Author Archives: picturesinpowell

On at least four occasions, different characters in Dance use alliterative contradictory pairings of artists’ names to emphasize ignorance of art. While this name dropping or name dissing may not be as important as other artistic references for understanding the … Continue reading →

During the portentous luncheon at Stourwater, Nick is struck by Lady Huntercombe, “whose features and dress had been designed to recall Gainsborough’s Mrs. Siddons.”[BM 209/199].  Later, at Stringham’s wedding to Peggy Stepney, Nick notices Lady Huntercombe to be “arrayed more … Continue reading →

Nick’s momentous first visit to Stourwater, the redoubt of Sir Magnus Donners, is occasioned by his inclusion in a luncheon party there in the company of  the Walpole-Wilsons.  “The dining room was hung with sixteenth century tapestries.  I supposed that … Continue reading →

Powell was a Trustee of the National Portrait Gallery for many years. In Dance, he returns again and again to portraits, which not only show a family’s history, status, and taste, but also provide a glimpse at the history of … Continue reading →

When Nick first visted Mr. Deacon’s shop, it was closed. “Through the plate glass, obscured in watery depths, dark green like the interior of an aquarium’s compartments, a Victorian work table, papier mache trays, Staffordshire figures, and a varnished scrap screen … Continue reading →

After Mrs. Andriadis’ party and an exhaustingly long night out, Nick returns to the neighborhood of his shabby flat in Shepherd Market, gentrified today but then a precinct of “seedy glory” in his eyes.  In reality, the walk through Mayfair is … Continue reading →

When Sir Magnus and Baby Wentworth enter the room together, Jenkins is struck by the appearance of this usually beautiful woman: she had an ‘almost hang-dog air;’ her ‘features had lost all gaiety and animation;’ she appeared ‘sulky,’ ‘almost awkward.’ [BM … Continue reading →

At Mrs. Andriadis’ party, Jenkins sees Sir Magnus Donners standing “beneath an unsatisfying picture in the manner of Derain [BM 144/136 ]” Andre Derain (1880-1954) was a French artist, present at the birth of Fauvism, friendly with Picasso and Matisse, inventive in his … Continue reading →

Preparing to part from Nick in Grosvenor Place,  Widmerpool clumsily backs into an angry young woman––our first introduction to the redoubtable Gypsy Jones––and an elderly male companion, whom Nick gradually recognizes as Mr. Deacon.  “He looked much the same, except that … Continue reading →

The final punctuation of Jenkins infatuation with Barbara Goring occurs near another monument, a few hundred yards from the Achilles statute where it began.  Walking with Widmerpool, who is describing his own feelings for Barbara to Nick’s dismay,  they arrive at Grosvenor Place, “in … Continue reading →