The Match Girl and the Heiress by Seth Koven
Consider the Fork: A History of How We Cook and Eat by Bee Wilson
At Home: A Short History of Private Life by Bill Bryson
I had pigeonholed E.H. Shepard as the genius who illustrated Winnie-the-Pooh and The Wind in the Willows. Yet in an intriguing exhibition at the House of Illustration, London, Shepard’s sketches show the mud and shells of the World War I trenches.
For all his showmanship, the greatest art of Swiss-French painter Jean-Étienne Liotard (1702-1789) was in catching a likeness; and in grasping the fleeting moment, he casts us too back in time.
The adjective “English” applies to much of Eric Ravilious’s subject matter and his affiliations, but not to his style or atmosphere. Like the Dulwich Picture Gallery, which houses this exhibit, the appeal of his work is universal.
Britain has got Waterloo fever.
I was faintly apprehensive when I clambered up the curving staircase of the Courtauld Gallery to see “Goya: The Witches and Old Women Album.” But as soon as I was face to face with his powerful, irreverent sketches, I was both horrified and entranced.
Oxford’s Ashmolean Museum has always been a place of surprises, which has made it an absolutely fitting place for “William Blake: Apprentice and Master,” an exhibition that is at once didactic and very strange.
The National Gallery, like an aristocratic grande dame, rarely loses its balance or dignity in Frederick Wiseman’s brilliant three-hour documentary on the museum.
Late Turner: Painting Set Free, showing at Tate, Britain, is a fittingly autumnal show, focusing on Turner’s life from his sixtieth birthday in 1835 to his death in 1851.
Jenny Uglow writes, “It’s two weeks now since I saw the exhibition of portraits, yet I’m still puzzling over the nature of the Swiss-French painter Jean-Étienne Liotard’s charm and strength.”
In an intriguing exhibition at the House of Illustration, Shepard’s work does not show Pooh’s Hundred Acre Wood, or Ratty’s slow-flowing Thames.