GEOFF BOTTOMS appreciates the local touch brought to a production of Dickens’s perennial classic
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(Left) Impression, Sunrise, 1874; (right) La rue Saint Denis - street festivities of 30 June 1878, Paris
MARY CONWAY is disappointed by a production whose design and cartoonish acting overwhelms the close scrutiny of characters
SUSAN DARLINGTON enjoys the raucous familiarity of a traditional topsy-turvy pantomime
RON JACOBS introduces the latest novel by the best writer of US working-class fiction writing today
HENRY BELL is fascinated by the underlying curiosities and contradictions of one of the great poets of the Mediterranean
DAVID RENTON recommends a books that explores the ways in which disabled people are made to feel both of and not part of this world
IN 1874, three years after the bloody and traumatic demise of the Paris Commune, Claude Monet — son of a Parisian greengrocer — showed his work at group exhibition in Paris of like-minded painters.
His canvas, laconically titled Impression, Sunrise, depicts in swift and almost off-hand brush strokes the hazy view of the port of his adopted city Le Havre, as seen from his window at a dawn enveloped by dense fog.
The canvas's title provided the Le Charivary magazine’s art critic Louis Leroy's with the headline “The Exhibition of the Impressionists” for the review — not particularly imaginative, except for the neologism “impressionists.” It stuck like glue.
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