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“... in glory, a being in human form but quasi-divine, not quite contiguous with the adult world. As Robert Rosenblum observes in his stimulating and characteristically original essay, The Romantic Child, Hodler’s celebration – like Gotch’s – lacks some of the raw and peculiar passion of the early Romantics. The children are still represented as ...”

“... although they would have delighted, Veronese, Rubens or Reynolds. Delaroche’s picture presents Robert Rosenblum with ‘the immediate illusion of a theatrical tableau enacted by costumed players in a crystal-clear space’. It was painted for – one might say took place at – the Salon of 1834. By then many paintings were designed primarily for the ...”

“... with him usually agree that he was the most engaged and patient looker at art they ever knew. Robert Rosenblum rightly says, in David Sylvester: The Private Collection, that there was something comical about his high seriousness, but it is also true that, ‘unlike the rest of us ironists’, he could make one feel (or at least feel one ought to ...”

“... in their entirety and prefaced by informative and intelligent essays by eminent scholars (Robert Rosenblum in one case, Theodore Reff in the other). Nowhere else in the exhibition do we encounter the concentration of these sheets from the 1916 sketchbook, except perhaps in the near-abstract Cubist drawings in a sketchbook of 1918. But severe ...”

“... head that Clarissa scribbles and Molly Bloom muses. For many male novelists, like the Austrian Robert Musil, erotic self-metamorphosis becomes mystical, a kind of religious substitute. The sphinx has her mystery, but in the final and most subtle analysis it is that of having no secret at all. One of Musil’s most memorable passages, a kind of essay ...”