The phrase ‘Constable Country’ summons up a quintessentially English landscape: river and meadows, open vistas bordered by trees, the greens and golds of cultivated acres, with the wide (and often blustery) skies of East Anglia over all. John Constable (1776–1837) is one of our greatest artists and certainly one of the most popular. His vision
Soldier scribes are rare, soldier artists rarer still, and soldiers who can write and draw rarest of all. General Henry Hope Crealock (1831–1891) was one such polymath. He scribbled and doodled as he fought his way around Victoria’s empire. He was a decorated veteran of the Siege of Sebastapol, the Second Opium War, India and
Shigeru Ban is the celebrated architect who refuses to become a celebrity. Thus, at 57, his career has run opposite to the dominant trend in the profession. For a generation there has been a star system in architecture, as tacky and ludicrous and overblown as the Hollywood original. Ban, softly spoken but strictly principled, is
The Silver Tassie is the major opening at the Lyttelton this spring. Sean O’Casey’s rarely staged play introduces us to a group of Dublin sportsmen, and their womenfolk, as they prepare to volunteer for service on the Western Front. They parade the ‘silver tassie’, a newly won football trophy, mistakenly believing it to presage victory
Purists might have winced at Opera North’s advertisement for its latest revival of La Bohème. ‘If you see one musical this year,’ it said, ‘see this opera.’ Such rhetoric might invite unhelpful discussion of the relative merits of each genre, but it also reflects the fact that this show is a refreshing, unfusty treat. Phyllida
Which character are you in Game of Thrones? For me it’s got to be the imp, Tyrion Lannister. As Ed West suggested in his erudite Speccie article a few weeks ago, Tyrion is about the only character with a vaguely sympathetic 21st-century mindset as opposed to a ruthlessly pragmatic medieval one. Persecuted since childhood because
In many respects the average art-lover remains a Victorian, and the Florentine Renaissance is one area in which that is decidedly so. Most of us, like Ruskin, love the works of 15th-century artists of that city — Botticelli, Fra Angelico, Ghiberti — and are much less enthusiastic about those of the 16th. But a superb
‘Valleys breathe, heaven and earth move together,/ daisies push inches of yellow air, vegetables tremble,/ grass shimmers green…’ The characteristic undulations of the voice of the Beat poet Allen Ginsberg greet the visitor on entering Wales Visitation: Poetry, Romanticism and Myth in Art at the National Museum Cardiff. Bearded and mellifluous, projected to mythic proportions
Before there was Hello!, OK! and Closer, there was Oggi. Oggi was the magazine my Italian mother used to flick through on the long dark English winter evenings. Its celebrity photo spreads were for her the armchair equivalent of the Italian national pastime, the ‘passeggiata’. The Years of La Dolce Vita, revisited in a new
Godzilla is from the director Gareth Edwards, a Brit whose first film, Monsters, truly put him on the map, as it daringly played with the genre, and incorporated a plausible human love story, and the difference between that film and this may be summed up as follows: whereas Monsters was a clever and inventive film
A rustle of paper as the sleeve is removed. A clunk and click as the needle arm is swung across. The needle hits the vinyl, bringing it to life. At first there’s a lot of crackling in the ether. Then at last the music begins. A sultry saxophone. A few notes on the guitar, slow,
