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The Limit

Rosemary Hill

2 November 1995
Christopher Wood: An English Painter 
by Richard Ingleby.
Allison and Busby, 295 pp., £25, May 1995, 0 85031 849 1
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Barbara Hepworth: A Life of Forms 
by Sally Festing.
Viking, 343 pp., £20, May 1995, 0 670 84203 6
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... with Alphonse Kahn. ‘one of the greatest if not the best-known connoisseur of art in Paris’, as he explained to his mother. What he did not tell her was how he had landed such a grand invitation. RichardIngleby cannot tell us either, but Kahn was the first of many men and women to be charmed by Wood. His good looks and ‘friendliness’, the quality that people singled out as the key to his appeal ...

The Old Corrector

Richard​ Altick

4 November 1982
Fortune and Men’s Eyes: The Career of John Payne Collier 
by Dewey Ganzel.
Oxford, 454 pp., £15, October 1982, 0 19 212231 2
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... mounted against the Perkins Folio and its all too fortunate discoverer, Madden remained in the background, preferring to use as cat’s paw a non-member of the British Museum staff, Clement Mansfield Ingleby, who had relatively little interest in Shakespeare and who, like Brae, had never even met Collier. But it was a third party, Madden’s assistant in the Department of Manuscripts, the liberally ...

Dazeland

Andrew Scull

29 October 1987
The Female Malady: Women, Madness and English Culture 1830-1980 
by Elaine Showalter.
Virago, 309 pp., £6.95, May 1987, 0 86068 869 0
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... of institutions, of ideas, and of the psychiatric profession itself, and to ignore those for whom this vast infrastructure has (at least ostensibly) been erected. It is a historiography, as David Ingleby wittily put it, ‘like the histories of colonial wars’: it tells ‘us more about the relations between the imperial powers than about the “third world” of the mental patients themselves ...

Tankishness

Peter Wollen: Tank by Patrick Wright

16 November 2000
Tank: The Progress of a Monstrous War Machine 
by Patrick Wright.
Faber, 499 pp., £25, October 2000, 0 571 19259 9
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... even suggesting the title Blast to Wyndham Lewis for his new avant-garde journal, before breaking with Lewis to follow the Italian Futurist, Marinetti. ‘True to his Futurist principles’, as RichardIngleby puts it, he was quick to join in the war, as an ambulance driver, after completing a course in motor engineering. As might be expected, Nevinson’s painting stresses the mechanical dimension ...

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