‘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
The French President says he wants to rule as a Jupiter — but he doesn’t look like a Jupiter to me. Not the bearded beefcake painted by Rubens in the Louvre, anyway. Macron’s more a clean-shaven Mercury, messenger god and patron deity of the financial services industry. So far the message has been: ‘En Marche!’
‘Nine hours,’ boasted my friend the curator about his trip to the Prado. Nine! Two hours is my upper limit in a gallery. After that I’m gasping for the tea room and gift shop. Knowing my lack of stamina, my own trip to the Prado was focused: just Velázquez and Goya. Then lunch. And a
The Savoy was too sumptuous, complained Claude Monet, returning to the hotel in 1904. His rooms — one for sleeping, one for easels, canvases, palettes, with a balcony over the Thames — were too distractingly plush. He had been happier painting with his knees up to his chin in his ‘bateau atelier’ (a rowboat studio)
In Nicolas Poussin’s ‘Noli Me Tangere’ (1653) Christ stands with his heel on a spade. He appears, in his rough allotment smock and sandals, to be digging up carrots. In Abraham Janssens oil painting (c.1620), Christ strides among parsnips and pumpkins, cauliflowers and marrows. Mary Magdalene kneels in an artichoke bed. In Fra Angelico’s fresco
‘I’m afraid you do not like your pen,’ says Miss Bingley to Mr Darcy in Pride and Prejudice. ‘Let me mend it for you. I mend pens remarkably well.’ You know then — if you didn’t suspect it already — that Mr Darcy could never marry Miss Bingley. Is there anything so maddening as someone
‘There’s a sucker born every minute.’ That was the P.T. Barnum battle cry. It has come to have a ring of contempt, but no one loved a sucker more than Barnum. Entertain them, he said. Thrill them, shock them. Make ’em laugh, make ’em cry. Give ’em the old razzle-dazzle. And if, in the course
Erté was destined for the imperial navy. Failing that, the army. His father and uncle had been navy men. There were painters and sculptors on his mother’s side, but they were thought very frivolous. Romain de Tirtoff (‘Erté’ came from the French pronunciation of his initials) was born in 1892 at the St Petersburg Naval
Grief is not being able to eat a small boiled egg. ‘Could you face an egg?’ the widowed Jean asks her daughter Eve in Susie Boyt’s sixth novel, Love & Fame. It is not long after Jean’s husband, Eve’s father, John Swift, a sitcom actor, a national treasure, has died. Eve can’t face an egg;
‘Foot – foot – foot – foot – sloggin’ over Africa — / (Boots – boots – boots – boots – movin’ up and down again!).’ I do like Rudyard Kipling. I know I’m not supposed to. Trigger warning: empire, jungle stereotypes, microaggressions against monkeys, cultural appropriation of other people’s elephants. But what a stomping great marching
Madame Monet was bored. Wouldn’t you have been? Exiled to London in the bad, cold winter of 1870–71. In rented rooms above Shaftesbury Avenue, with a three-year-old son in tow, a husband who couldn’t speak English, and no money coming in. Every day roast beef and potatoes and fog, fog, fog choking the city. ‘Brouillardopolis’,
The first pastry cook Chaïm Soutine painted came out like a collapsed soufflé. The sitter for ‘The Pastry Cook’ (c.1919) was Rémy Zocchetto, a 17-year-old apprentice at the Garetta Hotel in Céret in southern France. He is deflated, lopsided, slouch-shouldered, in a chef’s jacket several sizes too big for him. His hat is askew, his
Where was Degas standing as he sketched his ‘Laundresses’ (c.1882–4)? Did he watch the two women from behind sheets hanging to dry? Or was he hidden by steam from the basins? The laundry women are unselfconscious, unguarded. One reads aloud from a list, calling out shirts, collars, cuffs to be washed and ironed. Another leans
No mother, wrote Roald Dahl in his childhood memoir Boy, would send her son off to prep school without, at the very least, the following in his tuck box: a home-made currant cake, a packet of squashed-fly biscuits, a couple of oranges, an apple, a banana, a pot of strawberry jam or Marmite, a bar
As a young sub-editor on the Times in 1926, Graham Greene, future author of The Quiet American and Brighton Rock, had his meals in the office canteen. Elevenpence bought two kippers, a pot of tea and a slice of syrup roll. Plenty to keep a man going through a long subbing shift. Is that ‘pot’
When I order a cup of tea in Costa, the barista says: ‘Perfect!’ I ask for tap water in a restaurant: ‘Perfect!’ I buy a card in Paperchase and at the till it’s: ‘Perfect!’ And: ‘Perfect!’ again as I put in my PIN. ‘Perfect!’ when I say I don’t need a bag. It used to
I’ve diagnosed myself with early onset cottage-itis. It’s not supposed to happen for another decade, but at 29 I dream of just the smallest bolthole in the country: a bothy, a gatehouse, a folly below the ha-ha in someone else’s stately home. A shepherd’s hut in tasteful shades of prime ministerial greige. Liberated from the
Wyndham Lewis was a painter, poet, publisher and picker of fights. No target was too grand or too trivial: sentimental Victorians and the modern man of government; shark art dealers and the ‘atrocious’ Royal Academy; compilers of honours lists and editors of literary reviews; thin flapper girls and the fat ‘Belgian bumpkins’ of Peter Paul
Who’s afraid of the dark? Who now fears shadows and bumps in the night? Where do you even find any dark to be afraid of when your phone is only a pocket away? One swipe and the screen lights up blue-white like the old explorer’s match in a cave. If I wake in the night
Bump to bump they stand: Mary and her cousin Elizabeth, both pregnant, both apple-cheeked and glowing as expectant mothers should be. It is a moment of shared joy. The whispered intimacy of ‘I’m pregnant!’ ‘Me, too!’ Joseph and Zacharias stand sheepish in the background, as men do on such occasions. Joseph has more reason than
