Arts Reviews

Painting Family: The De Brays, Master Painters of 17th Century Holland Dulwich Picture Gallery, until 5 October Cecil Collins — A Centenary Exhibition Monnow Valley Arts Centre, Middle Hunt House, Walterstone, Nr Abergavenny, Herefordshire, until 14 September I must say I admire museums and galleries that put on exhibitions devoted to the revival of lost reputations, in other words to a genuine spirit of reassessment. In these revenue-dominated days, exhibition organisers are driven increasingly in the direction of guaranteed best-sellers, and the crop of predictable subjects on the gallery circuit grows apace. So it is refreshing to be greeted by a relatively unknown name, and have a whole exhibition attached

Can this really be true? And if so, is it hilarious or horrifying? Or, perhaps, both… David Gest and, of all people, Michael Jackson are recording an album of Robert Burns’ poetry: Gest’s spokesman said the album is a modern musical take on some of Burns’ classic poems, and had been a long cherished project. He explained that he and Jackson were originally planning to do a musical about Burns’s life, but decided instead to turn his poetry into show tunes. Poems featured on the album include Ae Fond Kiss and Tam O’Shanter, the story of a man from Ayr who stays too long in a pub and witnesses a

Andrew Lambirth on the artist’s profound and far-reaching influence For a certain generation of English artists, there have been enough Cézanne exhibitions to last more than one lifetime. These are the painters who had the gospel of Cézanne rammed down their gullets at art school, and who feel that the world has other things to offer. Roger Fry was the first great apostle of Cézanne in England, who at every opportunity lectured the unwary on the principles of ‘significant form’ and the consciousness-changing gifts of the master. Henry Tonks (who, as head of the Slade, resisted the siren call of modern art as forcefully as he could) caricatured him mercilessly

Julian Sanchez explains why you should never read your old copy. Unless you do actually crave either a) embarrassment or b) mortification.

Fifty years ago, when the Irish Georgian Society was founded, the bulldozer was a familiar sight in Ireland, trundling along elegant urban terraces and drawing up at the gates of country houses. One of the bulldozer’s prominent Dublin victims half a century ago was No. 2 Kildare Place. This 1751 gem, just next to the Dail, was in excellent condition; the house was only destroyed because the state, which owned the building, had no desire to maintain it. One government minister even said of the Kildare Place demolitions, ‘I was glad to see them go. They stand for everything I hate.’ Fifty years on, and things are a lot better.