Arts Reviews

Everyone in Hollywood knows that if you want some good jaw-clenching you go to an Affleck brother. To older brother Ben for the big budget moves, for a chin dimple that looks good in a bow-tie or Batsuit. And to younger brother Casey for something a little more low key. Casey may have the jaw that is less defiantly handsome, a chin that is a little smaller, weaker and more upturned, but that jaw’s acting skills in Manchester By The Sea are off the charts. As Lee, a man withdrawn and weighed down by grief amid the beautiful but bitter frost of a coastal Massachusetts town, Affleck’s Oscar glory seems

Arthur Rackham shouldn’t have lived in anything as conventional as a house. It should have been a gingerbread cottage, like the one he drew for Grimms’ Fairy Tales, with cakes for a roof and boiled sugar for windows. Or a Rapunzel turret, for letting down ropes of long, blonde hair, except he was so very goblin-bald. Or a Sleeping Beauty palace with a spinning-wheel in the topmost tower. As it was, he lived in Chalcot Gardens, north of Primrose Hill and south of Hampstead Heath, with his wife Edyth Starkie, a portrait painter, and their daughter Barbara, at the end of an 1880s row set back from the road. It

It is one of those interesting quirks of postwar cultural history that John Berger, who has died at the age of 90, could have presented Civilisation. Millions of viewers who saw that unsurpassed – unsurpassable – series when its 13 programmes were screened in 1969, or who have seen it in the years since, associate Civilisation with Kenneth Clark – Lord Clark of Civilisation, as he came to be known. But Berger might easily have got the nod. It was Clark himself who suggested to Michael Gill, Civilisation‘s producer, that he might find a more congenial ally in Berger, who, of course, three years later presented Ways of Seeing as a counter-argument to

In the first days of January ‘17, the Arctic air frosted over London forcing even the most careless citizen of that metropolis to accept the mastery of those great elemental forces which shriek at mankind through the bars of his civilisation. Holmes would not move from his fire, and was as moody as only he could be when he had no case to interest him. ‘Why,’ said I, glancing up at my companion, ‘that was surely the bell. Who could come tonight? Some friend of yours, perhaps?’ ‘Except yourself I have none,’ he answered. ‘A client, then?’ ‘If so, it is a serious case. Nothing less would bring a man

Why do so many people think poetry is important, and so few of them read it? And why does what might pass unnoticed as a minority activity, like — say — tiddliwinks or sniffing bicycle seats, arouse such strong views in the public at large? The award-winning American writer Ben Lerner has a theory. In this week’s Spectator books podcast I talk to him about his new collected poems, his monograph The Hatred of Poetry, and how he drew inspiration from the gigantic Wal-Mart in his hometown of Topeka, Kansas. You can listen to our conversation here: And if you enjoyed that, please subscribe to the podcast on iTunes for

This is going to be a positive, optimistic column. I promise. Because, look, let’s be honest, I’ve been a bit moany this year, haven’t I? Which may, I suspect, have been a bit misleading. Read me here, or indeed anywhere, and I suspect you could come away thinking I’ve spent the last 12 months, or at least the last six, lying awake, staring at my expensive north London Farrow & Ball ceiling, weeping sad, shuddering, self-indulgent tears at a world moving beyond my ken. I know, I know. I do go on. Whereas actually, it hasn’t really been like that. For one thing, the bedroom ceiling is just white, so

For much of 1517 Michelangelo Buonarroti was busy quarrying marble in the mountains near Carrara. From time to time, however, he received letters relating how his affairs were going in Rome. These contained updates on — among other matters — how his friend and collaborator Sebastiano del Piombo was getting on with a big altarpiece which he hoped, with Michelangelo’s help, would vanquish their joint rival, Raphael. This picture, ‘The Raising of Lazarus’, has been in the National Gallery for almost 200 years now (it is No. 1 in the inventory of the collection). Next March it will be one of the centrepieces in an ambitious exhibition that inaugurates the

There have been two revolutions in television during my lifetime. The first happened in 1975 when Sony launched its Betamax video system — which allowed viewers to record shows and see them when they wanted. Of course, Betamax was found to be clunky and unreliable and it was soon replaced by VHS but, without realising it, the networks had lost control of their audience. No longer would we watch the films they wanted us to watch when they wanted us to watch them. Never again, as the technology spread, would the whole nation come together as one to find out what the newscasters had been up to on Morecambe and

My mother loved to show films for special occasions with an old-fashioned home screen and a cine camera. All the chairs set up like a cinema. The Lady Vanishes at Christmas, Oh, Mr Porter for New Year and assorted Agatha Christies for birthdays. For my tenth birthday, I asked for a cowboy film. I was a little obsessed with cowboys — the drama, the heroism, the good vs bad. As my guests sat down and the movie flickered to life I saw that not only had my mother found a cowboy movie but miraculously the hero was a cowgirl. Annie Get Your Gun. I had got my wish…until she opened

On 27 July 1613 a man prostrated himself in the church of San Pedro Mártir in Toledo, having first made a solemn declaration: ‘I, Juan Bautista Maíno, make profession and promised obedience…’ Thus he became a Dominican friar. At the time, Maíno was halfway through painting ten canvases for the high altar of this very same church. Two of these, the most glorious and seasonally apposite, are currently on loan from the Prado and on show in Room 1 at the National Gallery (until 29 January). They open a window on to a little-known episode in Spanish art — and the spiritual life of an intriguing man. Maíno (1581–1649) is