Volume 37 Number 1. September 2018, Page 1
Yale rights a wrong, sort of
A coda to New Haven’s costume confusion.
A coda to New Haven’s costume confusion.
On new, noteworthy, and nutty college course offerings.
On the late Trinidadian-British writer.
An excerpt from Aleksandr Solzhenitsyn’s forthcoming memoir Between Two Millstones.
On the life and legacy of the fiery Scottish novelist.
On “Delacroix” at the Louvre Museum, Paris, and the Metropolitan Museum of Art, New York.
On psychology, romanticism, and twelve mystic rules for life.
On the complexities and responsibilities of free expression.
On Carousel at the Imperial Theatre and My Fair Lady at the Vivian Beaumont Theater.
On “Giacometti” at the Solomon R. Guggenheim Museum & Alberto Giacometti: A Biography by Catherine Grenier.
On “Elegance in the Sky: The Architecture of Rosario Candela” at the Museum of the City of New York.
On “History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift” at The Metropolitan Museum of Art, New York.
On “Leonardo: Discoveries from Verrocchio’s Studio” at the Yale University Art Gallery, New Haven.
On “Water, Wind, and Waves: Marine Paintings from the Dutch Golden Age” at The National Gallery of Art, Washington, D.C.
On the ignominious removal of a Central Park monument.
On the pianist Yekwon Sunwoo at the International Keyboard Institute & Festival and the guitarist Jiji, the harpsichordist-conductor Richard Egarr, the pianist-conductor Christian Zacharias, the soprano Rosa Feola, and the pianist Paul Lewis at the Mostly Mozart Festival at Lincoln Center.
On truth harnessed for political utility.
On the late U.S. Poet Laureate and essayist.
On rewriting history and romanticizing evil on college campuses.
The first in a two-part series on the writer who transformed our view of modern rationalism.
On the thirtieth anniversary of the publication of Vasily Grossman’s great anti-Soviet novel Life and Fate.
On the making of an American enigma, occasioned by a new biography of his early life.
On Evelyn Waugh’s military service.
On the demise of a doomed political union.
On England’s most over-the-top composer and his new memoir, Unmasked.
On “Corot: Women” at the National Gallery of Art.
On Andrew and Jamie Wyeth at the Farnsworth Art Museum and “John Bisbee: American Steel,” “Tom Burckhardt: Studio Flood,” and “Jocelyn Lee: The Appearance of Things” at the Center for Maine Contemporary Art.
On “Red Grooms: Handiwork, 1955–2018,” at Marlborough Contemporary, “Rackstraw Downes: Paintings & Drawings” at Betty Cuningham Gallery, “Graham Nickson: Cumulus, Monumental Trees and Transient Skies” at the New York Studio School, & the late Richard Timperio, gallerist at the legendary Sideshow in Williamsburg.
On performances at the Salzburg Festival, including the conductor Teodor Currentzis with musicAeterna, the violinist Albena Danailova with other members of the Vienna Philharmonic Orchestra, the pianist Yuja Wang and the percussionist Martin Grubinger, the pianist Grigory Sokolov, the operas L’incoronazione di Poppea and Salome, and the conductor Herbert Blomstedt with the Vienna Philharmonic Orchestra.
On redefining truth and destroying political discourse.
On the Trinidad-born British writer, who died this August.
On the scientist, CO2 Coalition leader, and New Criterion supporter, who died this September.
On a legal battle over diversity and discrimination in the Ivy League.
The second in a two-part series on the writer who transformed our view of modern rationalism.
On the Canadian writer, occasioned by the publication of the second volume of The Life of Saul Bellow, by Zachary Leader.
On the world’s favorite ruin, occasioned by the publication of The Rome We Have Lost, by John Pemble.
On the religious background of the Bard.
On travels in Romania, past and present.
A retrospective look at the legacy of the First World War, which ended on November 11, 1918.
On Emily Brontë’s classic, occasioned by a new Oxford Companion to the works of the Brontë sisters.
On The Nap at the Samuel J. Friedman Theatre, Bernhardt/Hamlet at the American Airlines Theatre, and On Beckett at the Irish Rep.
On “The Charterhouse of Bruges: Jan van Eyck, Petrus Christus, and Jan Vos,” at The Frick Collection in New York.
On “Odyssey: Jack Whitten Sculpture 1963–2017” at The Met Breuer in New York.
On “George Shaw: A Corner of a Foreign Field,” at the Yale Center for British Art.
On opening nights at the New York Philharmonic; Samson and Delilah, La bohème, and Aida at the Metropolitan Opera; Michael Tilson Thomas and the San Francisco Symphony; Jonas Kaufmann and the Orchestra of St. Luke’s; and Daniel Hyde at Saint Thomas Church’s new organ.
On the battle over the confirmation of Brett Kavanaugh.
On Hazards of Time Travel: A Novel, by Joyce Carol Oates; Kolyma Stories, by Varlam Shalamov; The Kremlin Ball, by Curzio Malaparte, & To the Back of Beyond, by Peter Stamm.
A legendary critic looks back on his career.
On the godfather of postmodernist architecture, who died in September.
On excavating the old “offenses” of Roger Scruton.
On the late head of the Hudson Institute and founder of the London Center for Policy Research.
On Andrew Roberts’s impressive new biography of Winston Churchill.
On Paul Sachs’s “Museum Course” at Harvard.
On the history of the art market.
On Constantin Brancusi’s sculptures at The Museum of Modern Art and the Solomon R. Guggenheim Museum in New York.
On “Mantegna and Bellini” at the National Gallery in London.
On “Between Nature and Abstraction: Edwin Dickinson and Friends” at the Philadelphia Museum of Art.
On concerns about museums selling their collections.
On “William Dobson: Artist of the Civil War” at Tate Britain.
On the renovation of Dartmouth’s Hood Museum of Art.
On Britain’s Labour Party.
On Gloria: A Life at the Daryl Roth Theatre, Apologia at the Laura Pels Theatre, and The Lifespan of a Fact at Studio 54.
On the history of the contemporary art survey.
On “Berthe Morisot: Woman Impressionist” at the Barnes Foundation.
On Nico Muhly’s Marnie and Puccini’s Tosca at the Metropolitan Opera, and, at Carnegie Hall, the Czech Philharmonic under Semyon Bychkov, the violinist Maxim Vengerov in recital, and the Mariinsky Orchestra under Valery Gergiev.
On the midterm elections.
On recent poetry by Frederick Seidel, Ursula K. Le Guin, Max Ritvo, sam sax, jos charles, and Ada Limón.
On finding inspiration in a personal art collection.
On a faculty petition at Williams College.
An introduction to The New Criterion’s 2018 symposium on Russell Kirk.
On Edmund Burke, Russell Kirk & the conservative ethos.
On Kirk and foreign policy.
On Kirk’s legal philosophy.
On the cult and culture of “openness.”
On Kirk’s ghost stories and published fiction.
On the recent political unrest in Macron’s France.
On politics and religion in Brazil after their recent presidential election.
On The Hard Problem at the Mitzi E. Newhouse Theater, The Waverly Gallery at the John Golden Theatre & American Son at the Booth Theatre.
On a Charles White retrospective at the Museum of Modern Art.
On “Bruce Nauman: Disappearing Acts” at the Museum of Modern Art and MoMA PS1.
On Richard Wallace and the Wallace Collection.
On performances by the Latvian Radio Choir, Marc-André Hamelin, the New York Philharmonic, and the Metropolitan Opera.
On The Clinton Affair & on the Jim Acosta lawsuit.
On the subject of gambling in canonical Russian literature.
On recent hoaxes exposing academic puffery.
On The Weekly Standard, The Catholic Herald, and Spectator USA.
On the Latin poetry of Fr. Rafael Landívar.
On “Edward Burne-Jones” at Tate Britain.
On the life and letters of Lionel Trilling.
On the renovation of the Philadelphia Museum of Art.
On the landmark Supreme Court decision about the college’s charter.
On the novels of Compton Mackenzie.
On the choreographer Justin Peck at the City Ballet.
On The Ferryman at the Bernard B. Jacobs Theatre, Network at the Belasco Theatre, and Choir Boy at the Samuel J. Friedman Theatre.
On “A Place of Memory” at the Prado in Madrid.
On the legendary art critic, scholar, and museum director, who died in 2018.
On “Hilma af Klint: Paintings for the Future” at the Guggenheim.
A review of Michelangelo’s Sculpture: Selected Essays, by Leo Steinberg.
On Yannick Nézet-Séguin’s Traviata at the Met Opera, J’Nai Bridges with Mark Markham & Joshua Bell with the New York String Orchestra.
On the old media’s losing ground to the new.
On A. E. Stallings’s new translation of the Works and Days.
On identity politics in classical studies.
On Tolstoy’s masterpiece.
A review of Ten Caesars: Roman Emperors from Augustus to Constantine by Barry Strauss.
A review of The Case for Trump by Victor Davis Hanson.
On the philosophical foreseers of tyrannical equality.
On The Dance of Death at the Lynn F. Angelson Theater, True West at the American Airlines Theatre, and Nassim on Stage II at New York City Center.
On retrospectives for the Venetian master.
On “Whistler and Nature” at the Fitzwilliam Museum, Cambridge.
On controversies over scans of museum objects.
On “Epic Abstraction: Pollock to Herrera” at the Metropolitan Museum of Art.
On “Russia, Royalty & the Romanovs” at the Queen’s Gallery, Buckingham Palace.
On the expansion of the Norton Museum of Art in West Palm Beach.
On Elegy and Fire in my mouth at the New York Philharmonic; Sabine Devieilhe, Mathieu Pordoy, and Seong-Jin Cho at Carnegie Hall; and Carmen at the Met Opera.
On the Covington Catholic affair.
A remembrance of the sociologist.
A remembrance of the nun and popular art critic.
On the debate over a fictional portrayal of Dr. James Barry, née Margaret Ann Bulkley.
On the “radical intersectionalist poet” Titania McGrath.
A review of Cathay: A Critical Edition, by Ezra Pound, edited by Timothy Billings.
The New Criterion’s poetry editor interviews the poet, editor, and teacher.
A review of Shakespeare’s Library: Unlocking the Greatest Mystery in Literature, by Stuart Kells.
On the Partheneion, by Alcman, Sparta’s greatest poet.
A review of James Wright: A Life in Poetry, by Jonathan Blunk.
On the virtues of the classic vice.
Rereading Martin Green’s Children of the Sun.
On Merrily We Roll Along at the Laura Pels Theatre, Shadow of a Gunman at the Irish Rep, and Fiddler on the Roof at Stage 42.
On “Hans Hofmann: The Nature of Abstraction” at the UC Berkeley Art Museum and Pacific Film Archive.
On “Rethinking the Modern Monument” at the Rodin Museum, Philadelphia.
A review of Churchill: The Statesman as Artist, by David Cannadine.
On “Frida Kahlo: Appearances Can Be Deceiving” at the Brooklyn Museum.
On Mikhail Pletnev and the Russian National Orchestra, Matthias Pintscher and the New York Philharmonic, Igudesman & Joo, and Falstaff and The Daughter of the Regiment at the Metropolitan Opera.
On the Mueller report and the Jussie Smollett scandal.
Remembering the great literary scholar and editor.
On Roger Scruton’s removal from Britain’s Building Better, Building Beautiful commission.
Remembering our friend and frequent contributor.
Andrew Roberts’s remarks at the seventh annual Edmund Burke Award Gala.
A review of Philip Larkin: Letters Home, edited by James Booth.
A review of The Club: Johnson, Boswell, and the Friends Who Shaped an Age, by Leo Damrosch.
On the year in dance.
On Isaiah Berlin and his friends and family.
On Nantucket Sleigh Ride at the Mitzi E. Newhouse Theater, Juno and the Paycock at the Irish Rep, and The Cradle Will Rock at the Lynn F. Angelson Theater.
On “The C. C. Land Exhibition: Bonnard: The Colour of Memory” at Tate Modern, London.
On “Moroni: The Riches of Renaissance Portraiture” at the Frick Collection, New York.
On “The Bauhaus and Harvard,” at The Busch-Reisinger Museum.
On “Lincoln Kirstein’s Modern” at the Museum of Modern Art, New York.
On the new Hudson Yards development in New York.
On Jean Rondeau; Zhao Lin at the New York Philharmonic; Anne-Sophie Mutter, Lambert Orkis, and Daniel Müller-Schott; Thomas Adès; and Juho Pohjonen.
On self-parody and coverage of the Mueller report.
On Metamorphica, by Zachary Mason; The Thirty-Five Timely & Untimely Deaths of Cumberland County, by Mason Ball; 77, by Guillermo Saccomanno, and Rock and Roll Is Life, by D. J. Taylor.
Highlights from a lifetime of reading.
From Roger Kimball’s acceptance remarks at the Bradley Prize ceremony.
Thank you for another year of loyal support.
On liberals’ views of Israel.
A review of Henrik Ibsen: The Man and the Mask, by Ivo de Figueiredo.
On the Southern Poverty Law Center.
A review of The Nostalgic Imagination: History in English Criticism, by Stefan Collini.
On Theresa May’s failures of leadership.
On “Natalia Osipova’s Pure Dance with David Hallberg.”
On Kiss Me, Kate at Studio 54, Gary: A Sequel to Titus Andronicus at the Booth Theatre, and King Lear at the Cort Theatre.
On “Spilling Over: Painting in Color in the 1960s” at the Whitney Museum of American Art.
On “Henry Moore: The Helmet Heads” at the Wallace Collection, London, and “Henry Moore Drawings: The Art of Seeing” at the Henry Moore Foundation.
On “Monsters & Myths: Surrealism and War in the 1930s and 1940s” at the Baltimore Museum of Art and “Joan Miró: Birth of the World” at the Museum of Modern Art, New York.
On “The American Pre-Raphaelites: Radical Realists” at The National Gallery of Art, Washington, D.C.
On “The Self-Portrait, from Schiele to Beckmann” at The Neue Galerie, New York.
On “Picasso’s Women: Fernande to Jacqueline” at Gagosian, “De Kooning: Five Decades” at Mnuchin Gallery, and “Lucian Freud: Monumental” at Acquavella Galleries.
On the preservation and reconstruction of the cathedral of Notre-Dame.
On Thomas Larcher and the New York Philharmonic; Michael Tilson Thomas, Yuja Wang, and the New World Symphony; and Katia and Marielle Labèque.
On partisan views of the Mueller report.
On recent poetry.
A remembrance of the Hungarian writer and frequent New Criterion contributor.