Cv Publications 2012 -17



January Work Bank

March David Medalla

David Hockney

Lucian Freud

April  Wiltshire

May   Damien Hirst

June  Being Tracey

July   Cumbria: A County Guide

August London Festival

October Pre-Raphaelite Brotherhood

November   The Ring of Minos

December   Two Bridges


January    Francesco Clemente

February  Edward Lucie-Smith

The Decline & Fall of the Avant-Garde

March  Kurt Schwitters

April Robert Rauschenberg

Chuck Close

July ,Photography and Art

John Dugger

October The Dance of Death

November  London Terminal

December Art, Criticism & Display


January Tracks 2014

July  Art, Poetry and WW1

September Les Berbères et Moi

Octoberber   Liverpool Biennal

Visiting Frieze Art Fair 2014

November  Between Dream and Nightmare

December  Rembrandt and Turner


February  The Private John Singer Sargent

March Leon Golub  Political Painting

Goya Between Two Worlds

May  David Hockney  Painting & Photography  Annely Juda

October Ai Weiwei

November  Through the Lens

Giacometti –Auerbach

December  Artist & Empire

 Michael Craig-Martin 

Julia Margaret Cameron


January  Paris TV: Routes and Diversions

Andy Warhol: Everyday Icons


March  Albion Journal


May Photo-London 2016

Yayoi Kusama at Victoria Miro

Jaff Koons: NOW

Newport Street Gallery

Painting with Light

Tate Britain

June  Bridget Riley

The Curve Paintings 1961-2014

Gemente Museum The Hague

Painters’ Paintings

National Gallery

July  Georgia O’Keeffe

Tate Modern

David Hockney

Royal Academy - Annely Juda


Picasso / Pollock



Painting Lives!

The Swagger Portrait to Contemporary


February Vanessa Bell

Dulwich Picture Gallery




Art . Travel . Histories . Social Studies . Studio work


Cv  November


It’s a great archive..a good book for dipping nto” Susie Honeyman






Cv Publications

Are distributed world wide

By license to

Amazon Kindle Editions

Creatspace Print on Demand, Audible ACX  and Google Play



Please address

editorial enquiries to:


Cv Publications








































1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 .13 . 14 . 15 . 16 . 17 . 18 . 19 . 20 . 21 . 22 . 23 . 24 .

Painted Vistas

Cornwall to Crete


Nisyros seies 2003  panel 12 x 12”

Cv/VAR Archive

Projects 1974-96

Art Forum at The Gallery London 02/1976

Cv Journal of the Arts1988-91

Eleven issues scanned to a DVD

Released 10/2016

Show Pick

Unexpected by Sanges at

D Contemporary



Copyright Sanges Studio

 Woman Holding a Balance (c.1662-65) further demonstrates Vermeer's idiosyncratic emphasis in his paintings on  woman as  centre, that realized some of the most subtle evocations of the feminine ethos in art. The strength of these paintings rest largely in Vermeer's emotional detachment from the scene of events. Where Rembrandt is always passionately present in the dramatic themes of his works, Vermeer achieves authority by precisely the  opposite stratagem; his apparent lack of involvement, or rather, the inverted obsession of a voyeur with a minutiae of effects.     


Like other works, such as Woman Reading a Letter (Dresden Art Gallery), the girl is obviously pregnant, and the repetition of this unusual theme would seem to locate itself in a continued meditation on the fragile balance between life and death. Snow sees the   painting   not   as  a  warning  of mortality, but as a statement of the strength of procreated life, springing from a sense of tranquility 'Woman Holding a Balance provides us not with a warning but with comfort and reassurance; it makes us feel not the vanity of life but its preciousness.


Against the violent baroque agitation of the painting behind her, the woman asserts a an imperturbable calm, the  essence of Vermeer's vision.' 9  The room is deeply shaded, as if it has been shuttered for a private ritual, and the mood of solemnity of the occasion implies  reference to  a biblical event.    Doubtless Vermeer intended his works to be read as an allegory, projecting his orthodox Catholic faith into episodes of personal and contemporary experience. Pops links the scene directly to  religious tracts, as well as being a vanitas of earthly existence 'Like the Maidservant (Milkmaid), her eyes seem closed upon her work. Will she espouse a life of pleasurable ease (as symbolized by the cavalcade of pearls) or will she endorse a life of moral vigour (as symbolized by the Last Judgement)? The scales which are empty, are ready to be  re-weighted..will the scales tip towards vanity or humility? Her fate, as we say, hangs in the balance.' 10


Pops  yet  again  leans   heavily  on  supposition to lend drama to his text, and in doing so seems to overload appreciation of the work. Woman Holding a Balance conveys an extreme delicacy of mood. One of the most striking aspects of the painting is the infinite care with which Vermeer depicts the  suspended balance. In his spare and perfectly pitched description he manages to realize something of an absolute statement, one that reaches beyond narrative into areas of  harmonic composition. The expression of the girl is veiled and enigmatic. It is as if she was sensing through the wavering balance the possible outcomes of her destiny, and silently inviting us to join in her meditation. Gowing, in his description of Vermeer's Lady Standing at Virginals (London, National Gallery), finds a view that could equally apply to the Woman Holding a Balance; 'It is a triumph of Vermeer's passivity. The poetry of the painting, here and elsewhere among Vermeer's last pictures is involved in its very closeness to simple statement.. the cryptic weight of expression which the tone carries, the index at once of the eyes' insistence and unmeasured, devouring depth which awaits the heart, is easily, immaculately borne, without gravity or gaiety, precisely balanced.'¹¹  


Forthcoming, November, December 2016, via ACX Audibe—Cv Audio Books include: Robert Rauschenberg: Art/Life; Les Berbères et Moi; Lucian Freud: Mapping the Human; Vermeer and the Transfixed Moment, English County Guides—Oxfordshire, Buckinghamshire, Cumbia; The Ring of Minos and others.




Show Pick

Royal Institute of Oil Painters 2016 at Mall Galleries

Opens 29th November


Philip James ROI The City to the East

Oil on linen 12” x 24”