A rare opportunity to visit Tate Modern and Tate Britain. Both galleries have expanded and altered in recent years so plenty of new experiences.
At Tate Modern a huge new display space has been opened up in the tanks of the old Bankside Power Station. Currently this area is home to five installations collectively entitled Voices. Favourites were The Unfinished Conversation and Forty Part Motet with Wetin You Go Do? a close third. The atmosphere in this subterranean space is calming and cathedral-like as the sounds from the different installations reverberate in the central space.
Tate Britain has also undergone major refurbishment enabling the display of more works from the collection. In the main galleries visitors are invited to Walk Through British Art as they make their way around the nine galleries. More light, more space, more paintings. Definitely a big improvement.
Currently an exhibition of the work of cinematic artist Ray Harryhausen displays the apocalyptic paintings of John Martin and the fantastical drawings of Gustave Dore alongside models, set designs, posters and clips from films including Clash of the Titans and The Golden Voyage of Sinbad. Interesting links and great fun.
Change too in the Clore Gallery. Originally housing the works of J.MW. Turner bequeathed to the nation by the artist himself, the gallery is now home to a permanent space given over to the display of Tate's extensive collection of work by William Blake. Occupying two small, dimly lit rooms at the top of the Clore (Blake's works are fragile), William Blake and his Legacy shows works by the artist himself with later works by artists influenced by his style and preoccupations. Chief among these is Cecil Collins but Stanley Spencer and Graham Sutherland both make an appearance.
Tate Modern's expansion has led to a rearrangement of the restaurant spaces. The Kitchen & Bar (previously the 6th Floor restaurant) still does an excellent meal with great views over the Thames. Sadly, the same cannot be said of the Café at Tate Britain which remains disappointing on every level.
Saturday, July 1, 2017
Canterbury Tales
Canterbury's Beaney Gallery turned up some unexpected gems on a recent visit. Henry's Demons is a collection of work depicting the artist's experience of mental illness while Drawn to the Light is a collection of fine drawings made of the city's famous cathedral. While Grace Ayson's calm drawings capture the stillness and elegance of the centuries old place of worship, Henry Cockburn's spikey paintings celebrate the possibility of recovery for those struggling with mental health issues.
Works in the permanent collection on display include those associated in some way with the city - Chaucer's Canterbury Pilgrims and the murder of Thomas Becket in the cathedral were particular themes. Among the rest Sara Wicks' Angel over Canterbury, American artist Henry Gibbs' The Judgement of Solomon and a striking carved Crucifixion by Edward Bainbridge Copnall.
Worth a visit and cheaper than visiting the cathedral!
Works in the permanent collection on display include those associated in some way with the city - Chaucer's Canterbury Pilgrims and the murder of Thomas Becket in the cathedral were particular themes. Among the rest Sara Wicks' Angel over Canterbury, American artist Henry Gibbs' The Judgement of Solomon and a striking carved Crucifixion by Edward Bainbridge Copnall.
Worth a visit and cheaper than visiting the cathedral!
Saturday, March 4, 2017
National Museum of Wales, Cardiff
A long awaited return visit to the art gallery in Cardiff. Main highlights of the collection are the Impressionist and Post impressionist works collected by two sisters, Gwendoline and Margaret Davies. Painting in Wales is obviously well represented while early galleries house works from Italy and the Netherlands from the period 1500-1700. Art in Britain and Europe from 1900 onwards is also a feature.
Stanley Spencer's Souvenir of Switzerland was an unexpected find. Spencer's interest in the place of religion in daily life dominates this triptych. On a similar theme are Breton Peasant Women at Mass by Armand Seguin and Mass for the Reapers painted in Tivoli by Penry Williams.
The Choir of the Capuchin Church, Rome by Francois-Marius Granet was intriguing. The artist, a Frenchman living in Rome, regretted the dissolution of the monasteries and sought to capture the serenity of these former places of worship. The label in the gallery notes that the work, which exists in several forms, became a seminal work in the Catholic Revival. Gwen John's Mere Poussepin seated at a table also caught my attention as a piece that is linked with the artist's conversion to Catholicism in 1913.
Other points of interest were scenes from the Passion narrative. David Jones' Jesus Mocked, The Disrobing of Christ from the workshop of El Greco and Il Guernico's The Agony in the Garden. Different places and different times each opening a window on the faith of those by or for whom they were created.
Stanley Spencer's Souvenir of Switzerland was an unexpected find. Spencer's interest in the place of religion in daily life dominates this triptych. On a similar theme are Breton Peasant Women at Mass by Armand Seguin and Mass for the Reapers painted in Tivoli by Penry Williams.
The Choir of the Capuchin Church, Rome by Francois-Marius Granet was intriguing. The artist, a Frenchman living in Rome, regretted the dissolution of the monasteries and sought to capture the serenity of these former places of worship. The label in the gallery notes that the work, which exists in several forms, became a seminal work in the Catholic Revival. Gwen John's Mere Poussepin seated at a table also caught my attention as a piece that is linked with the artist's conversion to Catholicism in 1913.
Other points of interest were scenes from the Passion narrative. David Jones' Jesus Mocked, The Disrobing of Christ from the workshop of El Greco and Il Guernico's The Agony in the Garden. Different places and different times each opening a window on the faith of those by or for whom they were created.
Monday, February 22, 2016
Liverpool and the PreRaphaelites
Pre-Raphaelites: Beauty and Rebellion opened two weeks ago at the Walker Gallery. The exhibition explores the significance of Liverpool for the artists and their work. Looks like a good reason to make a trip 'up country' before the show closes on June 5.
And on the way maybe another visit to Bristol Museum and Art Gallery where I recently encountered work by Samuel Colman, an artist of the Bristol School. Apocalytic paintings seem to be his speciality. One to follow up when time allows.
And on the way maybe another visit to Bristol Museum and Art Gallery where I recently encountered work by Samuel Colman, an artist of the Bristol School. Apocalytic paintings seem to be his speciality. One to follow up when time allows.
Sunday, July 6, 2014
A fitting finale
Liverpool's Biennial of Contemporary Art began yesterday so the city art galleries are in full swing welcoming visitors. Tate Liverpool has several displays and exhibitions that were worth a look. The Walker Gallery has the John Moores Painting Prize as a feature.
The Walker's extensive collection of Victorian High Art was also of interest, as was Tate's 'Mondrian and his studios'. But the day's highlight was without doubt Grayson Perry's 'The Vanity of Small Differences'.
Perry's six large tapestries take their inspiration from art history and address the issue of class in British society. Visually stunning, witty, and perceptive, the series tells the story of Tim Rakewell. This fictious character makes his way through life in six scenes beginning with 'The adoration of the cage fighters' and ending with '#Lamentation'.
The catalogue with it's foldout plates of each of the six works is beautifully made and proved irresistable.
Unmissable. What a way to finish.
Saturday, July 5, 2014
Metropolitan Cathedral of Christ the King, Liverpool
Liverpool's Roman Catholic Cathedral is extraordinary. Opened at Pentecost 1967 it has provoked a range of responses over the years and was at one point in danger of being demolished due to it's leaky roof and other structural problems. These have been addressed, new work has created an impressive approach to the main entrance, and the place is stunning.
When first opened the building was felt by many to be stark in it's modernism. Almost half a century later the worshipping community have dressed the bare walls with glorious banners, works of art have been commissioned or acquired, and the original concept enhanced in so many respects.
Impressive, inspiring, and a tribute to both those with the original vision and their successors who refused to take the easy option and abandon hope.
When first opened the building was felt by many to be stark in it's modernism. Almost half a century later the worshipping community have dressed the bare walls with glorious banners, works of art have been commissioned or acquired, and the original concept enhanced in so many respects.
Impressive, inspiring, and a tribute to both those with the original vision and their successors who refused to take the easy option and abandon hope.
Thursday, July 3, 2014
Heavenfield
More walking in the Hadrian's Wall area, this time taking in Heavenfield and St Oswald's church.
Oswald was Northumbria's most successful and very devout Christian king. At what is known as Heavenfield he defeated a Welsh Army by praying before the battle with his troops, raising a cross on the hill where the little church now stands and holding on against the odds. For this, as well as for his encouragement to the spread of Christianity in the early seventh century and his apparent kindness to his own people he is revered.
Within in few years of this great victory Oswald was killed in another battle. It was a messy end but his head eventually made it to Durham where it's buried in Cuthbert's tomb.
Found some paintings by local artists on sale in the Hadrian Hotel at lunchtime. Two lovely views of the castles at Alnwick and Bamburgh, close to Lindisfarne. Oswald spent time on Holy Island where he was converted to Christianity.
At the time of Oswald's battle Hadrian's wall was still a structure of significance that afforded protection to the Northumbrian troops. Today it's no more than a few stones and a tourist path. Northumbrian Christianity has fared rather better and the churches in the area remain places of sanctuary welcoming visitors who come now in peace.
Oswald was Northumbria's most successful and very devout Christian king. At what is known as Heavenfield he defeated a Welsh Army by praying before the battle with his troops, raising a cross on the hill where the little church now stands and holding on against the odds. For this, as well as for his encouragement to the spread of Christianity in the early seventh century and his apparent kindness to his own people he is revered.
Within in few years of this great victory Oswald was killed in another battle. It was a messy end but his head eventually made it to Durham where it's buried in Cuthbert's tomb.
Found some paintings by local artists on sale in the Hadrian Hotel at lunchtime. Two lovely views of the castles at Alnwick and Bamburgh, close to Lindisfarne. Oswald spent time on Holy Island where he was converted to Christianity.
At the time of Oswald's battle Hadrian's wall was still a structure of significance that afforded protection to the Northumbrian troops. Today it's no more than a few stones and a tourist path. Northumbrian Christianity has fared rather better and the churches in the area remain places of sanctuary welcoming visitors who come now in peace.
Tuesday, July 1, 2014
Monday, June 30, 2014
Cuthbert's journey
Durham is the final resting place of the Celtic bishop-hermit St Cuthbert. The monastic community that he led somewhat reluctantly was forced to flee Lindisfarne carrying the saint's remains with them. A bronze cast of a twenty-first century wood sculpture in Lindisfarne stands in the city's Millennium Square as a memorial. It's called The Journey.
The city is fond of Cuthbert and proud of it's early Christian tradition that dates from the seventh century. Cuthbert's tomb lies immediately behind the altar in the cathedral and is maintained as a place of prayer. Visitors are invited to join in a short daily litugy which was surprisingly moving.
In the Feretory that houses the tomb there are modern banners honouring both Cuthbert and King Oswald, whose head is buried in the same tomb. The batik work on these beautiful pieces was produced using wax from burnt down candles lit by pilgrims. Clever and symbolic of the way the Cathedral strives to bring past and present together around the figure of this most humble saint.
The cathedral houses a significant number of modern works of art. Two recent commissions are the Millennium Window which tells the story of Durham's people and their faith and the Transfiguration Window dedicated to one time Archbishop of Canterbury Michael Ramsey. Both are stunning.
By the same artist that created The Journey in the town centre is a wooden Pieta and another work entitled Sarcophagus. Placed in the Chapel of the Nine Altars these massive works sit among stone coffins and adjacent to three recent altars. One is dedicated to Aidan, Bishop of Northumbria and the other two celebrate women saints. Can't help but applaud the decision to bring the ministries of women to the fore in this ancient building.
Altogether lovely and worthy of more time than I had to spend there.
The city is fond of Cuthbert and proud of it's early Christian tradition that dates from the seventh century. Cuthbert's tomb lies immediately behind the altar in the cathedral and is maintained as a place of prayer. Visitors are invited to join in a short daily litugy which was surprisingly moving.
In the Feretory that houses the tomb there are modern banners honouring both Cuthbert and King Oswald, whose head is buried in the same tomb. The batik work on these beautiful pieces was produced using wax from burnt down candles lit by pilgrims. Clever and symbolic of the way the Cathedral strives to bring past and present together around the figure of this most humble saint.
The cathedral houses a significant number of modern works of art. Two recent commissions are the Millennium Window which tells the story of Durham's people and their faith and the Transfiguration Window dedicated to one time Archbishop of Canterbury Michael Ramsey. Both are stunning.
By the same artist that created The Journey in the town centre is a wooden Pieta and another work entitled Sarcophagus. Placed in the Chapel of the Nine Altars these massive works sit among stone coffins and adjacent to three recent altars. One is dedicated to Aidan, Bishop of Northumbria and the other two celebrate women saints. Can't help but applaud the decision to bring the ministries of women to the fore in this ancient building.
Altogether lovely and worthy of more time than I had to spend there.
The Bowes Museum
A fascinating visit. The museum is the result of the collecting and planning of one couple, John and Josephine Bowes. Furniture, paintings and other assorted curiosities are housed in a purpose built chateau with magnificent grounds. The showpiece is a swan automaton that plays daily at 2pm.
The paintings reflect the tastes of the collectors. Of most interest was The Tears of St Peter by El Greco, a reflective work depicting a tearful Peter seeking forgiveness for his denial of Christ. Seems this was once a popular theme as it points to the Sacrament of Confession in the Roman Catholic tradition.
Also interesting were two complete altarpieces in good condition. Being familiar with many paintings that started life as parts of such works it was good to see the whole in this setting - they were low enough on the wall to see and unlike those still in churches you can get much closer.
Two further exhibitions, David Hockney's prints and Shafts of Light, brought a contemporary touch to an essentially Victorian experience. The latter, which brings together paintings by and of miners gave a sense of the lives of those who lived and worked in Britain's coalfields. A way of life now largely history itself.
The paintings reflect the tastes of the collectors. Of most interest was The Tears of St Peter by El Greco, a reflective work depicting a tearful Peter seeking forgiveness for his denial of Christ. Seems this was once a popular theme as it points to the Sacrament of Confession in the Roman Catholic tradition.
Also interesting were two complete altarpieces in good condition. Being familiar with many paintings that started life as parts of such works it was good to see the whole in this setting - they were low enough on the wall to see and unlike those still in churches you can get much closer.
Two further exhibitions, David Hockney's prints and Shafts of Light, brought a contemporary touch to an essentially Victorian experience. The latter, which brings together paintings by and of miners gave a sense of the lives of those who lived and worked in Britain's coalfields. A way of life now largely history itself.
Wednesday, June 25, 2014
New territory, old friends
At Leeds Art Gallery today. I came looking for Stanley Spencer - four paintings, three of them on the staircase which made viewing and note taking interesting. Also the unexpected opportunity to renew aquaintance with the Neo Romantics Keith Vaughan, Graham Sutherland and Paul Nash.
Current displays have been organised to show how the Great War affected art, especially landscape painting. Nevinson and the Yorkshire painter Roberts were significant here. I'm reminded that my sabbatical studies frequently found war a part of the story of individual paintings.
While travelling this week Radio Four has been airing 'Month of Madness', a programme tracing the events of July 1914 that led to the outbreak of war in Europe. Wars and rumours of wars and now, 100 years on, we still struggle to make sense of it all.
Monday, June 23, 2014
First stop Birmingham
A return visit to Birmingham's City Art Gallery (BMAG). I first called in April 2011 when there were gallery refurbishments underway...there still are! As last time the signage to the gallery was poor and when we finally arrived we were immediately evacuated due to a fire alarm.
It was worth the hassle. The gallery has significant holdings of PreRaphaelite works including two large scale works by Burne Jones. The Last Judgement is a three panel cartoon for a stained glass window, The Star of Bethlehem an enormous work on paper commissioned for the museum itself.
Symbolism, beauty, and wonderful imagery. Just one question - why do all the characters look so glum?
Also in the gallery is one of Stanley Spencer's Resurrection paintings. Sheer joy and not a long face in sight.
And in this centenary year of the Great War two works by Christopher Nevinson caught my eye. He like Spencer was a medical orderly during the 1914-18 conflict but the work of the two men couldn't be more different. Nevinson is appalled, shocked, overwhelmed by the inhumanity of this technological war while Spencer celebrates the ordinary and looks to a more hopeful future.
What makes the difference?
It was worth the hassle. The gallery has significant holdings of PreRaphaelite works including two large scale works by Burne Jones. The Last Judgement is a three panel cartoon for a stained glass window, The Star of Bethlehem an enormous work on paper commissioned for the museum itself.
Symbolism, beauty, and wonderful imagery. Just one question - why do all the characters look so glum?
Also in the gallery is one of Stanley Spencer's Resurrection paintings. Sheer joy and not a long face in sight.
And in this centenary year of the Great War two works by Christopher Nevinson caught my eye. He like Spencer was a medical orderly during the 1914-18 conflict but the work of the two men couldn't be more different. Nevinson is appalled, shocked, overwhelmed by the inhumanity of this technological war while Spencer celebrates the ordinary and looks to a more hopeful future.
What makes the difference?
Sunday, June 15, 2014
Back on tour very soon
Three years on and the tour is about to resume. I'll be revisiting some of the galleries I made it to briefly last time and looking at some new ones. Interest has been revived due to the recent purchase of a book by Richard Harries, a planned holiday in the North East with asociated road trip, and an exhibition at Chichester's Pallant House Gallery.
At the Pallant we were able to see Stanley Spencer's WW1 paintings currently on tour while the Sandham Chapel is being restored. Once again I was struck by Spencer's celebration of daily life in conditions of war. So different from the usual images of mud and devatation.
Harries' book has just arrived and will go with me when the trip begins. More of that later. First stop will be Birmingham where I made a rushed stop early on the original tour. Looking forward to reconnecting with the PreRaphaelites there and spending time with whatever else the City Gallery has to offer.
At the Pallant we were able to see Stanley Spencer's WW1 paintings currently on tour while the Sandham Chapel is being restored. Once again I was struck by Spencer's celebration of daily life in conditions of war. So different from the usual images of mud and devatation.
Harries' book has just arrived and will go with me when the trip begins. More of that later. First stop will be Birmingham where I made a rushed stop early on the original tour. Looking forward to reconnecting with the PreRaphaelites there and spending time with whatever else the City Gallery has to offer.
Wednesday, August 31, 2011
So long, and thanks for all the fish
Summer 2011 will be remembered for many reasons. News today is that this was the coldest summer for 18 years. We have seen riots in Britain's cities, revolution in Libya and repression in Syria. The East Coast of the USA was hit by earthquakes and a tropical storm. And then there was The Art Tour.
Three months of travelling around the UK by road and rail. Gallery visits and library work. Time spent with family, with friends. Getting to know the beautiful city of Cambridge a little better. Paintings, places, and people.
It has been a privilege and a joy to have this special time made available. The art has been inspiring and the reading instructive. People, both friends and strangers, have welcomed and encouraged. There have been shared meals, church services and other encounters. It's been a pleasure to share this time with so many of you.
The Tour is ending now. There are still books to be read - I bought one in Cambridge last week - and more galleries to visit. I never made it to Liverpool (too big a detour), to the Sandham Memorial Chapel (ran out of time) or to London (so much to see, so little time) and missed out on Dundee (due to poor research). For now though, it really is so long, and thanks for all your interest, your company, and your support.
Three months of travelling around the UK by road and rail. Gallery visits and library work. Time spent with family, with friends. Getting to know the beautiful city of Cambridge a little better. Paintings, places, and people.
It has been a privilege and a joy to have this special time made available. The art has been inspiring and the reading instructive. People, both friends and strangers, have welcomed and encouraged. There have been shared meals, church services and other encounters. It's been a pleasure to share this time with so many of you.
The Tour is ending now. There are still books to be read - I bought one in Cambridge last week - and more galleries to visit. I never made it to Liverpool (too big a detour), to the Sandham Memorial Chapel (ran out of time) or to London (so much to see, so little time) and missed out on Dundee (due to poor research). For now though, it really is so long, and thanks for all your interest, your company, and your support.
Tuesday, August 23, 2011
If only they could talk
Paintings at Hogwarts School have characters that move around. They also talk to Harry Potter and his friends sometime supplying useful information. If only the characters in some of the paintings I've looked at this summer could do the same.
I'd love to ask the six figures in Francois de Nome's King Asa of Judah a few things.
1. Where is the church building in which the artist has put them? France or Italy seem likely but which is it?
2. Are the three soldiers defending the place or invading?
3. Who is the figure running from the explosion? Is he an early seventeenth century terrorist/rioter or just an innocent bystander?
4. Are King Asa and his henchman heroic reformers or representatives of a dictatorial regime?
Perhaps the answers to these questions would help solve the mystery of the painting's meaning. Then again, if the characters are anything like those at Hogwarts maybe not.
I'd love to ask the six figures in Francois de Nome's King Asa of Judah a few things.
1. Where is the church building in which the artist has put them? France or Italy seem likely but which is it?
2. Are the three soldiers defending the place or invading?
3. Who is the figure running from the explosion? Is he an early seventeenth century terrorist/rioter or just an innocent bystander?
4. Are King Asa and his henchman heroic reformers or representatives of a dictatorial regime?
Perhaps the answers to these questions would help solve the mystery of the painting's meaning. Then again, if the characters are anything like those at Hogwarts maybe not.
Wednesday, August 17, 2011
Desert Island Pics - the final countdown
Time to finish the selection for Desert Island Pics. The BBC programme that inspired these thoughts is on holiday, presumably on a desert island, but I'm still here.
Added to Dali's 'Christ of St John of the Cross', Degas' 'Red Ballet Skirts', Francois de Nome's 'King Asa', Sutherland's 'Noli me tangere' and Hughes' 'The Nativity' I choose:
The Glen, Port Glasgow by Stanley Spencer
Discovering Spencer's work has been one of the pleasures of the Tour. I hadn't realised just how much religious work he had produced and the range it covers. Resurrection paintings are so interesting and will bear further study in the future. But on the desert island I choose this small picture of everyday life in Port Glasgow during WWII. It's full of joy and will cheer me up as I sit alone under the palm trees.
Apples and Pears by Ben Nicholson
Nicholson and the other St Ives artists have no place in my sabbatical study but their work kept crossing my path in various galleries. Last week I returned to the amazing Kettle's Yard Gallery in Cambridge and this one caught my eye. It's so calm and serene and will help me chill out in the heat.
Le Printemps (Springtime) by Claude Monet
Monet has a been a favourite since my teens. It's been a great sadness that the Impressionist room at the Fitzwilliam has been closed all summer so to make up for the disappointment I'm going to borrow this painting from the store and take it with me. Beautiful colours, always a delight.
When do I leave?
Added to Dali's 'Christ of St John of the Cross', Degas' 'Red Ballet Skirts', Francois de Nome's 'King Asa', Sutherland's 'Noli me tangere' and Hughes' 'The Nativity' I choose:
The Glen, Port Glasgow by Stanley Spencer
Discovering Spencer's work has been one of the pleasures of the Tour. I hadn't realised just how much religious work he had produced and the range it covers. Resurrection paintings are so interesting and will bear further study in the future. But on the desert island I choose this small picture of everyday life in Port Glasgow during WWII. It's full of joy and will cheer me up as I sit alone under the palm trees.
Apples and Pears by Ben Nicholson
Nicholson and the other St Ives artists have no place in my sabbatical study but their work kept crossing my path in various galleries. Last week I returned to the amazing Kettle's Yard Gallery in Cambridge and this one caught my eye. It's so calm and serene and will help me chill out in the heat.
Le Printemps (Springtime) by Claude Monet
Monet has a been a favourite since my teens. It's been a great sadness that the Impressionist room at the Fitzwilliam has been closed all summer so to make up for the disappointment I'm going to borrow this painting from the store and take it with me. Beautiful colours, always a delight.
When do I leave?
Saturday, August 13, 2011
Drawing to an end
Sabbatical time is nearly ended. Reading around all my paintings has been completed. All that remains is to write up the material gleaned this week in Cambridge on the work of Ronald Forbes. As the only living artist of the twelve I've studied the research task took a different shape. Much was available on the web but less in books. I established a link with the work of Gilbert and George which helped to ground the reading, spent time reading modern Scottish history and learned a little about Scottish art. Interesting to note that 'British Art' is generally English - I knew none of the names of those important in Scottish art since the war.
Cambridge was quieter than I've seen it recently. The tourists are fewer in number and the city centre was peaceful this week. Plenty of shoppers in the Grand Arcade - more families and groups of teenagers looking for sale bargains than overseas visitors in search of souvenirs. Traffic too was lighter and our journey out of the city last night easy. Great to have dinner with friends and catch up with news on our way home.
The week ahead will see the drawing together of the project. Already I'm putting together files of material I've collected over the past few months for future reference. Looking over these brings back positive memories of the wonderful places I've visited and all I've done this year. I'll be sad when it all comes to an end and intend to make the most of this final phase.
Cambridge was quieter than I've seen it recently. The tourists are fewer in number and the city centre was peaceful this week. Plenty of shoppers in the Grand Arcade - more families and groups of teenagers looking for sale bargains than overseas visitors in search of souvenirs. Traffic too was lighter and our journey out of the city last night easy. Great to have dinner with friends and catch up with news on our way home.
The week ahead will see the drawing together of the project. Already I'm putting together files of material I've collected over the past few months for future reference. Looking over these brings back positive memories of the wonderful places I've visited and all I've done this year. I'll be sad when it all comes to an end and intend to make the most of this final phase.
Wednesday, August 10, 2011
A trail of destruction
Sad this morning to see television images of destruction and violence. Not, this time, in far away places and war zones but on our doorstep. Spending time in some of the cities involved this year viewing beautiful art it's hard to watch the wanton vandalism.
Some hope in other images - newspaper photos of the 'broom army' coming together to clean up. Human beings are capable of so much good when put to it. We can only hope they prevail over the looters in the end.
Some hope in other images - newspaper photos of the 'broom army' coming together to clean up. Human beings are capable of so much good when put to it. We can only hope they prevail over the looters in the end.
Monday, August 8, 2011
Detours and deliberations
An unscheduled trip to Cambridge last Friday. Made good use of the time in Central Library reading up on British history from World War I to World War II. Plenty of books too on Stanley Spencer but none on Graham Sutherland. Detours of this sort have been a feature of the tour as paintings, books and opportunities cross my path out of sequence.
Back to Sutherland today with books on my own shelves. I acquired these as part of an earlier study on a Cain and Abel by Keith Vaughan. Vaughan and Sutherland were both part of a group of British artists labelled 'Neo Romantics'. They were all caught up in World War II one way or another. Sutherland was a War Artist, Vaughan served with the non-combatant Pioneer Corps. After the war their art reflected their experiences for a time. Sutherland produced several religious paintings, Vaughan just the one.
Many of Sutherland's paintings were commissioned for churches and they can be seen as 'religious' in every sense. Vaughan's painting seems more to draw on a well known story to offer a crtique of the times in which the painter lived. Another case that shows how difficult it is to determine what a 'religious painting' is or should be. Answers on a postcard?
Back to Sutherland today with books on my own shelves. I acquired these as part of an earlier study on a Cain and Abel by Keith Vaughan. Vaughan and Sutherland were both part of a group of British artists labelled 'Neo Romantics'. They were all caught up in World War II one way or another. Sutherland was a War Artist, Vaughan served with the non-combatant Pioneer Corps. After the war their art reflected their experiences for a time. Sutherland produced several religious paintings, Vaughan just the one.
Many of Sutherland's paintings were commissioned for churches and they can be seen as 'religious' in every sense. Vaughan's painting seems more to draw on a well known story to offer a crtique of the times in which the painter lived. Another case that shows how difficult it is to determine what a 'religious painting' is or should be. Answers on a postcard?
Monday, August 1, 2011
But what's it about?
Art, like music and literature, is never about just one thing. Even when the subject matter is clear - a crucifixion, for example - the artist's intention can be subversive or supportive to the theme and that can change everything. Often, although the theme may be clear - depiction of a bible story perhaps - it is impossible to know why the artist chose that particular subject for the work.
So it is with Degas' David and Goliath. The representation of the subject is straighforward and the title clear. But it's impossible to know why the artist chose to begin this work or why he never finished it. Was he simply looking for a good story or was there some deeper religious intent? Degas later went on to specialise in figure painting so was this just an early example of that interest? Are there any theological concerns we can draw out of the work? I haven't resolved this - some connections with French history are possible but so speculative that they seem no more than just grasping at straws.
Holman Hunt's The Shadow of Death presents the opposite problem. There is no shortage of information in multiple books on the Pre-Raphaelites and on Hunt himself. There's even a booklet in the Fitzwilliam library written by the artist at the time of the painting's first showing that explains his purpose. This is a painting with a clear didactic purpose and an underlying ideology that valorises the working man. The symbolism is detailed and was probably well understood by audiences in 1873, maybe even today, but what of it's ongoing message? What is it about in the early twenty-first century rather than in the the late nineteenth century?
Deferring these and other questions while research continues. Talking about the sabbatical project back at the Shared Church yesterday made it all seem a bit less abstract. Catching up with friends in so many places while on Tour this summer has been a real joy. Thanks to all for listening to my ramblings at various points.
So it is with Degas' David and Goliath. The representation of the subject is straighforward and the title clear. But it's impossible to know why the artist chose to begin this work or why he never finished it. Was he simply looking for a good story or was there some deeper religious intent? Degas later went on to specialise in figure painting so was this just an early example of that interest? Are there any theological concerns we can draw out of the work? I haven't resolved this - some connections with French history are possible but so speculative that they seem no more than just grasping at straws.
Holman Hunt's The Shadow of Death presents the opposite problem. There is no shortage of information in multiple books on the Pre-Raphaelites and on Hunt himself. There's even a booklet in the Fitzwilliam library written by the artist at the time of the painting's first showing that explains his purpose. This is a painting with a clear didactic purpose and an underlying ideology that valorises the working man. The symbolism is detailed and was probably well understood by audiences in 1873, maybe even today, but what of it's ongoing message? What is it about in the early twenty-first century rather than in the the late nineteenth century?
Deferring these and other questions while research continues. Talking about the sabbatical project back at the Shared Church yesterday made it all seem a bit less abstract. Catching up with friends in so many places while on Tour this summer has been a real joy. Thanks to all for listening to my ramblings at various points.
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