Tucker Carlson
Harridans Orchestrate Witch Hunts,
Ilana Mercer slams #MeToo
The particular CNN segment I was watching concerned Fox News personality Tucker Carlson. It was meant to help terminate the controversial anchor’s career.
The sourpuss, dressed in marigold yellow, who was presiding over the seek-and-destroy mission, targeting the ultra-conservative Mr. Carlson, was none other than Poppy Harlow.
It transpires that years back, Carlson had routinely called into a Howard-Stern-like shock-jock radio show and made provocative comments, some about women. Women were “extremely primitive,” he had quipped.
To watch the countless, indistinguishable, ruthless, atavistic women empaneled on CNN, MSNBC, even Fox News—one cannot but agree as to the nature and caliber of the women privileged and elevated in our democracy, and by mass society, in general.
They’re certainly not women with the intellect and wit of a Margot Asquith—countess of Oxford, author and socialite (1864-1945). Would that women like Mrs. Asquith were permitted to put lesser “ladies” like CNN’s Ms. Harlow in their proper place. Continue reading
Van Gogh and Britain
Van Gogh, Garden of Saint Rémy Asylum
Van Gogh and Britain
Van Gogh and Britain, Tate Britain, 27th March 2019, exhibition curated by Carol Jacobi
Van Gogh and Britain, edited by Carol Jacobi, Tate Publishing, London, 2019, 240 pp
Reviewed by Leslie Jones
From 1873-1876, Van Gogh was a trainee art dealer in London with the Goupil Gallery. He evidently admired numerous British authors, notably Thomas Carlyle, Charles Dickens and George Eliot but also poets and dramatists such as Keats and Shakespeare. Bunyan’s Pilgrim’s Progress was for him a “beloved book”. Several of the writers he revered had addressed the seemingly intractable social problems generated by industrial capitalism.
While in London, Van Gogh collected prints, particularly those by Gustave Doré, whose “resolute honesty” he respected. His only painting of London, The Prison Courtyard (1890), which is included in the exhibition is, as he euphemistically put it, a ‘translation’ of Dore’s print Newgate: The Exercise Yard, from London a Pilgrimage (1872). Even the tiny, symbolic detail of two butterflies at the top of the engraving is repeated in the painting (see Van Gogh and Britain, page 95). In similar fashion, the watercolour Woman Sewing and Cat (October-November 1881) is indebted to Doré’s The Song of the Shirt, an illustration of Thomas Hood’s eponymous poem about exploited seamstresses.
In the drawing Sorrow (April 1882), reminiscent of Edvard Munch, we see a naked pregnant woman. The model was the prostitute and sometime seamstress Sien Hoornik, whom Vincent had met at a soup kitchen in the Hague and who subsequently drowned herself. She was also the model for Mourning Woman Seated on a Basket (Feb-March 1883). Van Gogh’s uncanny ability to depict human emotions expressed through body language is also demonstrated by the lithograph At Eternity’s Gate (November 1882) and the subsequent painting Sorrowing Old Man, ‘At Eternity’s Gate’ (May 1890).
Van Gogh, Sorrowing Old Man
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