JOHN GREEN is intrigued by the ethereal, ghostly quality of images of a London unobscured by the bustle of humanity
The female gaze
LYNNE WALSH applauds a show of paintings that demonstrates the forward strides made by women over four centuries
Julia Margaret Cameron, Mountain Nymph, Sweet Liberty, 1865
[Wilson Centre]
JENNY FARRELL relishes an outstanding Palestinian novel that immerses readers in the sensory reality of Gaza, then and now
AI-induced murder, last rites for the mob-dog, a gullible common herd, and an exemplary Christmas chiller
SUSAN DARLINGTON relishes an inclusive production of a Dickens classic that makes no bones about the lived reality of the Victorian working class
New releases from The Belair Lip Bombs, Lisa O’Neill, and Sessa
RICHARD MURGATROYD enjoys a readable account of the life and meditations of one of the few Roman emperors with a good reputation
ALEX HALL asks whether intelligence, and stupidity, are the outcomes of poverty and wealth, and cultural norms
Now You See Us: Women artists in Britain 1520-1920
Tate Britain, London
THIS is women’s work: brilliantly creative, tenacious, incandescent with passion, empathetic and rebellious.
There’s a word that crops up, though, in titles and texts: unknown. A portrait shows an Unknown Lady; it’s unknown where some artists trained; some painters had their names misspelled over the years. It’s almost as if no-one were paying attention to their talents.
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