Clare Bucknell

At the Paris Salon​ of 1822, the young French artist Adrienne-Marie-Louise Grandpierre-Deverzy exhibited The Studio of Abel de Pujol, a painting of her teacher’s workshop. More than a dozen female trainees are shown going about their business. A little group looks over de Pujol’s shoulder as he critiques a sketch; others make copies from paintings selected for their improving...

If you were​ to make a film of Gu Byeong-mo’s The Old Woman with the Knife, you’d need a lot of extras. In the novel’s public spaces, no one does anything remotely out of the ordinary without bystanders gathering, staring or pretending not to stare. An old man tips over a rubbish cart in the middle of the road and is given a ‘pointed look’ by one onlooker,...

Bronzino’s portrait of Lucrezia, Duchess of Ferrara (c.1560), shows a teenage girl you can read in two ways. In one light, the jewels encircling her head and neck look weighty, unpleasant; her hair is coiffed in tight, tiny curls that seem to pull at her skin; the high ruff she wears must scratch and rub; she looks unsure, out of place, a small pale face swallowed up by a dark...

Every morning​, between reciting the Hail Mary and beginning their lessons, the children at St Dallan’s Catholic primary school near Belfast do ‘The News’. News, in this community, might mean many things: that someone’s father, perennially out of work for ‘kicking with the wrong foot’, has managed to find a job; that the pop group Mud has gone to number...

To Hans Kepler, the Imperial Mathematician, trying to defend his mother by taking an analytical view of the situation, Leonberg is like a depressing morality play; its population a typical collection of sinners. ‘This one had always been envious; that one had always been willing to lie for personal gain. This one had denied his mother Communion. That one was known to be violent.’