Overlooked for centuries, her paintings were often wrongly attributed to her father, Orazio Gentileschi. In the same period her work sank to a level of obscurity equal to that one of her greatest influences, Caravaggio. His reputation was restored in the 1920’s. Artemisia Gentileschi had to wait a little longer.
I usually find middle-brow fiction quite consoling. So, I turned to my bookshelves in search of something not too literary in the hope of distraction from these troubled times. Colin, a supernatural tale, published in two parts by E.F. Benson in 1923, seemed to fit the bill.
London has become home to more members of the global super-rich than any other city in the world. Londoners might catch occasional glimpses of their presence when a super yacht moors by HMS Belfast on the Thames or another planning dispute over a basement excavation breaks out in the news.
If you’re a Londoner with time on your hands, take a trip to Rotherhithe and spend an afternoon immersed in centuries of history.
The Zoo: the wild and wonderful tale of the founding of London Zoo by Isobel Charman. A review by Jane McChrystal
When a book appeared in October promising the “wild and wonderful tale of the founding of London Zoo” I picked it up in search of insight into what drove the founding fathers of the London Zoological Society and whether it has any relevance to the function of zoos today.
One of the most vexed questions around prostitution today concerns the legal status and rights of sex workers. Feminists and policy makers fall into two camps.
The newly-restored Queen’s House reopened earlier in October. The house was commissioned in 1616 by James the First for his wife Anne of Denmark and completed in the reign of Charles the First.
I’ve been meaning to visit Libreria in Hanbury Street since it opened in February this year. The bookshop is the brainchild of Rohan Silva, a former civil servant and government policy advisor, which was designed by the Spanish studio SelgasCano, also responsible for the design of the Serpentine Gallery Pavilion in 2015.
In his essay Blood in the Matzos, Anthony Burgess called our need to classify art “a dangerous urge”. Burgess viewed the classifying urge as innate, but I believe people yield to it under the pressure to build careers, make money and forge reputations.
Some critics see Georgiana Houghton’s spirit drawings, on show at the Courtauld Gallery (link to previous review) until 11th September, as “outsider art”. Wanting to know more, I delved a little deeper and began to wonder about the value of categorising Houghton’s work in this way or viewing any artist from the perspective of a particular movement or school.
The Courtauld Gallery is showing an exhibition of Georgiana Houghton’s spirit drawings until 11th September. Houghton was active in London in the 1860’s and 1870’s as an artist and spirit medium.
Matteo Garrone’s latest film has been warmly received by critics. It is a retelling of some of Giambattista Basile’s 16th Century, Neapolitan fairy tales which formed the source material for many of Perrault’s and the Grimm brothers’ stories.