Honor Clerk

The Vanishing Man (Chatto, £18.99) by Laura Cumming is a moving memorial, written in the wake of the death of the author’s father. An impassioned celebration of Velázquez and a snapshot of the snobberies of the art world in the mid-19th century, it’s a cracking good story to boot. By contrast, a slow read rather than

Claude Monet wanted to be buried in a buoy. ‘This idea seemed to please him,’ his friend Gustave Geffroy wrote. ‘He laughed under his breath at the thought of being locked forever in this kind of invulnerable cork, dancing among the waves, braving storms, resting gently in the harmonious movements of calm weather, in the

Richard Dorment doesn’t do whimsy. Or Stanley Spencer. He’s a fan of Cy Twombly and Brice Marden, Gilbert and George and Mark Wallinger, Rachel Whiteread and Susan Hiller. He loves writing about contemporary art. And he worked as art critic of the Daily Telegraph for 25 years. Like the grit in the oyster he irritated

There has been extraordinarily little bright sunlight in the far northwest corner of Britain over the past year. Damp, drizzling summer, an endless sequence of howling autumnal gales and downpours, a muddy dismal winter. Then at the beginning of February, by some accounts traditionally a season for good weather in northern Scotland, a series of

At nearly eight foot high and five foot wide, Adélaïde Labille-Guiard’s portrait of herself with two of her students is by any reckoning a tour-de-force. Painted in 1785, it shows the artist seated at her easel, palette, brushes and mahlstick in hand, as though looking up briefly before adding to the large canvas before her.

This is an extraordinary story. In 1845 John Snare, an unremarkable Reading bookseller, goes to an auction in a defunct boarding school where he buys, for £8, a painting catalogued as a half-length portrait of Charles I, ‘supposed’ to be by Van Dyck. In mid-19th century Britain a Van Dyck is a known and immensely

It seems odd that a singer, musician, television performer and sculptor who typified the 1960s as vividly as Rory McEwen should now be known principally for his botanical paintings. From the early 1950s until his tragically early death in 1982 he was everywhere and knew everyone, but as The Colours of Reality shows, McEwen was

In the manner of Richard Holmes’s Footsteps, Julia Blackburn’s story of John Craske is as much autobiography as biography, as much about the hunt for information as the processed results of the search. The facts of John Craske’s life are briefly told: born in Norfolk in 1881 into a fishing family, he suffered some sort

In 1439 Abraham of Souzdal, a Russian bishop visiting Florence, was in the audience in Santa Maria del Carmine for the famous Ascension play, arranged by the members of the lay confraternity, the Sant’Agnese. Sitting in the body of the church, Abraham looked up and saw, on top of one end of the huge stone

Pity the poor art historian writing a survey of painters from Giotto to, say, Poussin. In order to produce a history that is as gender-balanced as possible it is absolutely necessary to include every woman painter ever heard of, some perfectly worthy of their place, some less so. How the art historian might envy the

‘Take away, utterly extinct and destroy all shrines … pictures, paintings and all other monuments of feigned miracles, pilgrimages, idolatry and superstition so that there remain no memory of the same in walls, glass windows…’. These were the instructions handed down to churches in the reign of Edward VI, the death-knell for medieval church wall

If ever there was a time to write a book about self-portraits, this must be it.  ‘Past interest in the genre,’ James Hall tells us in his introduction to this cultural history, ‘is overshadowed by the obsession with self-portraiture during the last 40 years.’ What he could not have foreseen was that self-portraiture would feature

A couple of years ago, while tracking down paintings for the Public Catalogue Foundation in the far north of Scotland, I had the chance to see a rarely displayed sequence of banners, created in 1993, telling the story of Earl Rognvald’s epic voyage to Jerusalem in 1151. Suspended between the pillars of the shadowy nave

In the vast Benedictine monastery of Monte Oliveto Maggiore between Siena and Rome, the cycle of frescoes depicting the life of St Benedict by Giovanni Anionio Bazzi includes a charming self-portrait of the artist standing with a couple of pets at his feet, for all the world a 16th-century Italian Dorothy with a brace of

On 14 April each year, nori fishermen gather on a hillside overlooking Ariake Bay on Kyushu in southern Japan to pay homage to ‘the Mother of the Sea’. There is a shrine and an altar for votive offerings but this is not a religious rite. The mother in question is Kathleen Mary Drew-Baker, a Lancashire-

It must have been hard to settle on a title for this book; but then this is not the book that Richard Cork originally had in mind.  In his introduction to The Healing Presence of Art he describes how he was approached to write on the contemporary role of art in hospitals, but in beginning

Something in the air is arousing an interest in collectors and collections — both private and public — of which the success of The Hare with Amber Eyes and The Children’s Book are perhaps the most visible recent examples. Something in the air is arousing an interest in collectors and collections — both private and