Writing about colour in the LRB archive by Ian Hacking, Anne Enright, John Kinsella, Alison Light, Julian Bell, David Garrioch, Emily LaBarge and Stephen Mulhall.
Beneath the whimsy and the wit, Agnès Varda’s films were motivated by contradiction and critique. She said she was always looking for ‘the cliché and what’s inside the cliché’. By the time she died in 2019, at the age of ninety, Varda had herself become a cliché, though this was something she cultivated.
Released in 1945, Dead of Night is the most imaginative British horror film of the postwar era. It was produced by Ealing Studios and pioneered the anthology format, much imitated in subsequent decades . . .
In 1973, when a Marcel Duchamp retrospective was last staged in the United States, the critic Lucy Lippard declared that too much was made of him already. More than fifty years later he is still ubiquitous . . .
The Winchester Bible (c.1150-80). ‘A psalm consoles the sad, restrains the joyful, tempers the angry, refreshes the poor and chides the rich man to know himself,’ wrote Niceta of Remesiana, a fourth-century . . .
At the end of François Ozon’s film The Stranger, the narrator and hero makes a remarkable speech. He does the same, verbatim, in Luchino Visconti’s 1967 movie, and in Albert Camus’s novel L’Étranger . . .
This is an essay about hands and handwriting. I think of handwriting as a way to organise thought into shapes. I like shapes. I like organising them. But because of recent neurological changes in my brain I find shapes fall apart on me.
Perhaps, then – though the thought is a grim one – we turn to Guernica with a kind of nostalgia. Suffering and horror were once this large. They were dreadful, but they had a tragic dimension.
Sinatra’s sexual charge was like his song: underplayed, tinged with unflappable cool picked up second-hand in the shady cloisters of jazz.
Wagner’s work is everywhere preoccupied with boundaries set and overstepped, limits reached and exceeded.
As I drew, things began to change. Quite suddenly something was happening down there on the paper that I had not anticipated. I continued, I went on drawing; I pushed ahead, both intuitively and consciously. The squares began to lose their original form.
A photograph of Abbas Kiarostami in Hamid Dabashi’s book shows him crouching over a frying pan that has two eggs in it. Beside him, and like him focused on the eggs, is the original movie camera invented by Lumière.
The true foodie knows there is something not quite ... about a coconut kirsch roulade as a concept. It is just a bit ... just a bit Streatham. Its vowels are subtly wrong. It is probably related to a Black Forest gâteau.
When I used to give a survey course for first-year students, I dreaded December. That was when I reached the High Renaissance and my audience fell away. It was not only the alternative seasonable...
Fashion, according to Baudelaire, is a moral affair. It is, more specifically, the obligation laid upon a woman to transform herself, outwardly and visibly, into a work of art, or, at the very...
Writing about colour in the LRB archive by Ian Hacking, Anne Enright, John Kinsella, Alison Light, Julian Bell, David Garrioch, Emily LaBarge and Stephen Mulhall.
Writing about the press by Andrew O’Hagan, Ross McKibbin, Jenny Diski, James Meek, Suzanne Moore, Mary-Kay Wilmers, Alan Rusbridger, Thomas Nagel and Raymond Williams.
Michael Wood looks at how Fritz Lang uses sound in his first two sound films, M (1931) and The Testament of Dr Mabuse (1933).
Nicholas Penny looks through the letters of Prince Hermann von Pückler-Muskau, who visited England in the late 1820s.
Claire Denis and J. Hoberman join Adam Shatz to talk about the work and legacy of Jean-Luc Godard.
Caxton’s early interest in print was probably commercial rather than technical, that of a publisher rather than an inventor. But his interest in literature ran deep, not only as a reader but also as...
Willem De Kooning’s Suburb in Havana is a counter-revolutionary painting. Well, of course. It is counter-revolutionary because it is counter everything, versus everything, lost in suburbia. It wants...
Printmaker, portraitist, landscape artist, theatre designer and illustrator, William Nicholson slips through the fingers of art historians. This exhibition explores the Venn diagram of his career with...
Rather than the manifestos and self-conscious rejection of inherited tradition seen in European art, Nigerian modernism – insofar as one can generalise about such a heterogeneous period – saw artists...
The notion of the Great Composer – the individual genius, whose inimitable music is an expression of a singular mind – still holds sway. By contrast, the men and women who composed the music discussed...
More has probably been written about The Ambassadors than about any other work by Holbein. Is the painting a commentary on the religious divisions threatening to rip apart Christendom in the early 1530s?...
Time is embedded in the way Mark Jenkin works – not just the occasional resurrection but the hand-cranked cameras and hand-processed film. His method involves hearing the fractions of a second ticking...
The careers of Élisabeth Louise Vigée Le Brun and Maria Cosway required constant, delicate calibration to keep the balance between personal reputation, artistic success and the need to earn a living,...
In 1983, Brian Wilson told a reporter: ‘I think ultimately I’m just a sound. I don’t know if I’m a human being.’ This boy-child’s story has recognisable stages: he begins in a kind of innocence,...
Lam referred to a ‘desire to include in my painting all the transculturation that had occurred in Cuba’ – using a term coined by the Cuban anthropologist Fernando Ortiz to describe the island’s...
I listen to The Archers every night, as automatically as I brush my teeth. Yet the episodes are quite often dull and frequently irritating. The cast has at least one dud actor. Characters are more like...
If we imagine Gustave Caillebotte’s paintings as depending on what we might call a ‘cruising eye’ – one that focuses on instances of men watching men, and also instantiates the act of watching...
What is it with these Dutchmen? Did human subjects not exist before them? Did they write the book on patience? (All those letters being written and read, those prayers being said, those scholars at their...
There is much room for improvement in today’s maternity care, but few in Britain would choose to give birth in 1506 rather than 2026, and an ultrasound, though magical in its way, is more useful than...
Almost everything about Wuthering Heights – the artistic photography, the heavy orchestral music, the gestures and speech of the actors – signals the ambitions of a director seeking interesting effects....
Although she often responded to questions with anecdotes and talked about the role of chance and the necessity of pragmatism, Chantal Akerman was a fine theorist of her own work. She couldn’t understand...
Schubert’s imagination was unusually literary. Words released music in him: poems about desire, love, loss, solitude, the longing for rest; narrative ballads; philosophical poems; theological poems;...
Like darkness, light at its most powerful could disorientate, overpower, blind the senses. Joseph Wright of Derby’s contemporary viewers associated his night pieces with a kind of sublime unclarity,...
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