Napoleon (dir. by Ridley Scott)
The glaring problem with Ridley Scott’s Napoleon is not the historical inaccuracy, but that it is never quite sure what kind of Napoleon Bonaparte it wants to depict.
The glaring problem with Ridley Scott’s Napoleon is not the historical inaccuracy, but that it is never quite sure what kind of Napoleon Bonaparte it wants to depict.
This modest exhibition is narrowly focussed on Angelica and her career leaving many questions still to be explored.
an ambitious attempt to set Blake and his ideas and works within broader contexts: of his artistic circle, of European classical traditions and of the wider, creative ‘background mood’ of his
The Divine Mrs S is an urgent appeal for women to externalise their feelings of injustice and emotion. It’s a call for release.
The Welkin is refreshingly humble: the characters are women from all levels of the socio-economic hierarchy and the story is not grand with far-reaching ramifications.
Georgian Illuminations at the Sir John Soane’s Museum successfully exhibited, in all their jostling and juxtaposed glory, contemporary attitudes towards the light shows emerging out of and
A queer adaptation of Austen’s playful novel reimagines Northanger Abbey for the BookTok generation.
Continuing in the spirit of last season, this season offers plenty of quips and moments that eighteenth centuryists will enjoy.
This tightly knit exhibition brings out the most important aspects of Liotard’s long career and whets one’s appetite to find out more about him.
The performance was not a lecture but a tale that spanned hundreds of years, a narrative about finding yourself in a world that has not wished to see or acknowledge you.