Clare Bucknell

Eleanor Catton’s​ characters enjoy playing other people. Mira Bunting, the twenty-something founder of Birnam Wood, an activist gardening collective, maintains a ‘rotation’ of aliases for undercover purposes. To glean information about a property listing in the small town of Thorndike in New Zealand, she transforms – via a fake email account – into Mrs June...

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...