Monthly Archives: January 2014

The Omnipresent

The Omnipresent is the last art work mentioned in BM. The reference is brief:  as he is admitted to the Widmerpools’ apartment for the first time, Jenkins sees Widmerpool sitting reading The Times.  In Jenkins’ first glance around the apartment … Continue reading

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Goya’s Maja Desnuda and Manet’s Olympia

After Mr. Deacon’s funeral, Nick finds himself behind Mr. Deacon’s shop with Gypsy Jones and is more or less seduced into sleeping with her. In the aftermath of that most abstractly described liason, Nick is bewildered by Gypsy’s apparent indifference … Continue reading

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Mona

As he recalls Mr. Deacon’s birthday party, Nick remembers meeting Quiggin arriving uninvited, brought along by “a strapping black-haired model called Mona.”  A bit later, Quiggin “looked across the room to where Mona was talking to Barnby and said: ‘It … Continue reading

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Holbein’s portrait of Erasmus

Holbein’s Portrait of Erasmus [BM 193,196/183,186]) hangs at the far end of the Long Gallery at Stourwater. Hans Holbein the Younger (1497-1547) was born in Augsburg, in what is now Germany.  Holbein arrived in London in 1523 with a recommendation to … Continue reading

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The Sea Giving Up the Dead That Were In It

Mark Members looked around the room at Mr. Deacon’s birthday party and said: “You must admit it looks rather like that picture in the Tate of the Sea giving up the Dead that were in it.” [BM 253/243] Lord Frederic … Continue reading

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Daguerreotypes on Mr. Deacon’s Mantle

Daguerreotypes of Deacon’s mother and of Walt Whitman in oval frames stood on Mr. Deacon’s mantlepiece. The features of his mother “so much resembled her son’s as for the picture, at first sight, almost to create the illusion that he … Continue reading

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