ALEX HALL is disgusted by the misuse of ‘emotional narratives’ to justify uninformed geo-political prejudice
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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
SUE TURNER welcomes a thoughtful, engaging book that lays bare the economic realities of global waste management
JOHN GREEN welcomes an insider account of the achievements and failures of the transition to democracy in Portugal
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
MICK McSHANE rubs shoulders with Mod legend Steve Craddock and joins in with the joyous Glasgow choir
DENNIS BROE sifts out the ideological bias of the newest TV series offerings, and picks out what to see, and what to avoid
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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