., £15.95, January 1984, 0 436 10562 4
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The Omega Workshops 1913-1919: Decorative Arts of Bloomsbury 
Crafts Council, 96 pp., £6.95, March 1984, 0 903798 72 7Show More
The Omega Workshops: Alliance and Enmity in English Art 1911-1920 
Anthony d’Offay Gallery, 80 pp., £4.95, February 1984, 0 947564 00 4Show More
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... 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 ...

Political Purposes

Frances Spalding: Art in postwar Britain, 15 April 1999

New Art New World: British Art in Postwar Society 
by Margaret Garlake.
Yale, 279 pp., £35, July 1998, 0 300 07292 9
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Cultural Offensive: America’s Impact on British Art since 1945 
by John Walker.
Pluto, 304 pp., £45, September 1988, 0 7453 1321 3
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... of Joseph Herman’s images of Welsh miners, Joan Eardley’s Glasgow tenement scenes or Peter de Francia’s political paintings further weakens the realist cause. But Garlake’s assessment of Berger’s stance seems fair, recognising as it does the difficulty he had in formulating criteria to match his beliefs. He focused, she argues, on the ...

Diary

Karl Miller: Ten Years of the LRB, 26 October 1989

... of a major new artist’, but the Observer sees nothing but ‘duff bravura and blank poise’. Peter Fuller, editor of Modern Painters, fears for the hyped Conroy. The Times Literary Supplement: a ‘sinister portent’. The Financial Times critic describes the paintings with care, but fetches up with ‘a scumbled emptiness’. The Tablet concedes ...

I could have fancied her

Angela Carter, 16 February 1989

Beauty in History: Society, Politics and Personal Appearance c. 1500 to the Present 
by Arthur Marwick.
Thames and Hudson, 480 pp., £18.95, September 1988, 0 500 25101 0
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... mildest fluctuations of fashion. There are echoes, here of the revisionist Ruskinian aesthetic of Peter Fuller, although Marwick adds an erotic sub-plot to ginger things up, quoting Freud: ‘There is to my mind no doubt that the concept of “beautiful” has its roots in sexual excitation and its original meaning was “sexually stimulating”.’ This ...

A New Twist in the Long Tradition of the Grotesque

Marina Warner: The monstrousness of Britart, 13 April 2000

High Art Lite: British Art in the 1990s 
by Julian Stallabrass.
Verso, 342 pp., £22, December 1999, 1 85984 721 8
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This is Modern Art 
by Matthew Collings.
Weidenfeld, 270 pp., £20, June 1999, 0 297 84292 7
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... right enemies (and not find himself finessed so that he’s lined up with Sewell – or the late Peter Fuller) and stay out on the left flank; his fury is rather Victorian – Ruskin’s rage against the immoralism of the Baroque. Oddly enough, Matthew Collings – in the book of his Channel Four series – says many of the same things as ...

Kant on Wheels

Peter Lipton: Thomas Kuhn, 19 July 2001

The Road since Structure: Philosophical Essays, 1970-93 
by Thomas Kuhn, edited by James Conant and John Haugeland.
Chicago, 335 pp., £16, November 2000, 0 226 45798 2
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Thomas Kuhn: A Philosophical History for Our Times 
by Steve Fuller.
Chicago, 472 pp., £24.50, June 2000, 0 226 26894 2
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... inside the heads of past scientists, to see their projects and their worlds in their terms. Steve Fuller’s book about Kuhn is somewhat odd, in content, style and tone. There is surprisingly little engagement with his ideas: incommensurability and truth are not much discussed, and the key notion of an exemplar is barely mentioned. Rather, what counts for ...

What’s It All About?

Tom Lubbock, 6 April 1995

Shark-Infested Waters: The Saatchi Collection of British Art in the Nineties 
by Sarah Kent.
Zwemmer, 270 pp., £19.95, November 1994, 0 302 00648 6
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The Reviews that Caused the Rumpus, and Other Pieces 
by Brian Sewell.
Bloomsbury, 365 pp., £12.99, November 1994, 0 7475 1872 6
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... were, to a lad, left out. In the summer the British Art Show arrived in London. In the meantime, Peter Fuller had died in a car crash. Fuller never lived to type out the words ‘Damien Hirst’. He died before the Turner Prize began to favour younger artists, before Saatchi started collecting the new art of the ...

Tankishness

Peter Wollen: Tank by Patrick Wright, 16 November 2000

Tank: The Progress of a Monstrous War Machine 
by Patrick Wright.
Faber, 499 pp., £25, October 2000, 0 571 19259 9
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... land weapon. But for it to succeed a spate of quite new strategic concepts was needed. For J.F.C. Fuller, ‘the War of 1914-18 was a blind evolution from mass to machine fighting, for whereas mass by multiplying numbers begets defensive power, machines by enhancing mobility beget offensive power.’ Fuller had joined the ...

I have nothing to say and I am saying it

Philip Clark: John Cage’s Diary, 15 December 2016

The Selected Letters of John Cage 
edited by Laura Kuhn.
Wesleyan, 618 pp., £30, January 2016, 978 0 8195 7591 3
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Diary: How to Improve the World (You Will Only Make Matters Worse) 
by John Cage, edited by Richard Kraft and Joe Biel.
Siglio, 176 pp., £26, October 2015, 978 1 938221 10 1
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... with him. The story goes that Schoenberg dismissed him, telling him he lacked an ear for harmony. Peter Yates’s book Twentieth-Century Music: Its Evolution from the End of the Harmonic Era into the Present Era of Sound (1968), reported Schoenberg as saying that Cage was ‘not a composer – but an inventor of genius’, a back-handed compliment that stuck ...
The New Select Committees: A Study of the 1979 Reforms 
edited by Gavin Drewry.
Oxford, 410 pp., £25, September 1985, 9780198227854
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Commons Select Committees: Catalysts for Progress? 
edited by Dermot Englefield.
Longman, 288 pp., £15, May 1984, 0 582 90260 6
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British Government and the Constitution: Text, Cases and Materials 
by Colin Turpin.
Weidenfeld, 476 pp., £25, September 1985, 0 297 78651 2
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Parliament in the 1980s 
edited by Philip Norton.
Blackwell, 208 pp., £19.50, July 1985, 0 631 14056 5
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... has succeeded in spotlighting examples of spending problems which merit greater examination and a fuller explanation. This is an important adjunct to the retrospective work of the National Audit Office and the Public Accounts Committee. How do the committees fit in with the broader life of politics (a subject largely ignored by contributors)? Philip Norton ...

The Cadaver Club

Iain Sinclair, 22 December 1994

Original Sin 
by P.D. James.
Faber, 426 pp., £14.99, October 1994, 0 571 17253 9
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Dan Leno and the Limehouse Golem 
by Peter Ackroyd.
Sinclair-Stevenson, 282 pp., £14.99, September 1994, 1 85619 507 4
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The Hidden Files: An Autobiography 
by Derek Raymond.
Warner, 342 pp., £5.99, December 1994, 0 7515 1184 6
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Not till the Red Fog Rises 
by Derek Raymond.
Little, Brown, 248 pp., £15.99, December 1994, 0 316 91014 7
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... watch it, will find himself taken up by the Modern Painters crowd, the disciples of the late Peter Fuller. As a high-profile poet with atrophied tastes, he can expect a commission to do something tasteful on Glynn Williams. The Commander has become the ashy residue of Neo-Romanticism, out there in the Fens, a John Piper with backbone, silhouetted ...

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