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“... faces and momentous events is a familiar move in Boyd’s fiction. In The New Confessions (1987), John James Todd, a Scottish filmmaker, fights in the trenches, is pauperised by the Wall Street crash, witnesses the rise of Nazism in Berlin (where he attends parties with Fritz Lang and Thomas Mann), and arrives in Hollywood just in time to fall foul of ...”

“... pianist) and painting. He was assistant curator at New York’s Museum of Modern Art when Jackson Pollock, Willem de Kooning and Robert Rauschenberg were making Action Painting famous; and he and John Ashbery, his friend and contemporary, must have felt their poetry belonged in tandem with that school. O’Hara’s ‘Why I ...”

“... of ‘Leigh Hunt’s painting The Light of the World’, or the curious career of Sir Frederick Pollock, born, we are told, in 1875, called to the Bar in 1871, occupant of chairs at University College London and Oxford in 1882 and 1883, and created a baronet in 1888. And then there is the case of John Arlott, once ...”

“... most romantic of McCarthy’s novels, a coming-of-age story with a likeable cowboy protagonist, John Grady Cole, who shoots and knifes his way out of trouble in Mexico. Or who, to put it differently, moves classically from innocence to hard-bitten realism, even a kind of cynicism. In Cities of the Plain, the trilogy’s final volume (The Crossing is the ...”

“... Parmigianino on a half-globe of wood is the first impression which many people take away from John Ashbery’s poetry. The poem in which it appears, ‘Self-Portrait in a Convex Mirror’, a meditation on Parmigianino’s strange Mannerist painting, suddenly made Ashbery’s name much less obscure than his work. The collection to which it lent its name ...”

“... an express elevator. It is a cultivated essence of shop-window shrines and Pentecostal chapels (John Wesley with tambourines, lugubrious and off-pitch). Its own particular harsh pure green is raised and reinforced until it becomes an architecture. It is to green what a snowball is to white, an impactment. Although Brainard was raised a Methodist, these ...”

“... and Expressionism; in the readymade and in Dada’s exploitation of industrial raw materials (John Heartfield’s political photomontages would have been impossible without collage); and even Abstract Expressionism (as Clement Greenberg argued, the little pockets of ‘depth’ that pucker the surfaces of Cubist paintings presage the hills and crannies in ...”

“... and anyway he might have known from his first surprised (and hostile) response to Jackson Pollock that the future of an art is predictable only by hindsight. His meditations on the characteristics of modernity are more considerable. Writing admiringly about a print by Barnett Newman, he remarks in a parenthesis, ‘I’m no Modernist by ...”

“... permission to use the runnels and platforms for The Vertical Line, a performance piece devised by John Berger. In Ways of Seeing, Berger presented on television for the first time an ideological analysis of art and aesthetics. One of the programmes juxtaposed pin-ups and centrefolds with Titians, in a powerful early assault on advertising. Thirty years ...”

“... part in this story, though classical architecture certainly was. Duveen’s favourite architect, John Russell Pope, supplied a mausoleum for the Huntingtons, adapted Frick’s townhouse as a public gallery and designed the National Gallery of Art. The increasingly difficult and radical character of modern art may have further reinforced these ...”

“... support to most of the claims being made for ‘narrative poetry today’ – should have told John Haffenden in an interview for Viewpoints that he found Robert Frost’s fable of imagined unlived lives, ‘The Road Not Taken’, exemplary. If Fenton’s distinction between the narrative kinds is just, so is the note of regret and rebellion that he ...”

“... to be born and live as variously as possible.’ And yet in 1960 or 1961 she wrote him a ‘Dear John’ letter, ending their friendship. Her therapist had told her that her attachment to him was stifling other intimacies. O’Hara was wounded; friendships waxed and waned, but declaring a split in this way felt violent. ‘Giftwares’ (1955) O’Hara ...”

“... it still Connecticut, the dear deer, the steady lay, the unprivate walls?’ His correspondent, John Hohnsbeen, an art-dealer friend, was having an affair with the architect Philip Johnson, and the ‘unprivate walls’ are those of Johnson’s famous Glass House. Schuyler was 28 and this was his first serious mental breakdown. He had only recently arrived ...”

“... fragment’, as another character observes) is this rich and dense account of a life rendered. As John Bainbridge sifts through his rag-bag of memories, we close in on the events and people and things that have nearly touched him nearly: the death of a young subaltern in the war, an adulterous affair with his sister-in-law and with many others, a painting, an ...”

“... the monumental American Visions: The Epic History of Art in America, the artist of choice would be John Singer Sargent, brilliant pictorial chronicler of the beau monde of the 19th century. Like Sargent, Hughes is a brilliant crowd-dazzler and populariser; like Sargent, he is unadventurous in his choice of precedents; like Sargent, a dashing but flattering ...”