Cambridge this week had all the essential components that go to make it a strange yet wonderful city. Traditions - 800 years since the charter was granted for the annual Midsummer Fair, a degree ceremony handing out honorary degrees to the great and the good, May Balls in the oldest colleges. Tourists - parties of foreign exchange students, coach loads of more mature visitors and a few independent travellers all begin to descend just as the students leave for the summer. Traffic chaos - pedestrians and vehicles alike struggle to get around with the city so busy and this was made worse with the closure of the A14 on Friday afternoon.
All of this made for an interesting couple of days. A short walk from Michaelhouse to the Fitzwilliam after lunch on Thursday turned into an obstacle course and leaving the city by road on Friday was one of those Cambridge experiences I could do without. All said, it was great to be back on tour there and the work on William Blake progressed as hoped. Pleased to find myself at a halfway point with the initial research on 6 of my 12 focus paintings already complete and still just a third of the way through the sabbatical.
A pause now until the next phase of the Tour begins mid-July. Centered on the South Coast I'll be visiting galleries in Southampton and Chichester, studying art from the nineteenth and twentieth centuries. Pre-Raphaelites, Impressionists and Post War Britain all fall into the remit - more familiar territory than the Italian Renaissance so looking forward to getting started on all of that.
Saturday, June 25, 2011
Wednesday, June 22, 2011
The Divine Comedy
William Blake, whose Ugolino and his sons in prison is my focus this week, has provided some interesting connections to earlier work. The picture in the Fitzwilliam is one of over 100 illustrations Blake worked on in the last year of his life. Commissioned to illustrate a translation of Dante's 'Inferno', the artist became obessessed with the project but failed to complete before he died in 1827. Commentators believe that Blake, a Dissenter, intended his drawings as a critique of Dante's apparent approval of the punishments meted out to souls in Purgatory.
Medieval thinking on Purgatory was responsible for the development of the system of Indulgences that so upset Martin Luther. The link here with my current work is with Carillo's Mass of St Gregory. This painting has an inscription on the reverse that describes the 73,000 years or more of indulgences available to anyone reciting prescribed prayers in front of the painting. From our Post-Reformation perspective all this is difficult to grasp but the sincere belief that underpinned it is beyond doubt.
Studying the art of the Medieval church gives a fascinating insight into beliefs and religious practice at the time. It also draws out some themes that will bear closer study - the veneration of the mass at a time when taking communion was generally an annual event not a weekly occurence, the doctrine of transubstantiation that arose from that and now, unexpectedly, ideas about hell. I hope to look more deeply at these themes over the next two days.
In Cambridge this week is the annual Midsummer Fair which is 800 years old this year, tomorrow is the Feast of Corpus Christi and Friday the Feast of the Nativity of John the Baptist. Hoping to connect with the city centre churches for at least one of those occasions. I've become much more aware of this cycle of Feast days on my visits to the city - there are five churches on my walk from the library to the museum so it's hard to miss.
Medieval thinking on Purgatory was responsible for the development of the system of Indulgences that so upset Martin Luther. The link here with my current work is with Carillo's Mass of St Gregory. This painting has an inscription on the reverse that describes the 73,000 years or more of indulgences available to anyone reciting prescribed prayers in front of the painting. From our Post-Reformation perspective all this is difficult to grasp but the sincere belief that underpinned it is beyond doubt.
Studying the art of the Medieval church gives a fascinating insight into beliefs and religious practice at the time. It also draws out some themes that will bear closer study - the veneration of the mass at a time when taking communion was generally an annual event not a weekly occurence, the doctrine of transubstantiation that arose from that and now, unexpectedly, ideas about hell. I hope to look more deeply at these themes over the next two days.
In Cambridge this week is the annual Midsummer Fair which is 800 years old this year, tomorrow is the Feast of Corpus Christi and Friday the Feast of the Nativity of John the Baptist. Hoping to connect with the city centre churches for at least one of those occasions. I've become much more aware of this cycle of Feast days on my visits to the city - there are five churches on my walk from the library to the museum so it's hard to miss.
Monday, June 20, 2011
Art, war and faith
Wars and rumours of wars. Strange that so many the paintings I'm working with were painted against a backdrop of war. And most difficult of all is the realisation that most of these wars are to some extent 'religious'. That's not a new thought but making my way through four hundred years of European history has brought the point home.
A newer thought is the recognition that painters (and their clients) respond to the situation of their day, often in the context of their own Christian faith. Some of the responses are apocalyptic - Francois de Nome's 'King Asa destroying the idols' and much of William Blake's work. Other artists reassert fundamentals of faith - Carillo's 'Mass of St Gregory; Van Dyck's 'Virgin and Child. Still others refer back to the suffering of Christ - Liberale da Verona and Guido Reni. And beyond the content of the paitings, there is the style.
Despite living in difficult times, painters in these earlier times still seek to create images that are beautiful. A reflection maybe of their perception of God or even a celebration of the human capacity to look for something of value at even the worst of times.
A newer thought is the recognition that painters (and their clients) respond to the situation of their day, often in the context of their own Christian faith. Some of the responses are apocalyptic - Francois de Nome's 'King Asa destroying the idols' and much of William Blake's work. Other artists reassert fundamentals of faith - Carillo's 'Mass of St Gregory; Van Dyck's 'Virgin and Child. Still others refer back to the suffering of Christ - Liberale da Verona and Guido Reni. And beyond the content of the paitings, there is the style.
Despite living in difficult times, painters in these earlier times still seek to create images that are beautiful. A reflection maybe of their perception of God or even a celebration of the human capacity to look for something of value at even the worst of times.
Friday, June 17, 2011
Weaving not drowning
Bringing together everything I've gathered to date for each of the focus paintings has been a slower process than anticipated. I sometimes do feel I'm drowning in a sea of notes and books but so far I haven't gone under. Historical background, social and economic factors and the religious context all have a bearing on the art that is made but covering all bases means looking at a lot of books across the many subjects areas. We called this 'interdisciplinary study' when it was new but now it seems to be commonplace within all academic fields.
I've succeeded weaving all I have collected so far into a single record sheet for each painting and have managed four so far - the ones by Carrillo, Liberale da Verona, Reni and Van Dyck. Just one left to tackle before I begin the next round of information gathering in a week. Themes are emerging like small islands but it's too soon to tell if they will be hospitable places to base further study.
Taking some time off this weekend. Dinner with friends, a sewing machine to take for repair and a brief pause for reflection.
I've succeeded weaving all I have collected so far into a single record sheet for each painting and have managed four so far - the ones by Carrillo, Liberale da Verona, Reni and Van Dyck. Just one left to tackle before I begin the next round of information gathering in a week. Themes are emerging like small islands but it's too soon to tell if they will be hospitable places to base further study.
Taking some time off this weekend. Dinner with friends, a sewing machine to take for repair and a brief pause for reflection.
Wednesday, June 15, 2011
Over the hills and far away
Being in Cambridge on a Monday when the Fitzwilliam is closed work this week began in the library. A brief and exhausting tour of seventeenth century European history with a diversion into Catholic theology (doctrine of transubstantiation) towards the end. The next batch of paintings, all in the Fitzwilliam, were all painted in the early years of the century but each comes from a different country which made covering the historical background something of a challenge.
The Virgin and Child by Anthony van Dyck (Flemish). Van Dyck became famous for portrait painting in Britain in the last decade of his life, working for King Charles I (before he lost his head, obviously).
Ecce Homo (The Man of Sorrows) by Guido Reni (Italian). Reni was famed for religious work, did a lot of work for churches and also for a cardinal who later beacme Pope.
King Asa of Judah destroying the idols by Francois de Nome (French but worked in Naples). Not too much information on this one as the artist is a shadowy character and his style unique. I love this painting, mostly because it is so odd and difficult to understand. Probably another candidate for the Desert Island list.
Something of a deviation from planned work on Tuesday morning after joining in singing 'Over the hills and far away' (the Sharpe theme) at a session on Monday evening. Realised I was very confused over the exact dates and places of the many wars in Europe over the centuries. Back to the library, found the information with reference to just three books and am now an expert on European conflicts between 1337 (start of the 100 Years War) and 1815 (end of the Napoleonic Wars).
Following the successful resolution of the matter I headed to St Bene'ts Church for morning communion and coffee. A most welcoming group of people and a delight to sit and chat with some of them before making my way to the Fitzwilliam for further study of the three paintings. Time ran out so there is more to do on this group of paintings before my next visit to Cambridge.
The Virgin and Child by Anthony van Dyck (Flemish). Van Dyck became famous for portrait painting in Britain in the last decade of his life, working for King Charles I (before he lost his head, obviously).
Ecce Homo (The Man of Sorrows) by Guido Reni (Italian). Reni was famed for religious work, did a lot of work for churches and also for a cardinal who later beacme Pope.
King Asa of Judah destroying the idols by Francois de Nome (French but worked in Naples). Not too much information on this one as the artist is a shadowy character and his style unique. I love this painting, mostly because it is so odd and difficult to understand. Probably another candidate for the Desert Island list.
Something of a deviation from planned work on Tuesday morning after joining in singing 'Over the hills and far away' (the Sharpe theme) at a session on Monday evening. Realised I was very confused over the exact dates and places of the many wars in Europe over the centuries. Back to the library, found the information with reference to just three books and am now an expert on European conflicts between 1337 (start of the 100 Years War) and 1815 (end of the Napoleonic Wars).
Following the successful resolution of the matter I headed to St Bene'ts Church for morning communion and coffee. A most welcoming group of people and a delight to sit and chat with some of them before making my way to the Fitzwilliam for further study of the three paintings. Time ran out so there is more to do on this group of paintings before my next visit to Cambridge.
Sunday, June 12, 2011
Desert Island Pics
Radio Four recently conducted a survey of listeners' choices of 'Desert Island Discs.' How about some 'Desert Island Pics' to go alongside these? Here are the first two candidates for my shortlist from this week's viewings.
'Christ of St John of the Cross' by Salvador Dali. Dali has long been a favourite and this work is outstanding. Detailed painting, carefully planned and executed with an impact that's difficult to describe. The current chapel-like hanging at the Kelvingrove brings out the intentional spirituality of the work. Many memories associated with the painting - first ever exhibition I attended was a Dali retrospective at the Tate, we chanced upon this painting for the first time on a family holiday that took an unexpected turn and a framed print has hung in all the homes we've owned since. I'd almost forgotten how beautiful it is.
'Red Ballet Skirts' by Edgar Degas.Less familiar to me than Monet or Renoir, the Degas collection at the Burrell was the first unexpected delight as the Scottish part of the Tour began last weekend. The Impressionist style (although Degas didn't care for the term so often used to describe his work) has had a special place in my journey of art appreciation since first encountering 'Water Lilies' at the National Gallery as a teenager. Degas liked to catch the dancers he depicted off stage rather than on and many of those he drew were older performers rather than glamorous younger women. Loved the warm colours of this one although others on display were equally beautiful.
Back south of the border now and looking ahead to a couple of weeks of reading, study, reflection and some time at the Fitzwilliam.
'Christ of St John of the Cross' by Salvador Dali. Dali has long been a favourite and this work is outstanding. Detailed painting, carefully planned and executed with an impact that's difficult to describe. The current chapel-like hanging at the Kelvingrove brings out the intentional spirituality of the work. Many memories associated with the painting - first ever exhibition I attended was a Dali retrospective at the Tate, we chanced upon this painting for the first time on a family holiday that took an unexpected turn and a framed print has hung in all the homes we've owned since. I'd almost forgotten how beautiful it is.
'Red Ballet Skirts' by Edgar Degas.Less familiar to me than Monet or Renoir, the Degas collection at the Burrell was the first unexpected delight as the Scottish part of the Tour began last weekend. The Impressionist style (although Degas didn't care for the term so often used to describe his work) has had a special place in my journey of art appreciation since first encountering 'Water Lilies' at the National Gallery as a teenager. Degas liked to catch the dancers he depicted off stage rather than on and many of those he drew were older performers rather than glamorous younger women. Loved the warm colours of this one although others on display were equally beautiful.
Back south of the border now and looking ahead to a couple of weeks of reading, study, reflection and some time at the Fitzwilliam.
Thursday, June 9, 2011
Mary and Mungo but no Midge
Two museums on opposite sides of Glasgow in one day. At the Kelvingrove, the famous Dali 'Christ of St John of the Cross' is the most striking work but the Italian Renaissance rooms were well displayed and explained. Titian, Botticelli and Bellini are all represented making links with last week's work in Cambridge on painting during this period. Images of Mary predominate with fewer of the suffering/crucified Christ than at the Fitzwilliam.
Moving towards the next historical block I'll be looking at, the room of Dutch paintings had some useful works and explanations. The Protestant/Catholic split of the Netherlands following the Reformation has interesting consequences in the art of the period and could take some untangling.
From the Kelvingrove to St Mungo Museum of Religious Life and Art. A much smaller museum that presents it's collections in a multi faith setting. One or two works with links to others I am viewing but the standout things about the place were unrelated to paintings. The exhibition of religious life was wide ranging and fascinating while the view of Glasgow Cathedral and the adjacent Necropolis (city of the dead) from the top floor was remarkable. Well worth the walk across the city.
So ends the Scottish part of the Tour. Back to the books next week.
Moving towards the next historical block I'll be looking at, the room of Dutch paintings had some useful works and explanations. The Protestant/Catholic split of the Netherlands following the Reformation has interesting consequences in the art of the period and could take some untangling.
From the Kelvingrove to St Mungo Museum of Religious Life and Art. A much smaller museum that presents it's collections in a multi faith setting. One or two works with links to others I am viewing but the standout things about the place were unrelated to paintings. The exhibition of religious life was wide ranging and fascinating while the view of Glasgow Cathedral and the adjacent Necropolis (city of the dead) from the top floor was remarkable. Well worth the walk across the city.
So ends the Scottish part of the Tour. Back to the books next week.
Tuesday, June 7, 2011
An unexpected find
Perth Museum and Art Gallery. An interesting collection of local history, furniture and paintings. Two exhibitions currently running, one with possible links to my project. De Rerum Natura by Ronald Forbes is the outcome of two years work as artist-in-residence with the Scottish Crop Research Institute. Striking in colour and imagery, the paintings and digital-collages draw on themes from what the artist describes as 'the great stories that have formed and informed our culture for millennia'. Amongst these stories is that of Adam and Eve.
Use of biblical stories and motifs in our post-Christian culture has long been an interest of mine.Making links with this and another of the focus paintings, Hughie O'Donghue's Studies for a Crucifixion will require more research. Looking forward to that when I next hit the library trail. An unexpected find that opens up new thoughts and possibilities.
Enjoyed Perth - excellent lunch at a French bistro and even managed to avoid the torrential rain that began half an hour ago.
Use of biblical stories and motifs in our post-Christian culture has long been an interest of mine.Making links with this and another of the focus paintings, Hughie O'Donghue's Studies for a Crucifixion will require more research. Looking forward to that when I next hit the library trail. An unexpected find that opens up new thoughts and possibilities.
Enjoyed Perth - excellent lunch at a French bistro and even managed to avoid the torrential rain that began half an hour ago.
Saturday, June 4, 2011
The Burrell Collection
The Burrell Collection at Pollokshaws, Glasgow is an art gallery and museum like no other. Set within the grounds of a country house the works on display were left to the city by Sir William Burrell, shipping magnate and lifelong collector. Religious paintings not too plentiful but a good number of pastels by Degas whose David and Goliath is a focus painting from the Fitzwilliam.
Enjoyed a good lunch and afternoon tea while there. Suits of armour were a fascination for one of us but the carved wooden and stone altarpieces, stained glass and tapestries were of more direct relevance to the project in hand.
The paintings mentioned previously can be viewed on the Fitzwilliam site:
The Mass of St Gregory
The Dead Christ Supported by Mourning Angels
Enjoyed a good lunch and afternoon tea while there. Suits of armour were a fascination for one of us but the carved wooden and stone altarpieces, stained glass and tapestries were of more direct relevance to the project in hand.
The paintings mentioned previously can be viewed on the Fitzwilliam site:
The Mass of St Gregory
The Dead Christ Supported by Mourning Angels
Thursday, June 2, 2011
Three days in
Introducing the Art Tour, three days in and with the first two study days completed. After nine months of planning, the sabbatical is officially underway.
Two days in Cambridge, one in Central Library and the other at the Fitzwilliam Museum. Reading up on Medieval and Renaissance art with a focus on Northern Italy and Spain. Massive subject area and no shortage of books. Aim: to understand the background to two paintings in the collection at the Fitzwilliam - The Mass of St Gregory and The Dead Christ Supported by Mourning Angels, both of which were painted just after 1480. Largely successful in this but still some questions. Maybe the next planned gallery visit to Glasgow's Burrell Collection will help.
Cambridge was beautiful in the sunshine, enjoyed dinner with friends in the city while there and had no problem travelling either way. Back home today, had a lovely afternoon at church with excellent cream tea and then ate dinner on the terrace in the sunshine . A great start.
Two days in Cambridge, one in Central Library and the other at the Fitzwilliam Museum. Reading up on Medieval and Renaissance art with a focus on Northern Italy and Spain. Massive subject area and no shortage of books. Aim: to understand the background to two paintings in the collection at the Fitzwilliam - The Mass of St Gregory and The Dead Christ Supported by Mourning Angels, both of which were painted just after 1480. Largely successful in this but still some questions. Maybe the next planned gallery visit to Glasgow's Burrell Collection will help.
Cambridge was beautiful in the sunshine, enjoyed dinner with friends in the city while there and had no problem travelling either way. Back home today, had a lovely afternoon at church with excellent cream tea and then ate dinner on the terrace in the sunshine . A great start.
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