Back from a mini tour of Yorkshire and Stockport and cheering for supporting act Indignation Meeting
Gustave Courbet: The Stone Breakers
Painting which announced the advent of realism in European art
VWCD
ALISTAR FINDLAY is mesmerised by this multiple ‘Visions of Scotland’ assault on the audience’s eyes and senses
The Star's critics ANGUS REID, ANDY HEDGECOCK and MICHAL BONCZA reviews I Am Love, The Penguin Lessons, Freaky Tales, The Thicket
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
JOHN GREEN relishes photography that unfolds a longstanding and poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
THROUGHOUT 1848, Europe was in convulsions as widespread revolutionary unrest ushered in what became known as “The Spring of Nations” and, in February that year, Karl Marx and Frederick Engels published The Communist Manifesto.
The political ferment was as wide-reaching as it was spontaneous, with unstable alliances of social strata and classes with disparate political aims that could not endure. Nevertheless, it ushered in the final transformation of an archaic and unproductive feudal serfdom into the “modern” and “efficient” capitalist labour market. But the whip was to stay, albeit wielded by a different hand.
An independent-minded, self-proclaimed republican who supported the poor and oppressed and continuously irked the ruling elites, Gustave Courbet possessed the kind of spirit needed for such a time.
More from this author
MICHAL BONCZA recommends a compact volume that charts the art of propagating ideas across the 20th century
MICHAL BONCZA reviews Cairokee gig at the London Barbican
