The Bard stands with the Reformers of Peterloo, and their shared genius in teaching history with music and song
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The ever-legible Leger
CHRISTINE LINDEY pays tribute to an outstanding artist whose work always aimed to be accessible
(R to L) The Homage to Louis David, 1948-9 and The Three Musicians, 1930
SUE TURNER is fascinated by a book that researches who the largely immigrant workforce were that built the Empire State
MARIA DUARTE and MALC McGOOKIN review Sirat, The Testament of Ann Lee, EPiC: Elvis Presley in Concert, and All You Need Is Kill
STEVE ANDREW recommends a Marxist analysis of the long chains of production that global corporations exploit
MARY CONWAY relishes the period detail but misses the drama in this unsatisfactory dramatisation of the subjugated life of George Eliot
IAN SINCLAIR welcomes a mainstream scholar to the ranks of left-wing critique of US foreign policy
PETER MASON is disappointed that the eponymous Count fails to put in an appearance
AN EXACT contemporary of Picasso, Fernand Leger was born in 1881 in the Normandy market town of Argentan to an argumentative cattle merchant and a gentle mother.
He lost his father when he was very young and his widowed parent gradually lost most of their possessions. Although Leger’s heart was in painting, she apprenticed him to an architect when he turned 16, believing this to be a more respectable profession. This training in precise draughtsmanship served him well and shines through his mature works.
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