Artists

A Cumberland legend

The legend of the glamorous artist Sheila Fell (1931–79), with her striking looks — black hair, white skin, large eyes — who died young, has tended to obscure the real achievement of her art. The legend of the glamorous artist Sheila Fell (1931–79), with her striking looks — black hair, white skin, large eyes — who died young, has tended to obscure the real achievement of her art. She was part of a talented generation which included her friends Frank Auerbach, Jeffery Camp and Craigie Aitchison, and was given her first solo exhibition at the age of 24 by Helen Lessore at the Beaux Arts Gallery in London. Fell came

Forget the matchstick men

Here at last is a book that takes L. S. Lowry’s art seriously and treats it with the scholarly attention it deserves. Here at last is a book that takes L. S. Lowry’s art seriously and treats it with the scholarly attention it deserves. Tom Rosenthal has been a life-long admirer of Lowry’s work, spending his formative years in Greater Manchester and even interviewing the old curmudgeon for Radio 3 in the 1960s. One of his aims in this book is to dispel the various myths that have grown up around Lowry and his critically underestimated art. It has become fashionable in the art world to look down on Lowry

On the charm offensive

Derek Hill (1916–2000), writes Bruce Arnold, was an English representational landscape and portrait painter of ‘haunting and evocative creative spirituality that is perhaps indefinable’. Derek Hill (1916–2000), writes Bruce Arnold, was an English representational landscape and portrait painter of ‘haunting and evocative creative spirituality that is perhaps indefinable’. But the biographer was undeterred. As an English author of books on the arts and the chief arts critic of the Irish Independent, he was a friend of Hill’s for the last 37 years of his life. With access to 40,000 letters and other papers in the artist’s archive and to innumerable other sources of revealing evidence, Arnold has probably come as

Taking a firm line

This book collects nearly 300 examples of Alasdair Gray’s work as a painter and illustrator. This book collects nearly 300 examples of Alasdair Gray’s work as a painter and illustrator. As an art student in 1950s Glasgow, he scorned the conservatism of tutors who painted the way ‘Monet might have painted had he been timid and Scottish, with an inferior grasp of colour and design’. Instead of traditional still lifes and landscapes, he produced devious biblical scenes populated with weird and sinewy figures inspired by Blake, Breughel and Bosch. Gray remarks that his mother’s death when he was 17 gave him a horrified fascination — further fuelled by his eczema

Doing what it says on the tin

If you want to know all about Andy Warhol, just look at the surface: of my paintings and films and me, and there I am. There’s nothing behind it. Much the same thing has been said by many artists and writers, but seldom has this proposition been so tested as it is by ‘32 Campbell’s Soup Cans’. In the Factory, as he called his atelier, Warhol made paintings of photographs, casually silk-screened prints of blown-up acetates of blow-ups from contact sheets of original negatives, copies of copies, images of images. He inverted high and low culture. He expressed something, defined something, about our psychic relationship to the stuff that surrounds

More than a painter of Queens

The last words of Hungarian-born portraitist Philip de László, spoken to his nurse, were apparently, ‘It is a pity, because there is so much still to do.’ As Duff Hart-Davis’s biography amply demonstrates, for de László, art — which he regarded as ‘work’ as much as an aesthetic vocation — was both the purpose and the substance of his life. The last words of Hungarian-born portraitist Philip de László, spoken to his nurse, were apparently, ‘It is a pity, because there is so much still to do.’ As Duff Hart-Davis’s biography amply demonstrates, for de László, art — which he regarded as ‘work’ as much as an aesthetic vocation —

A flammable individual

On the night of 18 October 1969, thieves broke into the Oratory of San Lorenzo, Palermo, and removed Caravaggio’s Nativity. On the night of 18 October 1969, thieves broke into the Oratory of San Lorenzo, Palermo, and removed Caravaggio’s Nativity. The altarpiece has not been seen since. Three decades later, in 1996, Italians were aghast when the Mafia claimed responsibility. Somewhere in the Sicilian capital of Palermo, it seemed, a gangland capo sat in awed admiration of the stolen Christmas canvas. Far from submerging rivals in wet concrete, now the Cosa Nostra were enthusiasts of 17th century religious art. Born in 1571 near Milan, Caravaggio was a flammable individual. Contemporaries

Small but perfectly formed

Some years ago, Edmund de Waal inherited a remarkable collection of 264 netsuke from his great-uncle Iggie, whom he had got to know 20 years previously while studying pottery and Japanese in Tokyo. Each week the young de Waal visited his urbane, elderly relative and his friend, Jiro. He heard ancient family stories and was introduced to the hare and all the other miniature carvings in ivory or wood, each one ‘a small, tough explosion of exactitude’. When eventually he inherited the netsuke, he felt he had also been ‘handed a responsibility — to them and to the people who have owned them.’ Although the netsuke originated in 18th- century

Odd men out

The first game played by the Allahakbarries Cricket Club at Albury in Surrey in September 1887 did not bode well for the club’s future. The first game played by the Allahakbarries Cricket Club at Albury in Surrey in September 1887 did not bode well for the club’s future. One player turned up wearing pyjamas, another held the bat the wrong way round while a third — a Frenchman — thought the game had finished every time the umpire called ‘Over’. The Allahakbarries were skittled out for just 11 runs and under the circumstances it seemed entirely appropriate that the team’s name should have been derived from the Moorish phrase for

Painting the town together

This book recounts a terrible story of self-destruction by two painters who, in their heyday, achieved considerable renown in Britain and abroad. Robert Colquhoun (1914-62) and Robert MacBryde (1913-66), both from Scottish working-class families, met in 1932 when they were students at the Glasgow School of Art. From then onwards they were personally and professionally inseparable in their headlong rise to fame and descent downhill. Although both have been the subject of anecdotes and snapshots in many a memoir of the period — all those accounts of Soho and ‘Fitzrovia’ — this is the first full-length study devoted to them, the result of over 20 years’ research. Their early life

On the brink

Stephen Potter’s Lifemanship contains a celebrated tip for writers who want to ensure good reviews. Stephen Potter’s Lifemanship contains a celebrated tip for writers who want to ensure good reviews. Simply make the dedication so emotionally blackmailing that no critic will dare attack you — something like, ‘To Phyllis, in the hope that God’s glorious gift of sight will be restored to her.’ It’s a ploy that springs inescapably to mind when reading the introduction to Winter on the Nile. What we’re about to read, Anthony Sattin explains, is the culmination of a dream he’s cherished for decades — a dream whose importance to him will only be truly understood

Red faces in the galleries

Art fraudsters, especially forgers, have a popular appeal akin to Robin Hood. Their cock-a-snook cunning provides a twist on those money shots on the Antiques Roadshow when some dotty great aunt from Sidmouth discovers her umbrella stand is Ming Dynasty. ‘How much?’ cries Dotty. The forger levels the field from the other side of the pitch. When some shipping magnate finds his Monet ‘Nympheas’ is more pond scum than Giverny gold the public collapses into bouts of schadenfreude. Many books and films have covered this subject, and yet The Conman has a particularly interesting tale to tell. This is a true story not only of dubious oils but also the

A certain look

Just as there are people who are their own worst enemies, so there are books that are their own worst reviews. Mark Griffin’s A Hundred or More Hidden Things, a new biography of the Hollywood film-maker Vincente Minnelli, is one such. No review could possibly be as damning as a verbatim reproduction of its irresistibly putrid pages. Minnelli’s achievement certainly does merit attention. In fact, for the auteurist critics of Cahiers du Cinéma, who argued that a film’s distinction derived primarily, even exclusively, from the degree to which it reflected its director’s own personal visual and thematic preoccupations, his was practically an open-and-shut case. At least to the initiated, a

Fine artist, but a dirty old man

I have always been sceptical of those passages in the ‘Ancestry’ chapters of biographies that run something like this: Through his veins coursed the rebellious blood of the Vavasours, blended with a more temperate strain from the Mudge family of Basingstoke. I have always been sceptical of those passages in the ‘Ancestry’ chapters of biographies that run something like this: Through his veins coursed the rebellious blood of the Vavasours, blended with a more temperate strain from the Mudge family of Basingstoke. Those passages seem to claim too much for heredity, and to bear out A. J. P. Taylor’s dictum that snobbery is the occupational disease of historians. But there

Life beyond the canvas

Angela Thirlwell’s previous book was a double biography of William Rossetti (brother to the more famous Dante Gabriel) and his wife Lucy (daughter of the more famous Ford Madox Brown). Angela Thirlwell’s previous book was a double biography of William Rossetti (brother to the more famous Dante Gabriel) and his wife Lucy (daughter of the more famous Ford Madox Brown). Now she has once again turned her attention to the margins of the Pre-Raphaelite group, with a joint portrait of the four women who influenced Ford Madox Brown: his two wives, Elisabeth and Emma, and two women for whom he had spiritual affinities, and (probably platonic) romantic yearnings. Elisabeth was,

Master of accretion

Frank Auerbach (born 1931) is one of the most interesting artists working in Europe today, a philosophical painter of reality who works and re-works his pictures before he discovers something new, something worth saving. William Feaver, in this grand new monograph, calls Auerbach’s paintings ‘feats of concentration’, and stresses the hard work which goes into their construction, despite their appearance of spontaneity. Feaver has a gift for the evocative phrase: ‘Studied yet impulsive, ranging from darkness to radiance and from the declamatory to the subdued, they are keyed to an air of resolve as unguarded as joy, as involuntary as grief.’ This is a book strong on context. Auerbach emerges

The king of chiaroscuro

These days, it is easy to take it for granted that Caravaggio (1571-1610) is the most popular of the old masters, yet it was not ever thus. In my Baedeker’s Central Italy (published exactly 100 years ago), he is acknowledged as having been ‘the chief of the Naturalist School’, but it is pointed out that from the outset ‘it was objected that his drawing was bad, that he failed in the essential of grouping the figures in his larger compositions.’ The first major exhibition of his works — in what has only very recently been established as the city of his birth, Milan — did not take place until 1951.

Squeaks and squawks

How often, when listening to announcers or weather forecasters or politicians on the radio, do I think, ‘That’s an ugly voice’! This seldom applies to speakers with educated regional accents, such as Scottish, Irish or Yorkshire, but all too often to those from London or the Midlands where good standard English is becoming a rarity. This is not a matter of class; ‘Sloane’ voices are as unappealing as ‘Estuary’ ones; indeed the two sometimes hideously cross-fertilise. Good speech is a matter of clarity and the unselfconscious enjoyment of the spoken language. It was an unexpected and nostalgic pleasure to listen to old recordings of or about the Bloomsbury Group. These

The optimism of a suicide

A postal strike would have been a disaster for Van Gogh. Letters were his lifeline and consolation. Not only did he receive through the mail his regular allowance from his brother Theo but, in letter after letter in return, he poured out his thoughts and feelings, recorded his work in progress and conveyed his impressions of books, people and places. In his often solitary existence, he was an avid recipient and kept in touch with a variety of correspondents, especially when he was in the South of France during the last two years of his life. The glory must be shared, however, with Theo, in that he kept Vincent’s letters,

Repeat that, repeat

When the Louvre invited me to organise for the whole of November 2009 a series of conferences, exhibitions, public readings, concerts, film projections and the like on the subject of my choice, I did not hesitate for a second and proposed the list. Thus Umberto Eco on the genesis of this book, published simultaneously in Italian, French and English. Considering those parallel manifestations of the project, it was perhaps to be expected that this, its sole printed version, would be situated at the more ingratiatingly ludic end of the Eco spectrum. The Infinity of Lists is a work less of theory than of taxonomy. Flaunting his extraordinary erudition, but flaunting