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Zbigniew Brzezinski was one of the key figures who helped bring about the demise of the Soviet Union. As National Security Advisor to Jimmy Carter, and counsel to presidents from John F. Kennedy onwards, Brzezinski converted his role as a leading American Sovietologist onto the global stage. George Kennan and Henry Kissinger are often held up as America’s most influential Cold War strategists but Brzezinski’s impact on helping bring about the end of the USSR was greater.

There are three things that we have to take into account when attempting to assess the impact of the contemporary sensibility in art on the culture of the various countries bordering the Mediterranean. First, the way in which each of these territories responds to the idea of the contemporary is bound up with its own cultural history. Every Mediterranean coastline possesses a hinterland, and this hinterland exercises an enormous influence on what is seen on the coast itself.

An anthology of essays and reviews by the eminent art historian and writer, Edward Lucie-Smith. The articles cover a broad span, from the Italian Renaissance of Giotto and Antonello da Messina, Leonardo, and Michelangelo, progressing to Rubens, Velázquez, and Ingres, with essays on William Hogarth, John Constable, and John Everett Millais for British art. With the experience of his landmark publications on modern art, which remain in print, the author sweeps the listener on a fabulous journey of perception.

From the capture of Sidney Reilly, the "Ace of Spies", by Lenin's Bolsheviks in 1925, to the deportation from the USA of Anna Chapman, the "Redhead under the Bed", in 2010, Kremlin and Western spymasters have battled for supremacy for nearly a century. In Deception Edward Lucas uncovers the real story of Chapman and her colleagues in Britain and America, unveiling their clandestine missions and the spy-hunt that led to their downfall. It reveals unknown triumphs and disasters of Western intelligence in the Cold War,

In The Retreat of Western Liberalism, Luce makes a larger statement about the weakening of western hegemony and the crisis of democratic liberalism - of which Donald Trump and his European counterparts are not the cause, but a symptom. Luce argues that we are on a menacing trajectory brought about by ignorance of what it took to build the West, arrogance towards society's losers, and complacency about our system's durability - attitudes that have been emerging since the fall of the Berlin Wall, treated by the West as an absolute triumph over the East.

One of the commonest and most loosely used terms in any discussion of contemporary art is the word avant-garde. Indeed it often seems to be taken for granted that valid contemporary art and avant-garde art are synonymous.

The word avant-garde, so much used in connection with the various manifestations of contemporary art, is starting to have a strange, ironic ring to it. One might even claim that it is starting to signify what is behind the times, rather than in front of them. Like all such terms, it is in fact a metaphor, rather than a direct description. Borrowed from old-fashioned military terminology, it seeks to describe a situation where social norms are being perpetually challenged by artists. In the military sphere, where it originated, it is long out of use.

From the earliest times, human beings have found it difficult to represent their own bodies in a straightforward way. The rare painted images of humans in Paleolithic art are much less naturalistic than the images of animals created at the same epoch. At the dawn of art, representations of the nude body were simply vehicles for statement about the need for fertility if the human race was to survive successfully.

Edward Luce's in-depth analysis of the decline of democracy, The Retreat of Western Liberalism, explores the myriad factors affecting the shift away from a political system many readers will have taken for granted in their lifetimes. This Sumoreads summary and analysis offers supplementary material to The Retreat of Western Liberalism to help you distill the key takeaways and review the book's content.

The Titian Show at the National Gallery here in London has just opened to the public again. It was available for just three days before the big lockdown. Now, it is with us once more, though on rather different terms from what was the case previously. You have to book a time. You have to be wearing a mask. You have to maintain distance between yourself and other visitors booked in for the same slot. Is it worth the hassle? Yes, of course it is. Titian is one of the greatest figures in the history of Western art.

An essay by Edward Lucie-Smith considers the Andy Warhol exhibition re-opening at Tate Modern on July 27. He puts forward a provocative view of the relevance of the art in an time of turbulent disruption. When the Warhol show returns to Tate Modern on July 27, almost the first thing you’ll meet if you go to see it will be a large painting, on two paired canvases, entitled Marilyn Diptych. It features repeated images the film star Marilyn Monroe.

A study of Aubrey Beardsley's work exhibited at Tate Britain until May 25, 2020. The author considers the darkly vigorous imagery of the short lived genius, his graphic work for the notorious Yellow Book, and sublimely erotic illustrations for Lysistrata by Aristophane and Salome by Oscar Wilde, which frank imagery even shocked the author.

How do we expect public art to function in a contemporary society? By public art, we mean art that to some extent at least ambushes us. We encounter it as we go about our everyday lives, not in some special art-dedicated space. In other words, certainly not in a museum. However, Aida Mahmudova notes, in her introduction to this public art project for Baku organized by Yarat! Contemporary Art Space, conditions for public art are now very different from the way in which art of this kind operated previously.

The creation of a masterpiece needs more than simply determination on the part of a single individual - though this, of course, is a myth that has continuously gained in strength since the time of Michelangelo. As Michelangelo himself well knew, masterpieces grow from a will to see them made on the part of patrons, who often play nearly as important a part in the process as the man who holds the brush or wields the chisel. The Sistine ceiling would never have come into existence had it not been for Pope Julius II.

Hammershoi is, in a certain sense, the Danish Vermeer, an artist whom he occasionally paraphrased. That is to say, a quietist painter obsessed by subtle effects of light, forgotten very soon after his death, but rediscovered and turned into a demi-god by a later generation.

Wifredo Lam is by far the most celebrated, and most people would say the greatest, artist produced by the Caribbean region in modern times. His relationship with where he came from is, however, extraordinarily complex - much more complex than most of his admirers suppose, largely because they usually have no direct experience of the region and little knowledge of its social history.

Britain’s Culture Minister, David Lammy, recently suggested that the history of slavery should be made a compulsory part of the nation’s school curriculum. Mick Hume, a columnist in The Times, promptly retorted, “Slavery and the Holocaust are now likely to be taught as little chunks of history, removed from any proper context. They become simplistic parables of good and evil, over which children are encouraged to emote and empathise...." How well founded was this criticism?

The first body art performer, as well as the first professional bodybuilder, was the showman Eugene Sandow (1867-1925). Though Sandow’s heyday occurred before the birth of the Modern Movement, there are compelling reasons for giving the primacy to him. Sandow, born Friedrich Wilhelm Müller in Prussia in 1867, left his native country in 1885 in order to avoid military service and first appeared on the London stage in 1885. His real celebrity began when the American impresario Florenz Ziegfield hired him to appear at the 1893 World’s Columbian Exhibition in Chicago.

We all have friends like that, who promise, and fantasize, and disappoint, then somehow contrive to charm us all over again. In the history of Western art, Leonardo da Vinci is the supreme example of this personality-type, the great non-deliverer. It’s interesting to speculate why his legend remains so powerful. Perhaps, most of all, it is because of his restless curiosity about so many aspects of nature, recorded in notebooks that place him well in advance of his time.

London is now a major centre for the international art world. The only other European city that houses as many studios is not Paris but Berlin. And Berlin does not have nearly as many galleries, public or commercial, which feature the latest developments in contemporary art.