Writing in Haydn Studies of the composer’s reception during the 19th century, Leon Botstein tells an interesting story about Felix Weingartner, Mahler’s successor as conductor at the...

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Short Cuts: books and balls

John Sturrock, 8 February 2001

If the balaclava’d guerrilleros of the Animal Liberation Front run short of targets once they’ve seen off the laboratories full of victimised mice, they might consider picketing the...

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At the Royal Academy: Caravaggio

Peter Campbell, 8 February 2001

Caravaggio’s ‘Madonna di Loreto’, c.1604-5. Coming upon the Madonna di Loreto away from its proper home, the Church of Sant’ Agostino, is like finding an old neighbour...

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Behind King’s Cross: Gasometers

Peter Campbell, 25 January 2001

Tributaries to the Euston Road, the river of traffic which divides the agreeable banality of Bloomsbury from the wilderness which spreads beyond the train sheds of St Pancras and King’s...

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Look me in the eye: self-portraiture

James Hall, 25 January 2001

According to the catalogue for the National Gallery exhibition of Rembrandt self-portraits, the artist’s portrayal of himself is ‘unique in art history, not only in its scale and the...

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Apoplectic Gristle: Wyndham Lewis

David Trotter, 25 January 2001

The day he first met Wyndham Lewis, shortly after the end of the First World War, Ernest Hemingway was teaching Ezra Pound how to box. The encounter took place in Paris, where Pound had a studio,...

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John Lennon gave his famous interview to Jann Wenner of Rolling Stone magazine at the end of 1970, a few days before the release of the most important solo-Beatle record, John Lennon/Plastic Ono...

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Leaving the exhibition of Turner watercolours at the Royal Academy’s Sackler Galleries, I looked down Piccadilly towards the Ritz and Green Park and tried to see the view as Turner might...

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I, too, am an artist: Dora Maar

Linda Nochlin, 4 January 2001

Dora Maar’s ‘Sky and Mountain’, undated, but executed in the late 1950s or the 1960s. Most people, if they think of Dora Maar at all, remember her as the subject of one of...

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Sculpture need not be a bronze statue of a town councillor or a marble figure of a goddess, respectfully plinthed in gallery or plaza; or a curvaceous wooden form strung like a harp which we gaze...

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At Tate Britain: William Blake

Frank Kermode, 14 December 2000

A great many people seemed willing to incur the expense, and the discomfort of prolonged queueing, to see the big Blake exhibition at the Tate.* Some, no doubt, were expert even in the most...

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‘He is the best novelist of the films,’ Erwin Piscator said of Erich von Stroheim, whose Wedding March (1928) he likened to a novel by Balzac. That was the last film Stroheim...

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Morality in the Oxygen: tobogganing

E.S. Turner, 14 December 2000

The rope broke and down they bounced four thousand feet: the heir-presumptive to the Queensberry marquessate, a Lincolnshire clergyman, a 19-year-old Harrovian and a Chamonix guide. They were the...

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‘All this talk brings the ears so far forward that they make blinkers for the eyes’: thus Edwin Lutyens on architectural discourse. In Lutyens’s day it was still possible, just,...

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Short Cuts: The Kursk

Daniel Soar, 30 November 2000

On 8 September, four weeks after the Kursk sank, the Berliner Zeitung published a story claiming that the submarine was accidentally hit by a smart torpedo fired during a naval exercise by Peter...

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In assembling  Le Dieu caché: les peintres du Grand Siècle et la vision de Dieu, a collection of 63 French 17th-century religious pictures which can be seen at the Villa...

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The exhibition the National Portrait Gallery has put together to celebrate the Millennium – Painting the Century – consists of 101 pictures: one painted in each year from 1900 to...

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Short Cuts: Dead Babies

Thomas Jones, 16 November 2000

The spoof memoir Augustus Carp, Esq. by Himself: Being the Autobiography of a Really Good Man was first published anonymously in 1924. Carp is a pious, hypocritical, gluttonous, not very bright...

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