Arts Reviews

Compton Verney House has reopened for its second season, continuing its founder Sir Peter Moore’s aim of bringing art which is under-represented elsewhere in Britain to a new audience. Alongside landscape paintings by the 17th-century Neapolitan artist Salvator Rosa is a larger, thematic exhibition, Only Make-Believe, curated by Marina Warner, who brings to the task a weight of experience. Spread out through several rooms in the house, the show is more about her thoughtful intimacy with the subject than just the simple sum of its themes and exhibits. Its gurus are the child psychologists and educationalists Friedrich Froebel, Melanie Klein and Maria Montessori with their benign interrogation of the psychological

Bryan Kneale comes from the Isle of Man and, after winning the Rome Prize from the Royal Academy Schools, was one of the leaders of the British sculptural revolution of the 1950s and 60s. In 1970, against the advice of his friends and fellow-artists, he was the first abstract sculptor to join the Royal Academy. Many others followed, and the RA was saved for a while from its institutional fear of innovators. During the 1980s, Kneale was both head of sculpture at the Royal College of Art and professor of sculpture at the RA. But although this heavy load of teaching and administration left him little time for making sculpture,

Robert Crumb (born Philadelphia 1943) is variously hailed as a ‘virtuoso weirdo’, the ‘father of underground comics’ and ‘the Brueghel of the last half of the 20th century’. Robert Hughes is responsible for that final appellation and one can see his point, though Nicholas Garland has called this assessment ‘just silly’, and Crumb himself has refuted it in a cartoon ‘Broigul I ain’t…’ What he is, indisputably, is a draughtsman touched by genius and a no-holds-barred autobiographer of such whackiness as to require the invention of a new category. (Crumby? Crumbist? Crumbonic?) A hero of the counter-culture, he is self-taught, an obsessive cartoonist who began to draw his own home

There was a time, half a century ago, when vegetable gardening was the preserve of old boys on allotments and jobbing gardeners in spacious suburban gardens. No longer. These days, the vegetable grower is as likely to be a 30-year-old female social worker with a small urban garden and a Point of View about pesticides on supermarket carrots, or a young family who have escaped the city for the country, or a recently retired couple on an executive housing estate who want to combine flowers and vegetables in an ornamental potager. Vegetable gardening is now as much a lifestyle choice and cultural statement as it is the cultivation of a

When you’ve seen how much vilification Prince Charles and Camilla Parker Bowles have endured from the tabloids and the republican broadsheets over the years, you wouldn’t have been surprised to see or hear the Prince’s muttered comments about the BBC’s royal correspondent Nicholas Witchell in Klosters last week. Witchell, known inexplicably among his colleagues as the ‘poisoned carrot’, is in fact one of the more respectful of the reporters who follow the royals. But the seemingly innocuous question he threw at the three princes — how were they feeling about the forthcoming wedding — was not as bland as it first appeared. It would have been if addressed only to

There are 13 Canalettos and 19 Guardis in our National Gallery; there are no paintings by either artist in the Rijksmuseum. The Dutch, having been painting landscape views for years, had enough of their own by the 18th century not to bother with Venice: canals were not exactly a novelty to them. So while the English went overboard for Venetian vedute, the Dutch politely ignored them. They can do so no longer, since a Venetian exhibition has opened on their doorstep. Venezia! Art from the 18th Century is the third exhibition at Hermitage Amsterdam, the State Hermitage Museum’s latest European outpost in a converted 17th-century old folks’ home on the