A marvellous book which teaches us how to see. There is not a word out of place. And the author’s seriousness allows us to feel his full passion, what really matters for him… This book will provide me lasting company, and I will often look in its pages for backing for my own judgements. —Jean Starobinski When a great painter also happens to be an intelligent and cultivated one, his observations on art count a hundred times more than a critic’s or a historian’s do. A man’s knowledge of his own craft is both irreplaceable and indispensable. —Simon Leys Throughout his whole development I have never ceased to admire the acuteness of his vision and his faultless insight into the art of the past. —Samuel Beckett Avigdor Arikha was one of the most important artists of the twentieth century. He was born in Romania to German-speaking Romanian Jewish parents and spent most of his life in Paris. A talented child, he started drawing early on. During the Second World War, he was deported to a concentration camp in the Ukraine, where he drew the horrors he witnessed. These drawings saved his life. During the 1950s, he established himself in Paris and was enjoying a successful career as an abstract painter. In 1965, a Caravaggio exhibition prompted him to convert to drawing from life. He stopped using colour until 1973, when he started again to paint. He worked with a religious, almost war-like, intensity until his death. Arikha was also an erudite and passionate scholar, endowed with a deep understanding of the history of art and its techniques, well-versed in world history and fascinated by science. He wrote many essays and curated important exhibitions of masters such as Poussin, Velázquez and Ingres. In this collection of essays that he wrote between 1965 and 1994, Arikha expounds on art and artists (Mantegna, Velázquez, Poussin, David, Ingres, Degas, Matisse, and more), technique, seeing, and the state of culture in his day which, one could argue, is no more hopeful today, almost thirty years later.

Alba Arikha's father was the artist, Avigdor Arikha; her mother the poet, Anne Atik; her godfather, Samuel Beckett. Their apartment/studio, where Alba and her sister grew up, was a hub of literary and artistic achievement, which still reverberates today. Alba's tale is played out against the family memories of war and exile and the ever present echoes of the European holocaust. Alba Arikha has previously published a novel, Muse, and a collection of short stories, Walking on Ice, under the name Alba Branca.

Published to coincide with the 1969 Nobel Prize winner's one hundredth birthday, a portrait by one of his closest friends is based on their more than four-decade relationship and offers insights into Beckett's interests and passions, from chess and classical music to literature and sports.

Beckett was deeply engaged with the visual arts and individual painters, including Jack B. Yeats, Bram van Velde, and Avigdor Arikha. In this monograph, David Lloyd explores what Beckett saw in their paintings. He explains what visual resources Beckett found in these particular painters rather than in the surrealism of Masson or the abstraction of Kandinsky or Mondrian. The analysis of Beckett's visual imagination is based on his criticism and on close analysis of the paintings he viewed. Lloyd shows how Beckett's fascination with these painters illuminates the 'painterly' qualities of his theatre and the philosophical, political and aesthetic implications of Beckett's highly visual dramatic work.