Art

Thursday

The Spectator

Letters | 25 May 2017

NHS in a mess Sir: Max Pemberton is quite right to say that the NHS is close to collapse, but I’m not sure a Royal Commission is the answer (‘This is an emergency’, 20 May). The problems facing the NHS have been obvious for years, and need, as Max points out, a strong politician to take unpopular decisions, not an expensive Royal Commission to decide what the issues are. The other problem with a Royal Commission is that it would draw its membership from senior doctors, retired politicians, and other members of the establishment, some of whom are responsible for the mess in the first place. Dr Chris Nancollas Yorkley,

Wednesday

Martin Gayford

The good, the indifferent and the simply awful

‘There is only one thing worse than homosexual art,’ the painter Patrick Procktor was once heard to declare at a private view in the 1960s. ‘And that’s heterosexual art.’ It would have been intriguing to hear his views on Queer British Art at Tate Britain. All the more so since it includes several of his own works, including a fine line-drawing study of the playwright Joe Orton, completely naked except for his socks — which he kept on because he felt they were sexy — and reclining somewhat in the manner of Manet’s Olympia. In fact, many of those included might have had reservations — Oscar Wilde, for example, one

Charles Moore Charles Moore

The Spectator’s notes | 12 April 2017

Each Easter, I think of David Jones (1895-1974). He was a distinguished painter and, I would (though unqualified) say, a great poet. There is a new, thorough biography of him by Thomas Dilworth (Cape). A sympathetic review in the Guardian wrestles with why he is not better known: ‘The centrality of religion to Jones’s work offers a clue to his obscurity.’ Jones recognised this possibility himself, writing about ‘The Break’ in culture, which began in the 19th century. He thought it had to do with the decline of religion, but more with a changed attitude to art, caused by mass production and affecting what he called ‘the entire world of sacrament

Thursday

Mary Wakefield

The mad, bad war on ‘cultural appropriation’

It’s usually best to ignore the indignant fury of the 21st-century young. We’re used to them now, these snowflakes, posing as victims (though they’re mostly middle-class), demanding ‘safe spaces’, banning books and speakers. Best to rise above them, deadhead the camellias. Attention, especially from the press, acts on entitled millennials like water on gremlins — they start proliferating and develop a taste for blood. But then sometimes they go too far. Ten days ago, the Whitney museum, on the New York bank of the Hudson, opened its biennial exhibition of contemporary American art. It’s an exciting show, full of vim and diversity. Half the artists represented are black, and the

A.N. Wilson

Welsh wizardry | 30 March 2017

When Stravinsky visited David Jones in his cold Harrow bedsit, he came away saying, ‘I have been in the presence of a holy man.’ Other admirers included T.S. Eliot (his publisher) and the Queen Mother (who wrote asking if she could buy some of his work). Harold Bloom, Kenneth Clark and W.H. Auden were all not merely admirers, but passionate in their admiration. Auden thought Jones’s long Eucharistic poem ‘The Anathemata’ the ‘finest long poem written in English this century’. Yet Jones remained completely his own man, belonging to no ‘set’. He had very little money and has never, as far as one can tell, been part of the Eng.

Thursday

Martin Gayford

Home help

There have been many explanations for what happened in the Italian Renaissance. Some stress the revival of classical antiquity, others the rise of individualism. A pioneering exhibition at the Fitzwilliam Museum, Cambridge, Madonnas and Miracles: The Holy Home in Renaissance Italy, takes a different line. It’s all about the 15th- and 16th-century household — and the religious furnishings and fittings it contained. To a 21st-century eye some of these are distinctly bizarre. Early on, there is a painting of the ‘Madonna and Child’ by a follower of Filippo Lippi — just the kind of thing one expects to find in an art gallery. Underneath it is a brightly painted wooden

Thursday

Peter Hoskin

Comic effect | 23 February 2017

Borag Thungg, Earthlets! If those words mean something to you, then congratulations — you are leading a good life. If not, then you owe it to yourself to pay attention. They are the words of greeting that Tharg the Mighty, the extraterrestrial editor of 2000AD, has spoken to the British sci-fi comic’s readers for the past 40 years. And 40 years is right. 2000AD enters its fifth decade this year, and various celebrations have been planned to mark the occasion. Among them is an exhibition at the fantastic Cartoon Museum in central London, where 85 pieces of original artwork are on show for our delectation. It’s an exhibition that does

Thursday

Laura Freeman

Rodin at 100

The girl who posed for Auguste Rodin’s figure of Eve on the ‘Gates of Hell’ was, the sculptor said, a ‘panther’. She was a young Italian, pregnant, but barely showing. Not a professional artist’s model. He found the girls who modelled for the Academy painters too affected. He liked stretchers, yawners, fidgeters, jitterbug girls who couldn’t sit still. His figures in plaster, bronze and marble have a pretzel suppleness. They do the splits, lie curled and foetal, fold at the waist, and crouch doubled like Atlas. His sibyls hold yoga poses. His prodigal son has a six-pack. A sketch might take only three, four, five charcoal or gouache strokes. Then:

Stuart Kelly

Everyday unhappiness

This is an extraordinarily compelling novel for one in which nothing really happens but everything changes. Sara Baume’s narrator is Frankie, a 26-year-old art school graduate, who has fled Dublin to live in her dead grandmother’s rural bungalow. What happened to her ‘started with the smelling of carpet’ in her bedsit; she feels such a failure that she ‘can’t even do mental illness properly’. It is all ‘because of nothing… because there’s nothing right with me. Because I cannot fucking help it.’ Over the course of part of a year, she acquires a bicycle from a born-again Christian, allows her father to mow the lawn, takes care of a guinea-pig

Thursday

Martin Gayford

Seeing everything in black and white

Two divergent approaches to printmaking are on view in an exhibition of graphic work by Francis Bacon and Lucian Freud at Marlborough Fine Art, Albemarle Street. For the former, media that depend on line, such as etching, were of little interest, since — as his friend Freud would point out — Francis couldn’t draw very well. But, Freud would add, Bacon’s painting was so brilliant that he made you forget that limitation. Bacon’s prints were essentially reproductions of his oils, signed and numbered by the artist. The etchings Freud made in the last three decades of his life were not like that at all. Though the models for the etchings

James Delingpole James Delingpole

The real George III

Before he died aged 44 (probably of a pulmonary embolism, poor chap), Frederick, Prince of Wales, compiled a list of precepts for his son, the future George III. ‘Employ all your hands, all your power, to live with economy,’ was one. ‘If you can be without war, let not your ambition draw you into it,’ was another. The result of such sensible parentage is that today, about the only things we know about our third-longest-reigning monarch are that his nickname was ‘Farmer George’, that he lost America, and that he went bonkers, providing a lucrative franchise for the significantly more famous playwright Alan Bennett. This — as Robert Hardman’s charming,

Thursday

Martin Gayford

Great leaps forward

In the 1940s Lucian Freud took another young painter, Sandra Blow, up to the top of a bombed church in Soho. There were just two prongs of masonry left and Lucian promptly launched himself through space from one to the other. ‘You can’t possibly expect me to do that,’ she exclaimed. ‘Just think of it as if you were on the escalator in Selfridges,’ he replied. History does not relate whether she was persuaded by this comforting analogy, but as a small exhibition at the Fine Art Society demonstrates, Blow (1925–2006) spent the rest of her career making jumps. These were mainly of the visual and stylistic variety. There is

Jack Wakefield

Is Maria Balshaw such a good choice for Tate? I tremble for the art I love

The last couple of years have seen changes at the top of all of London’s major art musuems. In 2015 we saw new leadership at the British Museum and the National Gallery. This year it’s the turn of the Victoria and Albert Museum and the Tate. The change at the top of the Tate is particularly momentous. When the last director Nick Serota was appointed Mrs Thatcher was Prime Minister and there was no Tate Modern. Furthermore the directors of Tate Modern and Tate Britain who report to the overall boss are themselves new appointments and almost all senior curators have been appointed since 2012. If there is an institution

Kate Womersley

Thoughts on the human condition

This past autumn has felt more uncomfortable than usual to be a woman looking at men looking at women. From Hillary Clinton’s ‘overheating’ episode (‘Does she have Parkinson’s? Is she wearing a catheter?!’) to Donald Trump’s assessment of female limbs as if they were building materials, election season finished with the male members of our new first family peering over the voting booth to check on their wives. Siri Hustvedt has long been interested in how the way we look at the world privileges certain political, gendered, artistic and scientific agendas, while excluding others. These dynamics are at play between a reader and a writer, a doctor and a patient,

Thursday

William Cook

Haus of ill repute

Here in Munich, in the gallery that Hitler built, this year’s big hit show is a spectacular display of modern art. Postwar: Art Between the Pacific and the Atlantic, 1945–1965 is a massive survey of international modernism, curated with typical Germanic can-do. Talk about ruthless efficiency — even the catalogue weighs several kilograms. All the stars of German modern art are here, from Joseph Beuys to Gerhard Richter, but the most interesting exhibit isn’t in this huge central hall, where Hitler staged his Great German Art shows, it’s in a quiet corner of the gallery, at the end of a deserted corridor, up an empty flight of stairs. Haus der

Thursday

Duncan Fallowell

From Balzac to the Beatles

All biography is both an act of homage and a labour of dissection, and all biographers are jealous of their subjects. Most keep it cool, but some like it hot and have created a distinct category in which jealousy becomes murder followed by necromancy: the one they hug is asphyxiated — but lo! — they breathe their own air back into it. Sartre’s book on Jean Genet is such a work, as are Brigid Brophy’s on Ronald Firbank and Roger Lewis’s on Anthony Burgess. Claude Arnaud’s on Jean Cocteau is yet another. Its approach is intensely romantic. Everyone is heaving in lurid colours. Arnaud certainly knows his material; and that

Thursday

Piers Torday

The lonely passion of Beatrix Potter

The story of the extraordinary boom in children’s literature over the last 100 years could be bookended with a ‘Tale of Two Potters’ — Beatrix and Harry. The adventures of the latter have sold millions, but the foundations of his success were laid by the former, whose series of ‘little tales’ Matthew Denison estimates in his equally condensed new biography, ‘are purchased somewhere in the world every 15 seconds’. That is not bad for an author whose first book, The Tale of Peter Rabbit, came out in 1902 — 40 million copies sold so far, and counting — with neither the benefit of the internet or a movie franchise to

Thursday

Martin Gayford

A choice of art books | 24 November 2016

Suitably for a year so full of cataclysms and disturbing portents, 2016 is the quincentenary of the death of Hieronymus Bosch. He was of course the supreme painter of hell, with choking darkness, livid flames and the most grippingly monstrous menagerie of devils in the history of art — duck-billed figures on skates, demons with bat’s wings, lizard’s claws and cat’s whiskers. His panoramic vista of naked humanity inflamed by desire in ‘The Garden of Earthly Delights’ features giant birds and fruit, weird mineral formations, and — in one case — a couple making love in a cosy mussel shell. An Italian traveller who saw this masterpiece in 1517, noted

Thursday

Justin Marozzi

Muslim magic

In 1402, when the Turkic conqueror Temur, better known in the West as Tamerlane, was poised to do battle with the mighty Ottoman Sultan Bayazid I, the greatest power in the Muslim world, he called in the astrologers. Knowing which side their bread was buttered on, the court officials duly pronounced that the planets were auspiciously positioned and gave a green light to attack. Temur was victorious. Not for nothing was he known as lord of the ‘Fortunate Conjunction of the Planets’. Half a century later, in 1453, Bayazid’s great-grandson Mehmet II stood at the gates of Constantinople. Anxious to galvanise his siege-weary troops, he summoned court astrologers, diviners and

Thursday

Laura Gascoigne

Skinny dipping

For a 21st-century gallery, a Victorian collection can be an embarrassment. Tate Modern got around the problem by offloading its Victoriana on to Tate Britain, but York Art Gallery decided to make the best of it. As the birthplace of William Etty, York found itself lumbered with a major collection of work by a minor Victorian artist whose reputation nosedived after his death. While Etty’s statue still dominates the gallery forecourt, most of his paintings languish in the stores. For contemporary audiences, though, he has a USP. An avid frequenter of the life room, Etty acquired a mastery of flesh tones and a penchant for painting nudes that many of