Toward the start of his fascinating book The Match Girl and the Heiress, Seth Koven states that it “joins efforts by historians to reclaim pre–World War II Britain for Christianity, a salutary historiographical Reconquista.” This may set alarm bells ringing, with its implication that more secular-minded scholars should be driven …
How to Create the Perfect Wife: Britain’s Most Ineligible Bachelor and His Enlightened Quest to Train the Ideal Mate
by Wendy Moore
Wendy Moore has written an account of a crazed attempt by the eighteenth-century poet and philosopher Thomas Day to educate two foundling girls, so that one might become the ideal wife. Her book reads at times like a historical novel. Yet it is underpinned by meticulous research, and raises a …
Consider the Fork: A History of How We Cook and Eat
by Bee Wilson
Bee Wilson’s Consider the Fork: A History of How We Cook and Eat combines a passionate gathering of information, diligently communicated, and an amused realism that brings us safely down to earth. Tirelessly, Wilson narrates many instances of scientists and engineers, often in cahoots with big business, setting out to solve kitchen problems, especially in inventing modern labor-saving devices like beaters and blenders. “What tulips were to Holland in the 1630s and Internet startups were to Seattle in the 1990s, eggbeaters were to the East Coast of the United States in the 1870s, 1880s, and 1890s,” Wilson says.</p
A More Perfect Heaven: How Copernicus Revolutionized the Cosmos
by Dava Sobel
Dava Sobel has carved a niche for herself as a writer who employs narrative and biography to present archaic and complicated theories in an engaging and accessible manner. After making her name as an award-winning science reporter for The New York Times, she published Longitude, her first book in this …
Bringing together art selected by nearly seventy writers, musicians, and artists, “FOUND” at London’s Foundling Museum reminds us how much we are surrounded by the flotsam of former lives, close and far. It’s curious, too, how the objects themselves take on life, as if some “lost” things preserve themselves carefully and then decide to reappear.
“Russia and the Arts: The Age of Tolstoy and Tchaikovsky,” now at the National Portrait Gallery in London, includes serious, unsmiling, and astonishing portraits of writers, musicians, composers, actors, and patrons that conjure up a tortured yet astoundingly vibrant cultural life covering fifty years, from the last tsars to the revolution and beyond.
After many years in the shadows, Francis Towne’s haunting paintings of Rome are back in the light, beautifully displayed—they may appear a mere sideshow in comparison to the blockbuster exhibitions of great names, but they offer a luminous vision of a civilization lost in time, a tribute to the genius of a quiet man.
It’s brave of Tate Britain to mount an exhibition called Artist and Empire when we are constantly mumbling apologies for Britain’s imperial past—for wars and slavery, exploitation and looting, religious and cultural oppression. Not that this show is a celebration. By its own account it is rather an attempt to show how artists have responded to the history and ethos of empire over the last five centuries, and to address its legacy.
An attempt to show how artists have responded to the history and ethos of empire over the last five centuries, and to address its legacy “not just in public monuments, but in social structures, culture and in the fault lines of contemporary global politics.”