To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
GREAT leaders like to demonstrate their power. These days it tends to be shows of military might and grand parades of state-of-the-art weaponry.
But Renaissance monarchs and nobles amassed huge collections of art, the better to show off their cultural sophistication. Charles I was no exception and the current exhibition at the Royal Academy indicates the extent of his obsession with collecting the finest art and artists, one which was ultimately to cost him his head.
Walk through Charles I: King and Collector, which represents only a small fraction of the Stuart king’s entire collection, and you can see how art functioned as a political display of power and magnificence.
CHRISTOPHE IMMER of the Morning Star’s German sister paper Junge Welt reports on a Berlin conference on the politics of art and the legacy of Marxist critic Hans Hess
‘Honest’ Tom Wharton’s 1682 drunken rampage through St Mary’s church haunted his political career, but his satirical song Lillibullero helped topple Catholic James II during the Glorious Revolution, writes MAT COWARD


