Sadly the Beatles were involved in a liberal church that had left historic Biblical truth behind and as a result they were left searching for meaning and values and this can be seen clearly throughout their lives and music.
(John Lennon as a child below)
Wikipedia asserts, “Lennon attended St. Peter’s Anglican church. He sang in the choir, attended Sunday School and joined the Bible Class. He was confirmed at the age of fifteen of his own free will.[3]“
(Paul McCartney (top left) pictured in 1952 auditioning to become a choir boy)
On ST PETER’S ANGLICAN CHURCH’S website you will find this picture and words:
The Beatles Connection
“Almost certainly the most important meeting in popular music history” is how the first meeting of John Lennon and Paul McCartney has recently been described…
_____________________
Wikipedia notes, On 6 July 1957, John Lennon first met Paul McCartney in the church hall of ST PETER’S ANGLICAN CHURCH in Liverpool when Lennon was playing with his group, The Quarrymen. Later McCartney joined the group, which later became The Beatles. In the churchyard of St Peter’s is the grave of Eleanor Rigby, who became the subject for one of The Beatles’ songs. Also in the churchyard is the grave of Lennon’s uncle, George Toogood Smith, with whom he lived as a child.[4]
ST PETER’S ANGLICAN CHURCH’S Churchyard pictured below with the famous ELEANOR RIGBY gravestone:
Eleanor Rigby-The Beatles
The Quarrymen performing in Rosebery Street, Liverpool on 22 June 1957. [1] (Left to right: Hanton, Griffiths, Lennon, Garry, Shotton, and Davis)
Francis Schaeffer noted, “The church is to blame because the church with its liberal theology has left a vacuum.” In other words, many churches such as ST PETER’S ANGLICAN CHURCH in Liverpool left their previous belief that the Bible is historical correct and is trustworthy and they no longer looked at the Bible as their ultimate authority in all of life. However, not all Anglican churches have embraced humanism and religious liberalism. Back in the 1970’s I read the book “Basic Christianity” by John Stott, longtime rector (pastor) of All Souls Church, Langham Place, in London. While in London in 1979 I had the opportunity to attend a Tuesday evening prayer meeting where there were about 40 people and I got to hear John Stott speak. I was so thrilled to get to hear him speak in person.
John Stott attended his local church, All Souls, Langham Place (www.allsouls.org) in London’s West End, since he was a small boy. Indeed one of his earliest memories is of sitting in the gallery and dropping paper pellets onto the fashionable hats of the ladies below! Following his ordination in 1945 John Stott became assistant curate at All Souls and then, unusually, was appointed rector in 1950. He became rector emeritus in 1975, a position he held to the end of his life.
“Sergeant Pepper’s Lonely Hearts Club Band, became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings…” Francis Schaeffer (1912-1984). We take a look today at how the Beatles were featured in Schaeffer’s film.
How Should We then Live Episode 7 small
The drug culture and the mentality that went with it had it’s own vehicle that crossed the frontiers of the world which were otherwise almost impassible by other means of communication. This record, Sergeant Pepper’s Lonely Hearts Club Band, became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings. Later came psychedelic rock an attempt to find this experience without drugs. The younger people and the older ones tried drug taking but then turned to the eastern religions. Both drugs and the eastern religions seek truth inside one’s own head, a negation of reason. The central reason of the popularity of eastern religions in the west is a hope for a non-rational meaning to life and values.
One must feel as a Christian a real sorry for these people but as far as the blame is concerned we must understand that these people who have turned to this are not to blame, they must bear their kind of blame of individual choices but basically they are not to blame. The church is to blame because the church with its liberal theology has left a vacuum. Man beginning from himself alone was not expressed and taught in theology and in theological language. In the Renaissance men had attempted to mix Aristotle and Plato with Christianity. This attempt to combine the rationalism of the Enlightenment with Christianity is often called religious liberalism. It was embarrassed by the supernatural and often denied it entirely, for example, the resurrection of Christ from the dead. But it tried to hold on to a historical Jesus by sifting out from the New Testament all those supernatural elements which the New Testament taught about Jesus.
(TIME Magazine Cover: Albert Schweitzer — July 11, 1949)
This attempt came to a climax with Albert Schweitzer’s famous book THE QUEST OF THE HISTORICAL JESUS. It failed. It failed to rid the New Testament account of the supernatural and still keep a historic Christ. The historic Jesus could not be separated from the supernatural events connected with him in New Testament. History and the supernatural are too interwoven in the New Testament. If one kept any of the historical Jesus, One had to keep some of the supernatural. If one got rid of all of the supernatural, one had no historical Jesus.
We should remember Schweitzer’s humanitarianism in Africa, his genius as an organist and his expertise concerning Bach, but unhappily we must remember his place in the theological stream as well.
(Karl Barth pictured below)
After the failure of the older theological liberalism Karl Barth stepped into the vacuum. He held the higher critical views concerning the Bible, that is that the Bible has many mistakes but he taught that a religious word could break through from it. This was the theological form of existentialism after existentialism had been accepted in its secular form. One more thing was added in the area of non-reason along with all the other things that had been put there. In another way we must have admiration for the Swiss Karl Barth because when he was teaching in Germany he spoke out clearly against Nazism in his Barmen Declaration of 1934 .
(TIME Magazine Cover: Karl Barth — Apr. 20, 1962)
The teaching of Barth led to those theologians who said that the Bible isn’t true in the areas of science and history but they nevertheless looked for a religious experience from it, and for adherents of this theology the Bible does not give absolutes in regard to what is right or wrong either.
Before you even come to the Bible and begin to read it one must realize there are 2 ways to read the Bible. One is just one more religious thing among thousands of other religious is nothing more than another form of a trip, not very, very different actually from a drug trip. The other way is to understand that the Bible is truth and as such what we are listening to is something that is completely contrary to what here about us on every side namely merely statistical averages, relativistic things. Now having said this then I would have to guard myself for the simple reason that it doesn’t mean a person has to believe all of this before he can begin to read the Bible and find truth in the Bible.
I would just say in just passing I was not raised in a Christian family and I was reading much philosophy when I was a young man and I didn’t read the Bible because I believed it was true. I read it simply out of an intellectual honesty, but I did do one thing. I read it exactly as it was written beginning with Genesis 1:1 and going right on, I read it just as I would read another book expecting what was being given was a straight forward statement of what was meant and it wasn’t supposed to be read on a different level than that I would read in another kind of book. As I read it, it answered the questions already at that time I realized that humanistic philosophy couldn’t answer and over a six month period I came to conclude it was truth. Nevertheless, we must keep in the back of our mind how are we reading the Bible, just as another religious trip or am I really wrestling with the question of what is given in all the areas in which it speaks. Is it truth in comparison to merely relativism?
All Souls Church, Langham Place
From Wikipedia, the free encyclopedia
All Souls Church, Langham Place
All Souls’ Church
Country
United Kingdom
Denomination
Church of England
Churchmanship
Evangelical
Website
www.allsouls.org
Architecture
Architect(s)
John Nash
Administration
Diocese
Diocese of London
Clergy
Rector
Hugh Palmer
Laity
Churchwarden(s)
Martin Mills
Louise Gibson
All Souls Church is an Anglican Evangelical church in central London, situated in Langham Place in Marylebone, at the north end of Regent Street. It was designed by John Nash and consecrated in 1824.
As it is very near BBC Broadcasting House, the BBC often broadcasts from the church. As well as the core church membership, many hundreds of visitors come to All Souls, bringing the average number of those coming through the doors for services on Sundays to around 2,500 every week. All Souls has an international congregation, with all ages represented.
History[edit]
The church was designed by John Nash, favourite architect of King George IV. Its prominent circular spired vestibule was designed to provide an eye-catching monument at the point where Regent Street, newly-laid out as part of Nash’s scheme to link Piccadilly with the new Regent’s Park, takes an awkward abrupt bend westward to align with the pre-existing Portland Place.[1]
All Souls was a Commissioners’ church, a grant of £12,819 (£1,010,000 in 2016)[2] being given by the Church Building Commission towards the cost of its construction.[3] The commission had been set up under an act of 1818, and Nash, as one of the three architects employed by the Board of Works, had been asked to supply specimen designs as soon as the act was passed.[4] It was, however, one of only two Commissioners’ churches to be built to his designs, the other being the Gothic Revival St Mary, Haggerston.[5] All Souls is the last surviving church by John Nash.
The building was completed in December 1823 at a final cost of £18,323 10s 5d. and was consecrated the following year by the Bishop of London.
Photo:Interior Bomb Damage to All Souls Dec 8, 1940
Crown Appointment[edit]
The Rector of All Souls Church is still appointed by the Crown Appointments Commission at 10 Downing Street. The links with the Crown date back to the time of George IV when the Crown acquired the land around the church. The Coat of Arms adorns the West Gallery.
Mid-1970s building project[edit]
In the early 1970s excavations were carried out at All Souls and when it was discovered that the foundations to the church were some 13 feet deep, the church undertook a massive building project under the supervision of then rector, Michael Baughen (who later became Bishop of Chester, before returning to the London diocese to become an honorary assistant bishop). The decision was taken to embark on this work, to facilitate having a hall area underneath the church for the congregation and visitors to meet together after services and during the week. At the same time, the opportunity was taken to restructure the interior of the church to make it more suitable for present day forms of worship.
Organ and music[edit]
All Souls is well known for its musical tradition and part of this includes the Hunter organ installed in the west gallery in a Spanish mahogany case designed by Nash. The case was enlarged and extended in 1913. In 1940, anticipating war damage to the church, the instrument was dismantled and stored, then remodelled and rebuilt in 1951 with a new rotatable electric manual and pedal console situated in the chancel by the firm of Henry Willis (IV). The organ was again rebuilt, by Harrison & Harrison, during the building project of 1975–1976, when a four-manual was added, plus a positive division and a pronounced fanfare-trumpet en-chamade.[7]
Musical worship mixes contemporary and traditional styles, featuring either the church’s worship band, orchestra, singing group or choir at all regular Sunday services. In 1972 the All Souls Orchestra was founded by the current Director of Music, Noël Tredinnick, and has accompanied Sir Cliff Richard, Stuart Townend and many other notable Christian artists. The Orchestra and a massed choir perform annually at the Royal Albert Hall for the All Souls “Prom Praise” concert, which also tours across the UK and internationally. “Prom Praise for Schools” is sometimes held alongside Prom Praise, providing children from across the Diocese of London the chance to sing with the All Souls Orchestra. In 2012, the All Souls Orchestra celebrated its 40th anniversary, alongside special guests including Graham Kendrick, Keith and Kristyn Getty and Jonathan Veira. Tredinnick is known for his own accomplished musicianship, his engaging and inclusive style of leading and directing the regular large congregations.[citation needed]
Worship[edit]
All Souls celebrates four services each Sunday, with an early morning Holy Communion service at 8:00 am, followed by two other services at 9:30 am and 11:30 am and an evening service at 6:30 pm. There is also a midweek service on Thursdays during term time at 1:05 pm.
Sermons from Sunday services are uploaded for free streaming and download by the following Monday afternoon. The archive now contains over 3,000 sermons.
Clergy[edit]
All Souls Church interior as viewed from the balcony
The current rector is the Revd Hugh Palmer, who, as of July 2012, is also a chaplain to the queen.[8] Other clergy staff include Rico Tice, who has developed theChristianity Explored course (an introduction to Christian beliefs based on the Gospel of Mark), Roger Salisbury, Dan Wells and Mark Meynell. As a reflection of the huge diversity of the church’s congregation (over 60 nationalities represented amongst the c2500 present on Sundays), the staff team has gradually become more international (Kenya, the United States, Canada, South Africa, New Zealand, Sweden, Germany, Hungary, Korea and Ireland amongst others).
The church’s most famous former cleric was John Stott CBE, who was associated with All Souls for his entire ministry and virtually all his life. The author of more than 50 Christian books, Stott was regarded as one of the most important theologians and leaders within the evangelical movement during the 20th century.[9] Stott was acurate at All Souls from 1945-1950 and rector from 1950-1975. He resigned as rector in 1975 to pursue his wider ministry, but maintained his involvement with the church and was given the title of Rector Emeritus, which he held until his death in 2011. Stott’s obituary in Christianity Today described him as “An architect of 20th-century evangelicalism [who] shaped the faith of a generation.”[10]
The Revd Richard Bewes was rector from 1983 until his retirement in 2004. He was awarded an OBE for services to the Church of England.
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Uploaded by 11COGS on Aug 6, 2011
Sermon preached in the memorial service celebrating the life of the late Rev. Dr. John R. W. Stott (April 27, 1921 – July 27, 2011) by Rev. Canon Dr. James I. Packer.
Scripture: Hebrews 13:7-8
Duration: 33:25bb
[The
Hundreds packed in to John Stott’s home church of All Souls, Langham Place for his funeral, on Monday (8 August).
John Stott Funeral (edited version)
Uploaded by LanghamPartnership on Aug 11, 2011
John Stott died on 27 July 2011 aged 90 years. This video contains highlights of his Funeral at All Souls Langham Place in London on Monday 8 August 2011. Produced and displayed with permission from John Stott’s family.
Music clips used by permission of All Souls musicians and Jubilate Hymns (www.jubilate.co.uk)
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Al Molher interviewed John Stott several years ago and here is a portion of that interview:
The funeral for John R. W. Stott, one of the most famous evangelical preachers of the last century, will be held today in London at All Souls Church, Langham Place, where he served with distinction for so many decades of ministry. In honor of John Stott, I here republish an interview I conducted with the great preacher in 1987. The interview was first published in Preaching magazine, for which I was then Associate Editor.]
John R. W. Stott has emerged in the last half of the twentieth century as one of the leading evangelical preachers in the world. His ministry has spanned decades and continents, combining his missionary zeal with the timeless message of the Gospel.
For many years the Rector of All Souls Church, Langham Place, in London, Stott is also the founder and director of the London Institute for Contemporary Christianity. His preaching ministry stands as a model of the effective communication of biblical truth to secular men and women
The author of several worthy books, Stott is perhaps best known in the United States through his involvement with the URBANA conferences. His voice and pen have been among the most determinative forces in the development of the contemporary evangelical movement in the Church of England and throughout the world.
Preaching Associate Editor R. Albert Mohler interviewed Stott during one of the British preacher’s frequent visits to the United States.
Mohler: You have staked your ministry on biblical preaching and have established a world-wide reputation for the effective communication of the gospel. How do you define ‘biblical preaching’?
Stott: I believe that to preach or to expound the scripture is to open up the inspired text with such faithfulness and sensitivity that God’s voice is heard and His people obey Him. I gave that definition at the Congress on Biblical Exposition and I stand by it, but let me expand a moment.
My definition deliberately includes several implications concerning the scripture. First, it is a uniquely inspired text. Second, the scripture must be opened up. It comes to us partially closed, with problems which must be opened up.
Beyond this, we must expound it with faithfulness and sensitivity. Faithfulness relates to the scripture itself. Sensitivity relates to the modern world. The preacher must give careful attention to both.
We must always be faithful to the text, and yet ever sensitive to the modern world and its concerns and needs. When this happens the preacher can come with two expectations. First, that God’s voice is heard because He speaks through what He has spoken. Second, that His people will obey Him — that they will respond to His Word as it is preached.
Mohler: You obviously have a very high regard for preaching. In Between Two Worlds you wrote extensively of the glory of preaching, even going so far as to suggest that “preaching is indispensable to Christianity.”
We are now coming out of an era in which preaching was thought less and less relevant to the church and its world. Even in those days you were outspoken in your affirmation of the preaching event and its centrality. Has your mind changed?
Stott: To the contrary! I still believe that preaching is the key to the renewal of the church. I am an impenitent believer in the power of preaching.
I know all the arguments against it: that the television age has rendered it useless; that we are a spectator generation; that people are bored with the spoken word, disenchanted with any communication by spoken words alone. All these things are said these days.
Nevertheless, when a man of God stands before the people of God with the Word of God in his hand and the Spirit of God in his heart, you have a unique opportunity for communication.
I fully agree with Martyn Lloyd-Jones that the decadent periods in the history of the church have always been those periods marked by preaching in decline. That is a negative statement. The positive counterpart is that churches grow to maturity when the Word of God is faithfully and sensitively expounded to them.
If it is true that a human being cannot live by bread only, but by every word which proceeds out of the mouth of God, then it also is true of churches. Churches live, grow, and thrive in response to the Word of God. I have seen congregations come alive by the faithful and systematic unfolding of the Word of God.
The Beatles – Penny Lane
St Peter’s Church, Woolton
St Peter’s Church, Woolton, from the south
St Peter’s Church, Woolton
Location in Merseyside
Coordinates: 53.3760°N 2.8694°W
OS grid reference
SJ 423 869
Location
Church Road, Woolton, Liverpool,Merseyside
Country
England
Denomination
Anglican
Website
St Peter’s, Woolton
Architecture
Status
Parish church
Functional status
Active
Heritage designation
Grade II*
Designated
14 March 1975
Architect(s)
Grayson and Ould
Architectural type
Church
Style
Gothic Revival (Perpendicular)
Groundbreaking
1886
Completed
1887
Specifications
Spire height
90 feet (27 m)
Materials
Sandstone
Administration
Parish
Much Woolton
Deanery
Liverpool South Childwall
Archdeaconry
Liverpool
Diocese
Liverpool
Province
York
Clergy
Rector
Revd Canon C. J. (Kip) Crooks
Curate(s)
Revd Sonya Doragh,
Revd Richard Gedge
Laity
Churchwarden(s)
Helen Dennett, Norma Townley
Parish administrator
iera
St Peters Church
St Peters Church in Church Street. Liverpool one is there now. It was where the old Woolies was. it was also Liverpools cathedral for a time
Valencia
Lovely pic of St. Peter’s Church.
Do you know what that Russells building in the background was used for?
Tony Riviera
It was built as the Compton Hotel and later changed to Marks and Spencer. I’m pretty sure that only above the first floor was the hotel
Tony Riviera
Church Street 1910 with the Compton Hotel in centre. St Peters just in view on the right
Tony Riviera
St Peters church during demolition 1922. Compton Hotel in background
Tony Riviera
A nice view of St Peters church, Church Street. It was standing in as Liverpools cathedral until the Anglican was built. That’s why it was called the Pro Cathedral
Tony Riviera
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“Eleanor Rigby” is a song about loneliness and depression representing a departure from the Beatles’ early pop love songs.
This is an early example of the Beatles taking risks and dabbling in other genres; in this particular its baroque pop, as made evident by the string arrangements. During the Beatles’ experimental phase, their producer George Martin experimented with studio techniques to satiate the Beatles’ artistic desires. To achieve the aggressive punchy sound of the strings, Martin had the microphones set up really close to the instruments, much to the chagrin of the session players, who were not used to such a unique set-up.
St Peters Pro cathedral, Church Street 1908.Compton Hotel in the background
Tony Riviera
Eleanor Rigby-The Beatles
Another view of St Peters
No one remembered Eleanor Rigby enough to come to her funeral.
Eleanor Rigby – PAUL McCARTNEY
The Beatles Cartoon – Eleanor Rigby.
Uploaded on Feb 21, 2012
Ah, look at all the lonely people
Ah, look at all the lonely people
Eleanor Rigby picks up the rice in the church where a
wedding has been
Lives in a dream
Waits at the window, wearing the face that she keeps
in a jar by the door
Who is it for?
All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?
Father McKenzie writing the words of a sermon that
no one will hear
No one comes near
Look at him working, darning his socks in the night
when there’s nobody there
What does he care?
All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?
Ah, look at all the lonely people
Ah, look at all the lonely people
Eleanor Rigby died in the church and was buried along with her name
Nobody came
Father McKenzie wiping the dirt from his hands as he walks from the grave
No one was saved
All the lonely people (Ah, look at all the lonely people)
Where do they all come from?
All the lonely people (Ah, look at all the lonely people)
Where do they all belong?
The last photograph of John Lennon
In this last photo of John Lennon while he was alive, he was signing an album to the person who was to assassinate him a few hours later. John obligingly signed a copy of his latest album Double Fantasy on the morning of his death for his killer. Later that same day, John returned from the recording studio and was gunned down by Mark David Chapman. Morbidly, a photographer later sneaked into the morgue containing John’s body and snapped a photo of it before it was cremated. John’s body was cremated the day after his assassination. Yoko Ono has never revealed the whereabouts of the ashes or what she did with them.
John Lennon loved the B52’s
Lennon heard Rock Lobster by the B-52’s in 1979 while in a disco in Bermuda. He instantly recognized Cindy Wilson’s scream at the end of the song as an homage to Yoko Ono. After that moment, he and Yoko listened to the B-52’s album again and again while working on their Double Fantasy album.
Right before his death, Lennon had said that The B-52s’ debut album was his favorite album of all time.
The cover art for The B-52’s by The B-52’s.
The B-52’s – “Rock Lobster” (Official Music Video)
(Francis Schaeffer pictured below)
_
______
________________________
Today featured artist is Richard Hamilton
RICHARD HAMILTON, BRYAN FERRY.mov
Richard Hamilton: British visionary
Richard Hamilton has a new show at the Serpentine, but the Pop Art pioneer’s fame has never matched his extraordinary influence.
By Alastair Sooke
2:56PM BST 13 Sep 2011
Comment
If anyone deserves the title of Grand Old Man of British art, it is Richard Hamilton. He may have turned 88 last week, but he is still hard at work: he recently completed three large paintings for a new solo exhibition opening at the Serpentine Gallery in London on Wednesday.
Yet, despite a distinguished career in which he has represented Britain at the 1993 Venice Biennale and enjoyed not one, but two retrospectives at the Tate Gallery, Hamilton is not known by the wider public in the same way as, say, David Hockney or Lucian Freud. As Hamilton’s artist wife Rita Donagh says, when I meet them both at the Serpentine, “Richard is the only [established] British artist who hasn’t had a book written about him.”
Whether or not this is entirely accurate, you get the gist: Hamilton is not a household name. And, given his many singular achievements (he even designed the spare sleeve for the Beatles’ 1968 White Album), this fact is both curious and a travesty.
“I have a concept of being rejected for most of my life,” Hamilton tells me, with a smile. “When I had a show at the Tate in 1992 [his last London exhibition], it was rated the worst show of the year. And I felt rather proud of that, really – I’d come out on top for something at last. But I’ve always felt the same way: I never did anything that anybody else wanted.”
This was especially true during the mid-Fifties, when Hamilton pioneered Pop art, ahead, he says, of British contemporaries such as Eduardo Paolozzi or his American counterparts Jasper Johns, Robert Rauschenberg, Roy Lichtenstein and Andy Warhol. Indeed, Hamilton is often credited with having invented the genre. A celebrated collage from 1956, an unsurpassed analysis of the ways in which advertising can prey on unconscious desires, even features a muscleman holding a red lollipop adorned with the word “Pop”. Hamilton once famously defined modern consumer culture as “witty, sexy, gimmicky, glamorous, big business”.
Like many prophets, Hamilton feels that he was working in isolation half a century ago. “I felt alone,” he tells me. “In the late Fifties, I made three pictures: Hommage à Chrysler Corporation, Pin-up [now in the collection of New York’s Museum of Modern Art, which dates it 1961], and Hers is a Lush Situation. They were the three best things I’ve ever done. I was really inventing something, and it was quite a serious business. At the time, nobody was doing anything like that. I didn’t have any support from other artists. There weren’t other artists. When I was painting those pictures, I asked [the art critic] Lawrence Alloway: ‘What do you think of my paintings?’ And he said: ‘I think they’re stupid.’?”
Over the decades that followed, though, Hamilton’s work proved prescient and incredibly influential. For four years, he taught at the Royal College of Art, where he was an early supporter of David Hockney and R?B Kitaj.
“The students asked me to do what’s called a ‘crit’,” he recalls. “After I’d looked at everything, I said I’m interested in this painting, and that one – one was by Hockney, the other by Kitaj. I even asked if they were by the same artist. And there was a snigger – because, in the students’ minds, Hockney was copying what Kitaj did.
“Hockney’s work was very painterly and colourful, and rather brash. Kitaj’s was lower key. In the end, I gave the prize to Hockney – and he has never looked back. He once said that I gave him his first pat on the back, and that changed his life. And I have always felt perhaps I made the wrong decision.”
Does it bother Hamilton that Hockney has gone on to achieve greater fame than he has? “No, I like him,” Hamilton says. “But I think he’s not as good as his enthusiasts claim. I don’t complain about anything, really. I’ve had a very successful life.”
His work has not gone unacknowledged: he once declined a CBE. “Instead, about 20 years ago, I was given a card that admits me to the National Gallery at any time of the day or night,” Hamilton says. “I remember going to see a Mantegna exhibition. I sat for half an hour in front of these wonderful paintings. There were no interruptions, not even a guard walking past. Now, that’s a reward.”
‘Richard Hamilton: Modern Moral Matters’ is at the Serpentine Gallery, London W2 (020 7402 6075), from Wed
<a href="https://en.wikipedia.org/wiki/Rich