It took three hours for cabin fever to set in. Last Christmas, snowed in at the Oxfordshire homestead, my brother Ed and I, cooped up, cross, snappish, reverted to childhood squabbling. There’s a photo on my phone of Ed’s dog Rags standing at the kitchen door looking mournfully through the glass. We did let her
The Royal Ballet is a company in search of a prince. It has no lack of dancing princesses. You could search the kingdom and find no lovelier dancers than Marianela Nunez, Lauren Cuthbertson, Francesca Hayward, Natalia Osipova, Akane Takada, Sarah Lamb, Laura Morera and Yasmine Naghdi. But a true prince is as rare as a
La Bayadère opens with a sacred flame and ends with an earthquake. In between, Marius Petipa’s ballet of 1877 gives us an India of the imagination, an India that never was. It is a place of tigers and tutus, scimitars and slippers. Cultural appropriation, you say? But who could object when it’s all so Pondicherry
On Sunday morning, in Puy-en-Velay, I climbed the 275 volcanic steps to the tiny chapel of Rocher Saint-Michel d’Aiguilhe. There, in the gloaming, among the silent stones that have stood on this site for 11 centuries, it was almost possible to imagine the awe of those very first Christian pilgrims who in the 10th century…
The reader of Edward Carey’s Little must have a tender heart and a strong stomach. You will weep, you will applaud, you will wonder if your nerves can take it, but most of all you will shudder. In this gloriously gruesome imagining of the girlhood of Marie Tussaud, mistress of wax, fleas will bite, rats
Kenneth MacMillan’s Mayerling is a #MeToo minefield. Crown Prince Rudolf of Austria-Hungary is a serial seducer, a man of many mistresses, a grabber of princesses. Were he alive and kissing today, he’d check himself into an Arizona rehab clinic. In 1889, it was laudanum and a loaded pistol. Rudolf ought to be tormented, driven by
Sometimes Andrea Mantegna was just showing off. For the Palazzo Ducale in Mantua, he painted a false ceiling above the Camera degli Sposi. Around a great trompe l’oeil oculus, apparently open to the sky, assorted gawpers and cherubs lean nosily over the parapet: ‘What’s going on down there, then?’ Only the Duke and Duchess of
After the England football team beat Tunisia at this summer’s World Cup, they celebrated with a swimming-pool race on inflatable unicorns. Purple hooves, rainbow manes, cutesy eyes, yellow horns like upended Cornetto cones. The millennial unicorn is unrecognisable from the medieval. The proud unicorns of bestiaries and courtly romances have become the twinkling Bambis of
There is a Tiger on the loose. It is stalking our high streets. It is prowling our train stations. It has cubs in every shopping mall. It is the Tiger of Tat. And when it roars, it roars: BUY. Tiger, a home accessories chain which opened its first UK shop in 2005, is an emporium
Goodnight, Caecilius. Goodnight, Metella. Farewell, faithful Cerberus the dog. What a fate. Buried under the ash and rock at Pompeii. ‘Eheu,’ as they say in the Cambridge Latin Course. ‘Oh dear, oh no.’ But what’s this? A boat leaving the Bay of Naples… A young man on board… Coughing black dust, but… alive. Yes, it’s
There is something of The Wizard of Oz about Marina Amaral’s photographs. She whisks us from black-and-white Kansas to shimmering Technicolor Oz. When Howard Carter leans over Tutankhamun’s open sarcophagus (1922), he does so in the glare of pharaonic gold. A photograph of fallen American soldiers on the Gettysburg battlefield (1863) shocks the more when
‘Problème est masculin; solution est féminine,’ says Brigitte, the adored French teacher at the British embassy in Paris. Good way to remember your ‘les’ and ‘las’. If only it were true. Theresa May has not — yet — solved Brexit. Angela Merkel has not resolved the migrant crisis. Anne Hidalgo, the city’s mayor, has not
Tick, tock. Tick, tock. Stay too long in the Lee Miller exhibition at the Hepworth Wakefield and the metronome might drive you mad. Considerate curators will only set it swinging in stints to spare the gallery guards. Man Ray, who made the metronome ‘Object of Destruction’ (1923), meant it to infuriate. His assembled sculpture came
‘Sunil Lanba, Salman Quaraishi, Omar Syed…’ Names play from a crackling gramophone. We hear what they were before the war. Teacher. Engineer. Dancer. And what they endured during it. ‘I put down telephone cables in the mud,’ says one man. ‘Voices in the mud. Half of them already dead, sir.’ Already dead repeats and repeats.
Patrick Heron’s paintings of the 1950s melt like ice creams. You want to run your tongue along the canvas and catch the drips. They capture a sense of summer holiday sea-and-scampi freedom. When Heron (1920–99) was five, his father, a blouse and silk-scarf manufacturer, moved from Leeds to St Ives in Cornwall. Heron played with
‘Saint-Tropez?’ said the French mother of a friend. ‘C’est un peu… “tacky”.’ She was distressed to think of our taking a house there — really, we were nearer Saint Paul de Vence, where they make artists, than San Trop, where they make tanning lotion — and suggested we stay with her in Provence. She promised
Smiley face. Sad face. Smoochy face. Sick face. Edvard Munch ‘Scream’ face. How are you feeling today? Any of the above? When I worked as a teacher at a Saturday school for children who were struggling with English and maths, my pupils, all of whom were primary school age, had two emotions: they were ‘good’
A lady licking an envelope. An intimate thing. It might be only the bill from the coal-man she’s paying, but it has the feel of something else: an assignation, a confession, an apology, a breaking-off. Would this woman in her deep-blue day dress and jacket be so unguarded if the artist had been a man?
I am living in Paris in the unofficial role of Diplomatic Wag. Though since I am neither wife nor girlfriend, but fiancée, or, in best Franglais, la vielle balle et chaîne, I have been searching for a new acronym. Foho (Foreign Office Hanger On)? Andy is a ‘Directeur de SIN’, a demonic job description out of
‘My Acropolis,’ Auguste Rodin called his house at Meudon. Here, the sculptor made a Parthenon above Paris. Surrounded by statues of ‘mutilated gods’, he cast himself as the Phidias of the age. His collection was part cabinet of curiosities, part charnel house. He bought Nile crocodiles and Peking ginger jars, painted sarcophagi and chipped red-figure
