WILL STONE fact-checks the colourful life of Ozzy Osbourne
Artemisia Gentileschi’s Judith and Holofernes
Canvas which challenged feudal stereotypes of women
JAMES CROSSLEY applauds a lucid biography of the German radical preacher who reemerged as a hero in the GDR
Prizes all round: the Bard hands plaudits to the Miners Gala, OT&JC, Joe Solo, Black Sabbath’s frontman and the Lionesses
Star cartoonist JAMIE BRITTON is in awe of a graphic novel of epic proportions that explores class, religion and globalisation via the strange cultivation of Ginseng in the US Midwest
GUILLERMO THOMAS is intrigued by a history of the Middle East that demonstrates how promising post colonial beginnings were snuffed out by Western imperialist interests
MARIA DUARTE recommends the intricate study of a high-performance and highly dysfuntional German family
WHEN, at the age of 17, Artemisia Gentileschi painted Susanna and the Elders she might have well been responding to the sexual harassment she had to put up with in the studio of her widowed father Orazio.
If so, Gentileschi’s alter ego Susanna shows determination and courage in refuting the Elders’s debauched advances. They are portrayed as leering, aggressive voyeurs — there is trepidation in this image and the threat of imminent rape.
In the canvas, Gentileschi borrows the chiaroscuro technique from her father’s influential friend Caravaggio, in which the luminous and courageous Susanna is accosted by her tormentors, whose shapes and contours stay in the penumbra.
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Strip cartoons used to be the bread and butter of newspapers and they have been around for centuries. MICHAL BONCZA asks our own Paul Tanner about which bees are in his bonnet
New releases from Hannah Rose Platt, Kemp Harris, and Spear Of Destiny
MICHAL BONCZA recommends a compact volume that charts the art of propagating ideas across the 20th century
