The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
The Modern Movement in architecture had scarcely succeeded in abolishing ornament before people began to speculate about how and when it would return. In Britain, the historian Sir John Summerson, as a young journalist, found it hard to believe that architecture would be able to communicate without it beyond the initial period of purification which
‘Time of Change: Journey through the Twentieth Century’ is how one of London’s major orchestras heads its publicity for the new season. But it’s impossible not to stifle a yawn of surprise as one reads the proudly marshalled highlights. ‘Mahler’s impressive Symphony 4’ is the earliest (completed 1900); next in time comes Vaughan Williams’s Tallis
Laura Gascoigne on the Pompidou Centre’s massive survey of Dada Impressionism, Fauvism, Cubism: it’s funny how many names of modern art movements originated as insults on the lips of critics. Not Dada, though. The founders of art’s first anartism were ahead of the game, pre-emptively christening their movement with a silly name designed to put
Buried within the pages of this book there lies an extraordinary story worth the telling, the bald facts of which require none of the elaboration to which they are here subjected. In 1896 a certain Anna Maria Druce, of 68 Baker Street in London, petitioned the home secretary to have her late husband’s coffin opened,
He had bought a large map representing the sea, Without the least vestige of land: And the crew were much pleased when they found it to be A map they could all understand. ‘What’s the good of Mercator’s North Poles and Equators, Tropics, Zones, and Meridian Lines?’ So the Bellman would cry: and the crew
While staying at Chatsworth for Christmas 1994, James Lees-Milne records an exchange with his old friend, Patrick Leigh Fermor, on the subject of keeping a diary. Leigh Fermor regrets not having done so: ‘It might have helped him pick up the threads … so difficult for horny old fingers to feel. Yes, I said, a
Among my earliest recollections is that of wandering into my mother’s bathroom and watching her, toenails incarnadine with polish like pillars above the foam, as she addressed herself sternly along the lines of: ‘I should have covered the jack. Then they could never have made the contract.’ Except for my brother Maurice, who played the
Once upon a time, the young Roy Strong spent many hours, with the encouragement of Sir Anthony Wagner, researching the records of the College of Arms in connection with his interest in Elizabethan and Stuart portraits and pageantry. This resulted in what many regard as his best work, Art and Power: Renaissance Festivals. Now, 50
The farmer and writer, A. G. Street, who in the 1950s co- edited with Max Hastings’s father a magazine which gives this book its title, wrote before the war: When the countryman turns his cows out to grass in the spring, he also gets out his rod and net ready for the fishing. The turning
Scholars face a formidable task when they set out to write the lives of the playwrights and poets of the Elizabethan age. They do not possess the personal revelations, say, of Byron’s letters. They must piece together scraps of information contained in the lawsuits of an astonishingly litigious population; the comments of friends and enemies
I’d like to defend Joyce Carol Oates —she’s had so many rotten reviews of this, her latest novel. Reviewers, I reason, must get tired of a writer who publishes a novel a year (Mother, Missing is Oates’s 44th) and seek something snide to say like ‘time to slow down’ (the Guardian) or ask, like Patrick
‘People who have recently lost someone have a certain look . . . one of extreme vulnerability, nakedness, openness,’ observes Joan Didion in this painful memoir, which describes the first year of her widowhood after 40-odd years of marriage. She should know: the merest glance at her photograph confirms what the mirror must tell her,
There’s an old definition of a gentleman: that he is someone who is never rude unintentionally. Rudeness, since then, has spread and spread, and 20 times a day we probably ask ourselves the same question which underlies these two books about contemporary manners. Do they mean to do it? Are they just bleeding ignorant, or
Trilogy(1978) by Leonid Brezhnev Leonid Brezhnev produced the standard documents for a Soviet leader: speeches, articles and Leninophiliac tracts. In 1978 he added three books of jaunty memoirs: Little Land, Rebirth and The Virgin Lands, which told of his part in the Great Patriotic War and its immediate aftermath. Sample scenes include him single-handedly repelling
Hollywood’s two biggest animated features of the month both take place in England, or ‘England’ — in the case of Tim Burton’s Corpse Bride, Victorian London; in Wallace & Gromit: The Curse of the Were-Rabbit, a bucolic northern mill town. The latter defers to the reality of contemporary Britain in certain respects (laser security alarms)
France has long been the cradle of ground-breaking new dance, thanks to a score of provocative performance-makers. It was about time, therefore, that an internationally renowned festival such as Dance Umbrella paid tribute to a country which has produced radical and revitalising choreography over the past three decades. Former enfant terrible of what has been
Beethoven’s Fidelio is one of my favourite operas, even a touchstone, but all my most moving experiences of it for a very long time past have been on records, and records of a certain age. The time when we could take its message of heroic hope at its face value seems to have passed, anyway
Also at Ben Uri Gallery, 108a Boundary Road, London NW8, until 19 November Four years ago, the painter Christopher P. Wood was browsing in a second-hand bookshop in Harrogate when he came across something very unusual. Opening one of a series of Victorian Magazines of Art, he discovered that the inside was full of drawings,
Graham Greene in his ground-breaking essay on Beatrix Potter published in 1933 writes of ‘her great comedies’, her ‘great near-tragedies’ and ‘her Tempest’ (Little Pig Robinson). He calls Peter Rabbit and his cousin Benjamin ‘two epic personalities’ and invokes Dickens, Forster, Cervantes, Rabelais and Henry James as well as Shakespeare. He gets some of his
As we’ve seen in the past week, the full cost of providing services that no one asked for, digital radio and television, will fall on the licence-fee payer, with the BBC demanding annual increases of 2.5 per cent above inflation. It wasn’t entirely obvious in the early days of digital promotion that this was something
I was waiting to go on The Jeremy Vine Show to explain why it was I thought Dave Cameron had done the right thing by evading the drugs question when I got talking to the next guest, an American scientist who has just written a book on the biological effects of TV on the brain.
It is a sign of the times that the Great Autumn Show, which has been staged by the Royal Horticultural Society in London in mid-September since God was a small boy, is moving to a date in early October from next year. Autumn starts later and lasts longer; that’s official. And this at a time
For the past 20 years or more the auction houses have been doing their utmost to wrest the retail art market out of the hands of the dealers. Few would disagree that they have had considerable success. In taking over Sotheby’s in 1983, the Detroit shopping mall billionaire Alfred Taubman saw what he called ‘a
We live in a Post-Modernist age, or so we are told. Within it the legacy of Modernism clings on. The Modern movement in art, of course, based itself on the rejection of many typical 19th-century ideas, values and images. Post-Modernism is pluralistic and capable of accommodating revivals, however. One of the many possible positive readings
This is the season of the self-portrait. At the Royal Academy until 11 December are 150 self-portraits by Edvard Munch (reviewed in this column three weeks ago), the depth of his obsession bordering on sheer tedium. Just opening at the National Portrait Gallery is the first major museum study in this country of the self-portrait,
Anthony Burgess was someone whose accomplishment as a fibber far surpassed even that of such formidable rivals as Laurens van der Post, Lilian Hellman and Patrick O’Brian. What made fibbing particularly perilous for Burgess, as for most fibbers, was that he rarely remembered his fibs. In consequence they varied widely from telling to telling. The
As one who has always been a bit afraid of Virginia Woolf and daunted by heavy tomes on the Bloomsbury group, I opened this book cautiously. I soon found that I was wrong to be nervous as I became caught up in a fascinating story. Leonard Woolf was Virginia’s husband and his life was far
Of all the extraordinary secret careers that have gone public since the end of the world war against Hitler, one of the most dashing and farthest out of the ordinary was that of the woman the SOE called Christine Granville. Her father, the Polish Count Jerzy Skarbek, died when she was a child; her mother
When Benito Mussolini invaded Abyssinia (now Ethiopia) in 1935, Italians were filled with jingoist pride. The dictator triumphantly announced the conquest of the promised sub-Saharan kingdom. ‘He’s like a god,’ marvelled one Fascist. ‘Like a god?’ returned another. ‘He is a god.’ Mussolini was part demagogue, part buffoon; on occasion he wore a tasselled fez