Tag: Art

Terrific exhibition at the British Museum, which, among other things, tells the stories of the Iliad, the Odyssey and, to an extent, the Aeniad, through the artefacts of the ancient world, I recommend it very highly. Beginning with the marriage of King Peleus and sea-nymph Thetis, to which the goddess Discord was not invited, through to depictions of the characters in the Trojan epics in more recent art, this exhibition immerses the visitor in the world of Troy, the imagined as well as the archaeological city.  I spent several happy hours in it yesterday (and will be returning next week).

The words of Homer’s epic poems feature through-out, as you would expect, though Virgil gets a look-in too. The exhibition begins appropriately, with the opening lines of the Iliad ‘Rage – Goddess sing the rage of Peleus’ son Achilles‘.  Quotations sprinkle the show and there are recorded readings, in Greek and English.  The Roman bust (left) of Homer as blind poet can be found at the start, it is a copy of an older Greek original.  Statuary, in marble and, on a smaller scale, in metal and on stone sarcophagi features.  So do ceramics.

I had forgotten just how exquisite the painted decoration of Greek ‘red ware’ and ‘black ware’ was, from the coloured figures, like those on the large two handled pot depicting Achilles killing Amazon Queen Penthisiliea (right) or the Judgement of Paris on a wine krater, to the delicate line drawings showing Briseis being led away from Achilles’ tent.  I will also remember the stone bas relief showing this scene, with Achilles looking away in anger, but Patroclus placing a consolatory hand on Briseis’ shoulder as she is collected by Agamemnon’s soldier. A tender gesture.

It is testament to the power of the ancient story that the characters live so vividly again. But then, the story has been told and retold, as evidenced by the lines from the epics scribbled by ancient Roman children on the papyri copy books displayed. Its retelling is brought bang up to date with the poster from the, much derided, 21st century Hollywood film Troy and modern versions of The Judgement of Paris – photographic – and The Siren’s Song ( see left for the ancient depiction, below for the modern collage by Romare Bearden ).  Aficionados of the male body please note, Brad Pitt has quite a lot of competition in the buffed masculinity stakes, though it’s interesting that, even where a ‘hero’ such as Odysseus is obviously beyond youth and is depicted on artefacts with an older face, his body is still drawn as youthfully ideal. Hollywood’s fixation with perfect bodies is nothing new.

There is a very interesting section on the real city of Troy, or what we now believe is the real city. Not Schliemann’s much too early, if appropriately burnt, discovery but a later version. I didn’t realise just how many Troys there were, built on top of one another, but there are informative graphics showing just how these cities developed and when.  Indeed the whole exhibition is  well organised, with clearly written and illuminating captions. Technology, from the annotated drawings in light of various pieces of complex decoration to help the viewer unscramble some of the detail, to the videos showing the massing levels of the different Troys is used cleverly and well.

Personal favourites – the bas relief in which Paris looks thoroughly bored as Helen is loaded, along with the other treasures, on to his ship and the wonderfully evocative Fuseli drawing of the grief of Achilles as he kneels over Patrolus’ body.

The exhibition runs until 8th March and costs £20 to enter ( concessions £17 ). It is popular, so don’t leave it until the last minute, it will be very crowded. It took us two and a half hours to go round, taking a look at just about everything, ( though there were at least two school parties to deal with ).  It may take longer if it is even more full.

…is what one gets at the Dennis Severs House, or 18, Folgate Street, Spitalields, E1.  Not quite a fleeting glimpse of those people who have just left the room, who were eating that meal just before you walked in, or smoking that pipe, or baking that loaf.  Whose wig sits on the wing of the chair? Or whose floral perfume scents the formal withdrawing room?

18, Folgate Street is an 18th century house (1724) which has been preserved and restored and, during his lifetime, lived in, by Dennis Severs, the American artist and storyteller, who died, aged only 51, in 1999. Twenty years after purchasing the house he saw the Spitalfields Trust buy the house and commit to keeping it going, when on his death-bed.  It’s still going twenty years later.

The House is chock-full of antique furniture and fol-de-rols, china, costumes, tapestry and tat, but all in period. So is the lighting, mostly candlelight, but some gas-light in the Victorian rooms. We visited on a sunny Monday lunchtime so it was relatively light, but the house is most often open in the evenings, from 5 – 9pm Mondays, Wednesdays and Fridays and on Sundays ( see Tours ).  I imagine that then it is even more atmospheric, though it would also be more difficult to see the multiplicity of objects on show, often close together.

Severs created an imaginary family of Huguenot silk-weavers called Jervis to inhabit the house and it is their homely detritus (and comestibles) that one comes across as one climbs the narrow stairs, either down to the kitchen and cellar, where there are the supposed fragments of St Mary’s, Spital (1197) and the warmth of an iron range and the smell of…what is that smell?  Or upwards, through fashionable London entertaining to the elaborate boudoir and then up beneath the eaves to the penurious lodgers’ rooms.

Scent is something the House does well, as is sound – the ticking of a clock, the half-caught chatter, like Eliot’s rose garden ‘full of children, Hidden excitedly, containing laughter’ in Burnt Norton. Visitors are asked to walk around the house, on a pre-determined route, in silence, so that this sound track has full effect. There are wordless guiders, who will direct you if you go wrong.

There are other symbols of life lived in the house.  The half lemon on the mantlepiece, the half drunk glasses of sherry on the card and occasional tables, the cheese and bread in the kitchen.  I like to think of the guiders going round each morning setting everything fresh into position, spraying the scents and lighting the candles ( there are piled candle ends in several rooms, today’s occupants being as thrifty as Madame Jervis could have been ).

It takes about 45 minutes to walk through the house and costs either £10 on Monday lunchtimes, or £15 in the evenings ( a guided tour is available for groups at £50 per person ).  We arrived at about 12.45 on Monday lunchtime and had to wait for a further twenty minutes, in a queue, as only small numbers are allowed in the house at any one time.  Once inside, you realise why ( people were smaller then ).

It’s an unusual and, for me, unique, experience and well worth visiting.

For more visiting of history try                        Undiscovered                  The Real Thing      Mother of Parliaments                           An Old Prospect                     Metamorphosis                    Waterloo

All photographs are from the House web-site, photography inside the House not being allowed.

This year’s Spring exhibition at 2, Temple Place is a collaboration with Museums Sheffield and the Guild of St George to bring together a range of paintings, drawings, metal works and plaster casts to celebrate the work and legacy of John Ruskin (1819 – 1900).

Ruskin was an only child, his father was a wealthy sherry and wine importer, partner in Ruskin, Telford and Domecq, his mother an innkeeper’s daughter. Both parents were fiercely ambitious for their son and he grew up in a hothouse atmosphere in Herne Hill, south London.  A road there bears his name today.

He first came to the attention of the art world with Modern Painters (1843) written while Ruskin was still at oxford. It was a passionate defence of the art of J.M.W.Turner and redefined art criticism of the day.  It brought him to the notice of luminaries such as Elizabeth Gaskell and Charlotte Bronte. This was followed by Modern Painters II (1846) written while on the Grand Tour with his parents. He married Effie Gray, the young daughter of a family friend in 1847. Together they journeyed to Venice where Ruskin worked on perhaps his most famous three-volume work The Stones of Venice (1851-1853). It was in The Nature of Gothic chapter in Vol II that he set out his belief in artisanal integrity and attacked industrial capitalism which had such an impact on socialists like William Morris and the Arts and Crafts movement.

The marriage was, apparently, unconsummated ( though Ruskin contested this ) and was subsequently annulled in 1854, though not before major scandal when Effie left Ruskin for John Everett Millais. Ruskin had championed the Pre-Raphealites and continued to do so, even providing a stipend for Elizabeth Siddal, Rosetti’s wife, to encourage her art.  He also became a firm friend of William Morris and Edward Burne-Jones. These friendships are documented in the exhibition, as is his late crossing of swords with James McNeill Whistler.  While the case bankrupted Whistler, it also tarnished Ruskin’s reputation and may have contributed to his mental decline. I have never understood how a devotee of Turner’s art could have denigrated Whistler’s and that isn’t something which is tackled here.

The exhibition shows items from the Ruskin collection at Sheffield including his Turner paintings and Durer engravings ( loved the cat ) as well as many of his own drawings and paintings.  In addition there are newly commissioned pieces exploring the legacy of Ruskin, from Timorous Beasties, Grizedale Arts, Hannah Dowling and Emilie Taylor.  I very much enjoyed Dan Holdsworth’s moving image Acceleration Structures, based on the peaks and crevasses of three Alpine glaciers above Chamonix, where Ruskin would sketch and paint.

Ruskin died at Brantwood House, on the shores of Coniston Water in January 1900. Lionised in his lifetime, his reputation suffered in he early years of the twentieth century, but his international influence continued, with his works translated into Russian ( Tolstoy was a fan ) into French by Proust and Gujarati by Gandhi. Architects, writers and educationalists, politicians and thinkers all acknowledge their debt to him.

The exhibition ends on 22nd April, so only three days left. It is FREE to enter.  A very good idea if you want something interesting and stimulating to do on a sunny Easter weekend. More details on the web-site here.

For more on the Pre-Raphealites, Arts and Crafts and earlier Temple Place exhibitions try                Edward Burne-Jones                      Arts and Crafts                      Walking Burne-Jones        Beyond Beauty                    Rhythm  Reaction: the Age of Jazz in Britain 

On Friday to leafy Ealing to see the newly opened, refurbished Pitzhanger Manor. country house and showcase for architect and collector Sir John Soane, with its attached art gallery. In the sunshine Ealing looked leafy indeed, with its Common and Green ( who knew, not me, certainly ). Still there, set back from the Uxbridge Road, the original Ealing Studios where so many classic films were made. We even found a handsome Georgian/early Victorian hostelry named The Sir Micheal Balcon, after the legendary producer and head of the studios in its heyday.

Sir John Soane’s house sits on Mattock Lane, Ealing Green, its neo-classic frontage and garden now behind a formal war memorial.  Entrance gates are to the right hand side of the formal gardens. Inside it is less chaotic – less mad – than his house and museum on Lincoln’s Inn Fields, but it still demonstrates his distinct architectural style and idiosyncratic and impressive design. The interior has been meticulously restored to a very high standard, including the hand-painted and beautiful ‘chinese’ wallpaper in the gloriously light drawing room, the exquisite ceilings and ‘marbled’ walls.

The oldest part of the building is the south wing, which was build by Soane’s first employer George Dance and which Soane retained, demolishing the rest of the mansion and rebuilding it, including a colonnade of ‘ruins’, which now links the main house and the modern gallery.

Inside there is his trademark use of space and light, the arched ceilings, friezes and roundels, niches and other stone decoration, like the caryatids in the ground floor room, front right. It isn’t a large house and Soane uses a designer’s tricks to fool the eye, drawing the gaze through open, often mirrored doors, from room to room to give the impression of greater space. The entrance hall goes straight through the house to the long gallery at the rear and doors open off it, as well as rooms having linking doors between them.  The main staircase, of iron and stone, is off to the left beneath a large and elaborate skylight.  Jet, marble in various colours and, very clever, wallpaper of fake marble make the interior very dramatic.

I loved the long glass gallery which runs across the rear of the house and overlooks what would have been the private gardens, including a lake with rusticated bridge.  These have now been merged with Walpole Park (1901) a public park which includes another lake, formal gardens and a sporting pavilion. I also loved the two huge rooms in George Dance’s wing, the dining room on the ground floor and salon or drawing room on the first. I’m not surprised that Soane couldn’t bring himself to demolish this even if it means that the whole Manor has a rather lop-sided look.

On the other side of the central classical building there is a modern conversion of the old kitchen buildings into Pitzhanger Gallery. The current exhibition is by Anish Kapoor and it complements Soane perfectly. Kapoor’s mirrored and sculpted discs and boxes play with light, vision and sound just as Soane’s interiors do, tricking the eye.  The pieces are interactive and huge fun. A gallery employee told us that he saw something new in each of the pieces every day he turned up for work and took great pleasure in watching visitors play with the distortions. We certainly enjoyed doing so, taking photographs into the sculpted mirrors which captured one of us upside down in the middle ground while the other was the right way up nearer to the piece.

Entry to both house and Gallery is £7.70 (£4.95 concessions).  I recommend it highly, especially while the Kapoor is on, until 18th August.  Ealing Broadway is the nearest tube and rail station, turn left out of the station and follow the signs for Ealing Green (not Ealing Common as we did).  There are signs painted on to the pavement. There are plenty of places to eat and drink on the High Street.