Little Goldbug: Tomi Ungerer

Iain Bamforth, 19 July 2001

Tomi Ungerer is a household name in the German-speaking world – at least in that portion of it which raises 1.6 children. He has published 120 books, many of them for children; in 1997 he...

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Three masters – Carel Fabritius, Pieter de Hooch and Johannes Vermeer – dominate the exhibition Vermeer and the Delft School, at the National Gallery until 16 September. It shows...

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Britain’s policy towards Hitler in the later 1930s is one of those historical topics that are dead but won’t lie down. The supply of relevant facts has virtually dried up. But what to...

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Ever since the invention of the first moving-image camera, there has been a feeling among anthropologists that film-making should form part of their ethnographic work. But exactly what this...

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‘For the sake of a single verse,’ the famous passage from Rilke runs, one must see many cities, men and things . . . One must be able to think back to roads in unknown...

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Meaningless Legs: John Gielgud

Frank Kermode, 21 June 2001

These biographies of John Gielgud by Jonathan Croall and Sheridan Morley are quite hard to tell apart. They are of much the same size, bear handsome pictures of the actor in old age on the front...

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At Tate Britain: James Gillray

Peter Campbell, 21 June 2001

Caricature is visible metaphor. Expressed in words, the idea that ‘Napoleon sliced off Europe as France’s share of the global pudding while Pitt took the oceans for Britain,’ is...

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The market in new paintings is exceptionally skittish. Creative Quarters,* an entirely agreeable and pleasingly discursive exhibition at the Museum of London until 15 July, maps the way money...

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I could hardly bring myself to read this book. When I finished it, I was more puzzled than ever about what I had witnessed before and at the time of the Tiananmen Square massacre in 1989. I was...

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In Soho: Richard Rogers Partnership

Peter Campbell, 24 May 2001

John Nash’s commentary on his 1810 plan for Regent Street was clear about the social implications of what he was suggesting: ‘The whole communication from Charing-Cross to Oxford...

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Surrealism à la Courbet: Balthus

Nicholas Penny, 24 May 2001

Balthus first attracted notice early in 1934 with a small exhibition at the Galerie Pierre in Paris. Several of the works he showed – The Street, The Window and Alice – seem as...

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Julius was the original name, but one may as well call him Groucho, from the ‘grouch bag’ carried by travelling showmen. His parents were Jewish immigrants: Simon Marrix, of a family...

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Keeping Score: Joe DiMaggio

Ian Jackman, 10 May 2001

In the closing stages of Richard Ben Cramer’s biography of Joe DiMaggio there is an exchange between the baseball legend and a man called Cappy Harada for whom DiMaggio had done a bit of...

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Tummy-Talkers: Ventriloquists

Jonathan Rée, 10 May 2001

In October 1951 one of the biggest celebrities of British radio entertainment went missing in the course of a railway journey from London to Leeds. His disappearance coincided with Labour’s...

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Onitsha Home Movies: Nigerian films

Adéwálé Májà-Pearce, 10 May 2001

The last decade has seen the emergence of a new kind of film industry in Nigeria. The results are known as ‘home movies’ – they are shot straight onto video and sold direct to...

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Objects from Africa displayed in galleries leave us bemused. We hesitate to use the word ‘art’ – this is not Giorgione or the Barbizon School or Howard Hodgkin – and...

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Imagination must take the strain when facts are few. As information about the domestic life of polygamous Oriental households was fragmentary, 17th, 18th and 19th-century European writers and...

Read more about Slipper Protocol: the seclusion of women

At Tate Britain: Stanley Spencer

Peter Campbell, 19 April 2001

Official art has a bad name, yet the pictures commissioned in Britain to record the two world wars were often as good, or better, than anything else the artists did. The paintings Stanley Spencer...

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