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“... and Warhol. Beardsley had no use for futurism or the machine aesthetic or abstract art. He loathed Turner, the founder of the colouristic sublime, comparing him to Antoine Wiertz, the Belgian painter of huge melodramatic historical and religious scenes. The Sixties can also be seen as marking the end of classic Modernism. This is not to say that Beardsley ...”

“... same effect. They could even be found in the parlours of fishmongers. In his 2001 Ford Lectures, Chris Dyer suggested that workers in late medieval England ‘enjoyed a standard of living that was not to be attained again until the late 19th century’. So was the plague the end of something, or the beginning? Was it the devastating calamity that ended two ...”

“... assets, effectively transferring state property into private hands for free,’ Hodge wrote to Chris Wormald, the permanent secretary at the DfE, at the beginning of February. She added that she was also worried that Durand might not be the only academy with such tangled affairs. ‘We remain concerned,’ she went on, ‘that this leaves open the ...”

“... British founding members of the CoBrA group, whose significance has been aptly characterised by Chris van der Heijden: ‘in the midst of the darkness of the Cold War the colours of CoBrA take on a special significance – that of intensity, anger, desire and simplicity.’ In 1949, Gear’s work was exhibited alongside Jackson Pollock’s at the Betty ...”