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Flattery

Peter Burke, 16 September 1982

Le Roi-Machine: Spectacle et Politique au Temps de Louis XIV 
by Jean-Marie Apostolidès.
Les Editions de Minuit, 164 pp., £4.50
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Le Portrait du Roi 
by Louis Marin.
Les Editions de Minuit, 300 pp., £5.60
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... What was Racine’s strategy here? It is perhaps a pity that Marin did not follow the lead of Peter France and discuss the tension in Racine (or Boileau) between loyalty and independence, the strategies of criticism or self-defence as well as the strategies of praise. Such an approach would free him from the danger of reductionism. There remains the ...

Problems

Peter Campbell, 1 October 1981

Early Disorder 
by Rebecca Josephs.
Farrar, Straus/Faber, 186 pp., £5.50, September 1981, 0 571 12031 8
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A Star for the Latecomer 
by Bonnie Zindel.
Bodley Head, 186 pp., £3.95, March 1981, 0 370 30319 9
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Catherine loves 
by Timothy Ireland.
Bodley Head, 117 pp., £3.95, June 1981, 0 370 30292 3
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Jacob have I loved 
by Katherine Paterson.
Gollancz, 216 pp., £4.95, April 1981, 0 575 02961 7
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... How many books have I read? Two hundred, three hundred, five hundred …? I could compile a list. But what would it tell me? What I know? What I have forgotten? What I was? What I wanted to be? What my mother and father wanted and expected and expect me to be? Millions of Cats, Goodnight Moon, Caps for Sale, Where the wild things are, The Blue Fairy Book, The Red Fairy Book, The Wind in the Willows, The Jungle Book, Stuart Little, The Secret Garden, The Borrowers, The Little Prince, Member of the Wedding, Gigi, Lord of the Flies, Return of the Native … This is Willa, the 15-year-old narrator of Early Disorder, looking at her bookshelf and wondering if you are what you read ...

At the Ashmolean

Peter Campbell: Lucien and Camille Pissarro, 3 February 2011

... woodcuts, engravings by Dürer, Ricketts and Pissarro. Above the fireplace are shelves of well-read books – apparently quite extraordinary books to judge by the title. Madam is very sweet, yet very cultured. Pissarro, hidden behind his beard and thick eyebrows, sat there enjoying everything so heartily and yet so quietly. There is something French in ...

At the Hayward

Peter Campbell: Roy Lichtenstein, 18 March 2004

... early ones anyway – are now so well established as an ironic commentary on pop culture that they read as decoration, as conventional and period-flavoured in their way as chintz.* The general effect of the show is cool and spacious. You could be in a fashion store which has decided to go retro and jazz up the decor. To see more than decorative wit you must ...

At the Royal Academy

Peter Campbell: Matisse’s revelations, 19 May 2005

... piece of film holds more information: you may, for example, be able to take a magnifying glass and read titles on the spines of books which would be too far away were you standing where the camera stood. Records of rooms and buildings made before miniature cameras became commonplace can have a preternatural sharpness. Thirty-five millimetre reportage, when it ...
... women, The women who ripped the oxen to get the bone-harrows To reduce the poet. Decorous it is to read From between the skins of calves The stories of the deaths of poets. My roach crackles in my hand. This is where they left his face Hanging in this bush; now the world Will look at us with his face always; this line Of hedge, this singing tree, this furrowed ...

Curriculum Vitae

Peter Robb, 2 May 1985

... Despite a new paralysis – my back –Am stirred, perhaps, to mine the new resource,Put down my worn suitcases and unpack.[Publications]Reader, should I turn another page?Fly off to somewhere, maybe even worse?Or limp serenely into middle ageAnd try to flog this flimsy book of verse? [c/o Fig Tree PocketQldAustraliaphotopies ofrelevantdocumentati ...

At Dulwich Picture Gallery

Peter Campbell: Sickert’s Venetian Pictures, 28 May 2009

... was to a degree calculated. Sickert began life as an actor and sometimes the easiest way to read his work is to think of the painter as a cool intellect calculating spontaneous effects. In his writing he is always interesting about the practice of painting. In a letter to the painter Jacques-Emile Blanche he described his ideal method of working on the ...

At Tate Britain

Peter Campbell: Turner's Rigi watercolours, 8 March 2007

... fills the middle distance. Shore details – jetty, waterfowl, boats – mark the foreground but read as being hundreds of yards away. Taken together, the three pictures can be thought of as a study of the way light modulates a view, at morning and evening. The Red Rigi shows the setting sun still shining on the upper slopes of the mountain. In The Blue Rigi ...

At Tate Britain

Peter Campbell: James Gillray, 21 June 2001

... among the most elaborate of Gillray’s prints and the most demanding for modern readers – for read as well as look at them you must.Altogether, there are many references to absorb. Take the stage shown in Titianus Redivivus. Crowded with painters, it is centred on the distant view of Miss Provis at her easel, her peacock train supported by naked ...

At Tate Britain

Peter Campbell: Hamish Fulton, 9 May 2002

... what they are. The total effect is generous – whole walls with only a few sentences to be read – neat and rather bland.Walking is a kind of sport and some of Fulton’s gallery art is to his walking art what any sports report is to the event. Walking can also be a personal exploration, even the kind of walk that is merely a pacing up and down, and ...

At Dulwich Picture Gallery

Peter Campbell: David Wilkie, 31 October 2002

... 1822. They encourage you to jostle your way to the front, to get close enough to the canvas to read gestures, textures and expressions. It was not just popularity that made it necessary to rope off Chelsea Pensioners, receiving the London Gazette extraordinary of Thursday, June 22nd 1815, Announcing the Battle of Waterloo!!! when it was shown in the Royal ...

Fancy Dress

Peter Campbell: Millais, Burne-Jones and Leighton, 15 April 1999

Millais: Portraits 
by Peter Funnell and Malcolm Warner.
National Portrait Gallery, 224 pp., £35, February 1999, 1 85514 255 4
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John Everett Millais 
by G.H. Fleming.
Constable, 318 pp., £20, August 1998, 0 09 478560 0
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Edward Burne-Jones: Victorian Artist-Dreamer 
by Stephen Wildman and John Christian.
Abrams, 360 pp., £48, October 1998, 0 8109 6522 4
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Frederic Leighton: Antiquity, Renaissance, Modernity 
edited by Tim Barringer and Elizabeth Prettejohn.
Yale, 332 pp., £40, March 1999, 0 300 07937 0
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... with chagrin that I failed to fulfil the forecast of my youth.’ There is more than one way to read this anecdote, first told by Holman Hunt. Hunt, Millais’s lifelong friend, was the member of the Pre-Raphaelite Brotherhood who best kept the faith; loyalty to the cause could have encouraged him to make a confession of failure out of a piece of ...

The New Lloyd’s

Peter Campbell, 24 July 1986

Richard Rogers 
by Bryan Appleyard.
Faber, 271 pp., £9.95, March 1986, 0 571 13976 0
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A Concrete Atlantis 
by Reyner Banham.
MIT, 265 pp., £16.50, June 1986, 0 262 02244 3
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William Richard Lethaby 
by Godfrey Rubens.
Architectural Press, 320 pp., £30, April 1986, 0 85139 350 0
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... Hawksmoor, Laurie Abbott and others his ‘Arthur’. Rogers, who was a dyslexic and could hardly read before he was 11, who even now finds that ‘ordered prose in the smallest quantities can take him hours and dozens of rewrites,’ who ‘seems never to have had a mother tongue’, who drew so badly that he was nearly failed in his early years at the AA ...

At the Royal Academy

Peter Campbell: Hungarian Photography, 28 July 2011

... are unique works of art. Even though it meant reproductions so small that they are very hard to read, the effect is magisterial. Rudloph Balogh, ‘Six Cattle’ (1930) In the history of photography the status of the print has never been stable. Is it the primary aesthetic object? Or, along with the negative, transparency or digital file, is it just ...

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