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’.
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![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)
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