Charles II: Art and Power – another fascinating exhibition at the Queen’s Gallery, Buckingham Palace, more interesting for it’s historical significance than the paintings. After his execution in 1649 most of Charles I’s art collection and other valuables were given away or sold by Oliver Cromwell and his party and few of value were returned.
The Collar Charles II (1630-1685) wears in this painting by John Michael Wright (1617-1694) shows that he is a member of the order of the garter; the Orb represents Christ’s Authority over the world and symbolises that he has been chosen by God to rule; the Parliamentary Robes which are made of crimson velvet with an ermine fur cape and gold lace decorations, represent Charles II’s role as head of state.
Charles II was determined to make his reign as different from that of the Puritans as possible commissioning a variety of valuable artefacts and numerous prints and paintings of himself.
This rather vulgar set of gold plate is typical of his commissions.
He also commissioned paintings and prints of his numerous mistresses including this delightful print of Nell Gwynn as Venus.
The print was adapted from a painting by Correggio which had been in the collection of Charles I. There are numerous paintings of his many other mistresses – I lost count of how many illegitimate children he fathered – as well as of his wife, the unpopular catholic Catherine of Braganza
In spite of his decree that all off Charles I’s paintings be returned, in fact very few were given back to the throne, mainly from the English.
Starting January 27th 2018 a blockbuster exhibition of Charles I’s paintings collected from the other beneficiaries of Cromwell’s distribution opens at the Royal Academy, London – ‘Charles I: King and Collector.
When my daughter, Louise, and her family come to England for the New Year, Easter and in August, I cook their favourite foods.
Daniel, as a strapping nearly 18-year old, loves desserts in general and Plum Traybake in particular. I can’t remember where the original recipe comes from but it’s one of those that work every time.
As well as Louise’s family, our elder son, Simon, and Bernard and his girlfriend, Jo, came to dinner. It was Josh’s turn to cook but I made the dessert while he cooked a vegetarian cottage pie – Bernard is a vegetarian.
Happy New Year – and many more to come for all of you wonderful people who have been following my blog and reading my memoir ‘Woman in a White Coat.’
Always great having Louise and her family over from the Basque Country for the New Year and Simon and Bernard and his girlfriend coming to dinner tomorrow. Has to be vegetarian for Bernard and Josh is cooking vegetable cottage pie. I’m going to make the desert – Plum Traybake.
Louise made a great flyer to take to independent bookshops. A few have agreed to stock my book.
Last Sunday we went to see the exhibition of designs by Jewish artists who had fled the Nazi occupation of Europe. It was mainly graphic designs but also the Raleigh bicycle and the toy helter-skelter that gave children so many happy hours.
This magnificent 300-year old brass Menorah was lent by the United Synagogue. There were small menorahs to buy in the shop and a Roman coin on display that had a menorah on it.
I always feel proud to be Jewish and British when I visit the Jewish Museum. This time the temporary exhibition was mainly of graphics by Jewish refugees from war-torn Europe ravaged by the Nazis.
The permanent exhibition chronicles the repeated resistance to immigrants in the past – not only Jews but the irish and Huguenots. When will people accept that the influx of people with different skills and cultures enrich our society?
Our elder son, Simon, and his wife came to tea on their way to a party and I’m always glad of an excuse to bake a cake.
This fruit cake is one of my favourites. I always toss the fruit in a little of the flour so it doesn’t all sink to the bottom but is evenly distributed through the cake.
We’d been having a bit of a smashing time lately – sorting out the mugs chipped in the dishwasher and we’re always looking out for new designs. I found this one in the V&A gift shop when I last visited . The design is adapted from one of William de Morgan’s.
We have a full Thomas white china tea service but we’ve stopped getting it out even for our poshest visitors!!
Josh and I take turns cooking dinner and on Tuesdays I cook and we always have soup, which is much nicer with home-made bread.
Sometimes we have slices of freshly made granary or wholemeal bread but there is something special about having individual mini-loaves. Josh doesn’t really care for caraway seeds so though these are delicious, next time I’ll leave out the caraway.
Modigliani (1884-1920) another blockbuster exhibition at Tate Modern with difficult-to-read text. In my view, if a painter chooses to give his/her painting a title, the viewer should be able to find it easily. All round this otherwise superb exhibition there were people peering at the almost unreadable text, hardly different in colour from the background. Why can’t the Tate take a leaf from the Courtauld and other galleries that actually care about their visitors?
What a great time to live in Paris at the turn of the 20th century!! Not only Italian born Modigliani but his friends Soutine, Picasso and Brancusi amongst others. Diego Rivera even stayed with him for a time.
‘ONE, TWO, THREE, SWING!’. SUPERFLEX Hyundai commission in the Turbine Hall and in the grounds outside. Have a swing if you’ve had enough of looking at ART.
Monochromewas one of those exhibitions at the National Gallery that I booked for more out of a sense of duty. How wrong I was!! it was fantastic. It was amazing that drawings and paintings looked so much more 3D in black and white than in colour.
Ingres’s (1780-1867) La Grande Odalisque was so much more sensual and fleshy in monochrome than in colour. You have to go to the exhibition and see Ingres’s own black and white version to see just what I mean.
The paintings and drawings of stone sculptures were so life-like you could imagine that seen by candlelight without bright daylight or electricity viewers would believe they were real. Some incredible trompe l’oeil. A must see.
Once photography became commonplace, some artists regarded it as an enemy. Others like the author of this delightful portrait of a young girl meant his work to be like a photograph. Artists were told to Imitate,Rival or Challenge.
My only caveat. The last room deigned by Olaf Eliasson was lit entirely in very bright yellow – ostensibly to make it easier to see details. But I ended up with flickering lights behind my left eye for ages. I think there should have been a warning and the possibility of missing that room – though I couldn’t have known it would affect me so adversely.