The subject of the least characteristic essay in this engrossing collection of meditations on painters, painters’ lives, painting and reactions to painting is René Magritte — whose best work David Sylvester rather rashly claimed induces ‘the sort of awe felt in the presence of an eclipse’. Julian Barnes discusses what he calls the artist’s doctrine (doctrine?) of ‘elective affinities’, which proposes the antipodes of Lautréamont’s ‘chance encounter on a dissecting table of a sewing machine and an umbrella’.
Already a subscriber? Log in
Subscribe for just $2 a week
Try a month of The Spectator Australia absolutely free and without commitment. Not only that but – if you choose to continue – you’ll pay just $2 a week for your first year.
- Unlimited access to spectator.com.au and app
- The weekly edition on the Spectator Australia app
- Spectator podcasts and newsletters
- Full access to spectator.co.uk
Unlock this article
Available from the Spectator Bookshop, £14.49 Tel: 08430 600033
You might disagree with half of it, but you’ll enjoy reading all of it. Try your first month for free, then just $2 a week for the remainder of your first year.
![View of Marseille from the basilica of Notre-Dame de la Garde, also known as La Bonne Mère, traditionally regarded as the city’s protectress. ‘The Good Mother intervenes at sick beds, down shadowy streets, and in the dark hours of night,’ writes Iain Sinclair [image: Getty]](https://www.spectator.com.au/wp-content/uploads/2018/09/Marseille.jpg?w=620)
Comments
Don't miss out
Join the conversation with other Spectator Australia readers. Subscribe to leave a comment.
SUBSCRIBEAlready a subscriber? Log in