Paintings like these give the lie to the idea that ‘unreality’ in Goya, where it exists, is rooted in an essentially personal, irremediable pathology.

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At the Movies: ‘Mulholland Drive’

Michael Wood, 19 November 2015

T here​ are some fine shots of the title thoroughfare in David Lynch’s Mulholland Drive (2001), a new release from the Criterion Collection. It’s all bushes and darkness and bends...

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Bright Blue Dark Blue: ‘Weatherland’

Rosemary Hill, 5 November 2015

W hen​ does weather begin? In the sense of detailed, day-to-day observations of light and temperature, the stuff of art and conversation, weather would seem to be a relatively late development....

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Diary: Living with Vivian Maier

Linda Matthews, 22 October 2015

T he photographer​ Vivian Maier worked for me for three years in the early 1980s, though no one knew she was a photographer then. She was in her late fifties, I was in my late thirties. I had a...

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Corbyn in the Media

Paul Myerscough, 22 October 2015

The media coverage of Corbyn’s first few days oscillated giddily between stories demonstrating his personal insufficiencies for the role of leader and wailing about what might happen were he ever...

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At the Movies: ‘The Martian’

Michael Wood, 22 October 2015

M artians​ have been invading us for longer than most of us can remember; but when did we invade them? Or when did we become certain that there were no Martians to invade or be invaded by? The...

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At the Royal Academy: Ai Weiwei

Brian Dillon, 8 October 2015

A mong​ the more modestly engaging works in Ai Weiwei’s spectacular and somewhat dispiriting exhibition at the Royal Academy (until 13 December) is a framed wire coathanger, stretched and...

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Diary: Real Murderers!

James Meek, 8 October 2015

Conceived in Moscow in 2005 as a film about the great Soviet physicist Lev Landau, Dau turned into something much stranger.

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Ravishing: Sex Lives of the Castrati

Colm Tóibín, 8 October 2015

Castrati could shift and transform themselves. Everybody, it seemed, wanted them, but for different things.

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‘E ver go​ to the movies?’ the gangster says to the waiter in a small-town diner. ‘Once in a while,’ the waiter replies. ‘You ought to go to the movies...

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At the Courtauld: Jonathan Richardson

Esther Chadwick, 10 September 2015

‘I  wake early​ , think; dress me, think; walk, think; come back to my chamber, think; and as I allow no thoughts unworthy to be written, I write.’ There is a clock-like rhythm...

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Frank Auerbach’s London: Frank Auerbach

T.J. Clark, 10 September 2015

That marvellous line from Thomas Hardy’s ‘At the Railway Station’: ‘And the man in the handcuffs suddenly sang/With grimful glee …’ Frank Auerbach to William...

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The Method of Drifting: John Craske

Ian Patterson, 10 September 2015

I n​ the final pages of The Rings of Saturn, W.G. Sebald imagined ‘the depths of despair into which those can be driven who, even after the end of the working day, are engrossed in their...

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At Tate Modern: Agnes Martin

Nicholas Spice, 10 September 2015

A gnes Martin​ ’s lifelong dedication to simplicity of mind was perhaps made easier (it was certainly not impeded) by the faint trace of simple-mindedness in her nature. Had she not had...

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At Tate Britain: Hepworth

Anne Wagner, 27 August 2015

I  wish​ someone would explain why yet another major Tate Britain exhibition has come under critical fire. The latest round of brickbats started flying a good six months before Barbara...

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Selfie with ‘Sunflowers’

Julian Barnes, 30 July 2015

No one did colour more blatantly and more unexpectedly than Van Gogh.

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At the Watts Gallery: Richard Dadd

Julian Bell, 30 July 2015

P ortrait painting​ requires stillness. What, for the subject, is it like to be still? As far as one can tell, the gentleman facing Richard Dadd in 1853 had nothing that he wished to project:...

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Almost Lovable: What Stalin Built

Sheila Fitzpatrick, 30 July 2015

Back in the day, everyone knew that Stalinist architecture was hateful.

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