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“... entrusted the design of the chapel to Johnson as part of his master plan for the University of St Thomas. The original design featured a square-plan lower storey surmounted by a tall pyramid, which provided a narrow tunnel for light to reach the ground floor. That design clashed with Rothko’s vision, which required an octagonal structure (analogous, he ...”

“... We inhabit at present a culture that assigns absolute priority to the simple existence of an art object over anything we might find to think or say about it. The latest overnight phenomenon in the galleries of New York enjoys an automatic claim to attention that the most seasoned critic will never possess. The history of art as an academic discipline is by and large aligned with this hierarchy of value ...”

“... of form and content. Pohl’s approach stands in particularly dramatic contrast to that taken by Thomas Crow, in the opening two-chapter survey of French painting from David to Delacroix. To a much greater extent than any of his collaborators, Crow demands that we look closely and anew at a sequence of major ...”

“... From one point of view, Thomas Crow’s remarkable pair of books, Painters and Public Life in 18th-Century Paris (1985) and Emulation: Making Artists for Revolutionary France (1995), can be described as a history of the decline and fall, and amazing final reprieve, of history-painting in France. Long cherished by the Academy of Painting and Sculpture as the highest and ‘noblest’ genre and the summit of a painter’s ambition, by the middle of the 18th century the theme of critics and philosophers was that, in the France of Louis XV, history-painting was simply impossible ...”

“... interrogate – and how much more so is it for us today. As art historians such as T.J. Clark and Thomas Crow have helped us to see, the great painters of modern life – from Manet to Hamilton – are also its great dialecticians; they are able to celebrate and interrogate it by turns. Hamilton uses the Duchampian phrase ‘ironism of affirmation’ to ...”

“... regarded as the foundational act of the 19th-century avant-garde, and art historians like Thomas Crow alerted us long ago to the turn to common culture in elite art of the 18th century. That Rancière brings together the imperatives of purity and worldliness might be an advance in aesthetic philosophy, but it is one already achieved in modernist ...”

“... Genet, Lampedusa (and also Visconti’s film of The Leopard), Britten’s Death in Venice (and Thomas Mann’s novella): all cases in which it is easy enough for interpreters to discover or insert some version of lateness. There is nothing mechanical or obvious about these studies, which buzz with excitement and intelligence and demonstrate what his ...”

“... to expend, some of it on art, particularly American Pop, that brand which, as the art historian Thomas Crow recently put it in Artforum, ‘looked like products being sold like products’. The network of commercial galleries expanded greatly at that time, as did the influence of dealers and collectors. That contemporary art might be seen in the first ...”

“... she grew up in. Patrick O’Brian’s stories of Napoleonic sea war have a vivacity which Hugh Thomas’s more fitfully imaginative book lacks, but both have virtues which come directly from the fact that the substantial historical scaffolds which they have erected give their players room to move. The Letter of Marque opens with Jack Aubrey dismissed the ...”

“... sterility’ (though he at least had the hardihood to go and see them for himself); in 1826 Noel Thomas Carrington accused them of ‘shaming the map of England’ with their barrenness. Such was the outsider’s or townsperson’s notion of the moors, expanded to a visionary plane by Shakespeare in Macbeth and King Lear. The weather on the heath ...”

“... Baudelaire had no hesitation in calling for the individualism of the few over that of the many. As Thomas Crow has recently shown, all kinds of reciprocal rivalries and tensions could contaminate the relations between master artist and disciples: thinking that 19th-century artists looked to such arrangements to diminish emulative conflict requires seeing ...”

“... and eloquently, declared in his ‘Art poétique’ of 1874. The line must have lodged in Edward Thomas’s mind: in May 1914, some six months before his late efflorescence into verse at the age of 36, he wrote to Robert Frost of his longing to ‘wring all the necks of my rhetoric – the geese’. He was referring to the over-elaborate style of some of his ...”

“... America. The classic narrative begins with the court battles and grassroots protests against Jim Crow. By the end of the 19th century, the Southern states had implemented a system of nearly complete racial separation in the public sphere. Blacks and whites attended segregated schools. On streetcars, buses and trains, ‘coloured’ travellers sat separately ...”

“... by the resurgent Marxism and feminism of the 1960s, engaged scholars including T.J. Clark, Thomas Crow, Linda Nochlin and Griselda Pollock asked difficult questions about class, audience, gender and sexuality, questions that were soon rumbling through other fields as well. Yet disruptive though these inquiries were, they mostly continued to insist ...”

“... cards for the captain’s soul. The temples at Luxor stood under a full moon, lightly boiled. Sir Thomas got off to try and bag a crocodile. The route up from Marseille went as the crow flies – precipitately, a dash from ear to ear. A fellow-traveller let him play with his collar and tie, until he pulled out ‘an ...”