Slightly Foxed > An Index to Slightly Foxed > Freeman, Laura

Freeman, Laura

Laura Freeman is a freelance writer and critic. She writes for the Spectator, Times, Sunday Times, Daily Telegraph, Sunday Telegraph, Evening Standard, Apollo, Standpoint and TLS.

Her work has been short-listed for Feature Writer of the Year at the British Press Awards.

www.laurasfreeman.co.uk

The numbers in square brackets refer to the issue of the quarterly in which the article appears.
The unbracketed numbers refer to the starting page of the article.
For entries in multiple issues of the quarterly, the occurrences are separated by semi-colons.

articles by, [41] 88; [45] 55; [50] 60; [57] 23; [61] 7; [67] 71; [69] 7; [78] 19

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20230601093015 Laura Freeman on James Hall, Slightly Foxed 78-2

See also Tortoise

Laura Freeman on James Hall, Hall’s Dictionary of Subjects and Symbols in Art

‘It’s like Pokémon,’ said my husband Andy, standing in the cool of a church in San Gimignano on our very hot honeymoon. And yes, I suppose saint-spotting is a bit like Pokémon, the creature-collecting game invented by Nintendo in the Nineties. Slogan: ‘Gotta catch ’em all.’ We weren’t hunting for Pikachus or Bulbasaurs, but for St Catherines and St Antony Abbots in fresco cycles and altarpiece panels. Catherine you’ll know by her wheel, instrument of her martyrdom, St Antony by his bell and his pig. A friend speaks fondly of childhood holidays with his church-crawling parents. He and his twin sister would be sent off to play saintly bingo. Could they find a St John the Baptist (lamb and sheepskin gilet), a Mary Magdalene (jar of unguent), an Apollonia (tooth and pincers)? Off they would go round cloisters, into side-chapels, standing on tiptoe for a better look at stained-glass windows. As with Pokémon, they knew their saints by their markers. Gotta catch ’em all.
20210415094558 Foxed Pod Episode 30 | Jim Ede’s Way of Life | Kettle’s Yard

Episode 30: Jim Ede’s Way of Life

The Slightly Foxed Podcast

In this twentieth-century story of a quest for beauty, the writer Laura Freeman introduces us to Jim Ede, a man who, in creating Kettle’s Yard in Cambridge, changed the way we look at art. We follow Jim from the trenches of the First World War to Lady Ottoline Morrell’s literary parties in Bloomsbury and a curating job at the Tate. He collected artworks by his friends Ben Nicholson and David Jones, acquired the estate of the sculptor Henri Gaudier-Brzeska and designed a house in Tangiers that became a sanctuary for soldiers. These were stepping stones towards Jim turning derelict slum cottages into a home and gallery, a space for both tea and tours. And, as ever, we share recommendations for reading off the beaten track.
20210301101604 Laura Freeman on Barbara Hepworth, SF Issue 69

The Pram in the Hall

Laura Freeman on Barbara Hepworth, A Pictorial Autobiography

I lent my copy of Barbara Hepworth’s A Pictorial Autobiography to an illustrator friend who, for reasons of distance and diaries, I rarely see. We had been talking about children and creativity and whether one must necessarily restrict the other: the easel, the laptop, the pram in the hall. I said she must read Hepworth and posted her my copy. It arrived. She thanked me. After that: nothing. Nothing for months and months and a year, and for months after that. I nursed a perverse and very British grievance. I couldn’t possibly ask for it back, because that would be rude. Instead, I did the proper and polite thing of raining resentment, curses and hellfire on her head every time my eye caught the gap in the bookcase.
20200901105810 Howard Coster (© NPG) - Laura Freeman on Rosamond Lehmann, Invitation to the Waltz

Mood Music

Laura Freeman on Rosamond Lehmann, Invitation to the Waltz

‘Dance after dance with an old fogey. Three running now, pressed to his paunch.’ Oh, the hell of parties! The small humiliations. The shy, smudged-mascara, wallflower-grief of it all. Where was Rollo? Archie? Tony? Even Reggie, dreaded Reggie, would do. In Rosamond Lehmann’s Invitation to the Waltz we share every agony, every spurning, every smallest saving grace with Olivia Curtis, just 17 and, as her dressmaker cheerfully tells her, ‘no bewtee’. We meet her on her birthday, staring into the bedroom mirror with a mix of adolescent pride and doubt. And such is Lehmann’s uncanny power that the reflection in the glass isn’t Olivia’s: it’s our own.
20190301114851 Laura Freeman on Nancy Mitford's Parisian novels, Slightly Foxed Issue 61

The Paris Effect

Laura Freeman on Nancy Mitford’s Parisian novels

Brimming. That was how I spent my first weeks in Paris. Brimming with tears at the smallest setback. For Nancy Mitford’s Northey in Don’t Tell Alfred, dispatched to Paris to be secretary to Fanny Wincham, the new Madame l’Ambassadrice at the British Embassy, it is the ‘cruel food’ of France that sets her off. Beef consommé. Brimming. Lobster. Brimming. Foie gras. Brimming. ‘A Frenchman on board told me what they do to sweet geese for pâté de foie gras,’ says Northey at dinner on her first night at the Ambassador’s Residence. ‘Very wrong and stupid of him,’ says Fanny.
20160601112902 Anna Trench. Laura Freeman on Charles Gibson-Cowan

Chekhov and Oysters

Laura Freeman on Charles Gibson-Cowan, The Voyage of the Evelyn Hope

The night the Evelyn Hope sailed from Hamble, there were sausages, potatoes and fried tomatoes cooked on a Primus stove for dinner. The captain opened a bottle of beer. It took three days for the boat to reach Le Havre. There the captain and his first mate disembarked and ordered a dinner of moules marinières, followed by nougat and Calvados. The diners were Charles Gibson-Cowan and Elizabeth David.
20150301115535

Falling in Love Again . . .

Laura Freeman on Joan Wyndham, Love Lessons

Joan Wyndham was not about to let such a disagreeable thing as a world war get in the way of having a jolly time. It is not that she didn’t take the war seriously – after art school she volunteered as an auxiliary nurse and then served as a WAAF officer – just that she was determined to get on with the things she enjoyed: shopping, dancing, learning to sculpt, curling her hair in pipe cleaners, swimming in the Serpentine and lying in bed all morning in a silk kimono with her feet on a hot-water bottle. She was certainly not going to let anything interfere with the important business of falling in love. Over the course of the war, recorded in two volumes of diaries published when Joan was in her sixties as Love Lessons (1985) and Love Is Blue (1986), she falls in love – madly, passionately, all-consumingly, but often for not much more than a week – with a succession of ever more unsuitable men.

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