Yesterday, I had a first tour of the Anselm Kiefer exhibition with Kathleen Soriano, its curator.   What came across was, first, the extent to which it is conceived as a paintings exhibition, not so much his work as an installation artist, in homage to the scale and history of Sidney Smirke’s grand exhibition galleries;  second, the way in which it is suffused by imagery from the Catholic church, including palettes with angels’ wings;  and, third, the extent to which it is informed by German woodcuts from his early ‘Attic’ series based on his studio in Hornsbach right through to the collage of woodcuts displayed as folding screens in the last room.