ANGUS REID, ANDY HEDGECOCK and MARIA DUARTE review On The Sea, A Useful Ghost, Brunello: The Gracious Visionary, and Pinocchio Unstrung
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A painter whose art expressed his social vision
NICK MATTHEWS recommends an exhibition by an artist who was as true to his art as he was to his radical politics
(L to R) Spring: Plum Trees in Bloom, 1877 and Self-Portrait, 1903
RON JACOBS enjoys a great tale, told by a US communist, of the lives of working-class New Yorkers
BRENT CUTLER searches a new history of contemporary Iran for an understanding of the Islamic Republic, finding both interesting detail and glaring omissions
MARIA DUARTE recommends the true story of the remarkable woman who sued Donald Trump for sexual assault not once, but twice
KENNY MacASKILL is disappointed by a polemical, rather than factual, account of the Lone Star State and its political path since the civil war
PAUL DONOVAN is fascinated by the lives of Charles and Mary Bagot, and the insight this biography shines on the morals of pre-Victorian society
GORDON PARSONS appreciates fine performances and a feel for ambiguity, but misses the music of the dialogue
Pissarro: Father Of Impressionism
Ashmolean Museum Oxford
ACCORDING to the marketing bumf for the current exhibition at the Ashmolean Museum in Oxford, Camille Pissarro is the Father of Impressionism.
I first discovered his art when I was working in London. I loved the Impressionists and so made a trip to the Courtauld Institute where I came across his painting of Lordship Lane Station, Dulwich (1871). This made a big impression (ha!) as at the time I was renting a room in the same Lordship Lane, Dulwich.
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ANGUS REID, ANDY HEDGECOCK and MARIA DUARTE review On The Sea, A Useful Ghost, Brunello: The Gracious Visionary, and Pinocchio Unstrung
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