Tag Archives: Paintings

TATE BRITAIN WILL OPEN ON JULY 27th

Tate Britain on Millbank, London

‘THANK YOU KEYWORKERS’ and ‘SEE YOU ALL SOON’ banners have been put up, with the small white ‘TATE BRITAIN IS CLOSED’ board by the front door ready to be removed. The black and white banner advertising the Beardsley exhibition is on the right.

It’s great that London art galleries are starting to open, though I’m not sure we’ll be brave enough to visit them and risk there being large crowds, even if the galleries themselves are set up to regard social distancing.

As well as Steve McQueen Year 3, described as one of the most ambitious portraits of children ever undertaken in the UK, Tate Britain will continue to show the Aubrey Beardsley exhibition which opened on March 4th. Then lockdown was imposed and the gallery closed on March 17th. However, on March 30th BBC4 showed an excellent program by Mark Gatiss about Beardsley, still available on iPlayer.

I knew Aubrey Beardsley’s work from his illustrations of Andrew Lang’s Fairy Books. I can visualise the tall bookcases in the children’s section of Whitechapel Library where his books lived. I was always small for my age and had to get a librarian to hand me one down. I assume the publisher didn’t use any of his more risqué drawings, but while they were a bit frightening, I loved them.

Since Tate Britain closed, we have been going there for our Sunday walks. It is always very peaceful – the occasional jogger, a few couples with a baby in a pushchair and a little Chinese grandfather we meet every week. He leads his toddler grandson up the stairs, round the side and down again; gives us a quick smile and walks on.

Our younger son has cycled over to meet us on a couple of Sundays. When I was taking a series of Art History classes in galleries, I bought a folding stool which was much lighter than those provided by the galleries. We took it with us so we could sit on the bench at the side of the stairs and Bernard could sit on the stool the required 2m away.

After July 27th we’ll have to change where we take our weekly exercise. Hopefully, the gallery will be very busy and it might be difficult for us to keep our distance outside.

Lots more stories like this in my memoir ‘Woman in White Coat’. Buy it on Kindle at £2.99 or as a paperback on Amazon at £9.99

http://bit.ly/Woman_in_a_White_Coat

Woman in a White Coat

 

OLD DOGS AND NEW TRICKS

CityLit’s new entrance

Yes, we can learn new tricks!! I didn’t think that at age 88 Social Media were my thing but I’ve written nearly 70 posts on Facebook since last August and I regularly Zoom with the children and my Writing Circle.

Last week I started an online course at CityLit – ‘Extended History of Modern Art in 50 Works’ with an excellent young women tutor, Sarah Jaffray. There are 14 of us in the class – 10 women and 4 men. This is an unusual mix. Most Further Education classes I’ve been to have had 2 or 3 men to 25 or even 30 women. I think women generally are more likely to want to take up something new when we retire and we’re not too worried about showing our ignorance of a new subject or ‘losing face.’ Maybe that’s why we’re supposed to live longer than men after retirement.

I wonder when I will go through CityLit’s doors again. As an elderly, vulnerable, person I’ve been self-isolated for 10 weeks. Who know how many more?

Lots more stories like this in my memoir ‘‘Woman in White Coat’. Buy it on Kindle at £2.99 or as a paperback on Amazon at £9.99 http://bit.ly/Woman_in_a_White_Coat

Woman in a White Coat

Fantastic Frank Bowling at Tate Britain, London

Traingone (Mahaicony Abary, Guyana)
1996

I hadn’t heard of Frank Bowling  until I saw the program ‘What do artists do all day‘ on BBC which featured him and his work.

The big queues at Tate Britain at the moment  are for Van Gogh in Britain  but upstairs you can find Frank Bowling’s exciting exhibition.

I quite liked his earlier more representational art, but it is his  heavily textured abstract paintings that are so amazing. As you gaze at them you are drawn into some faraway place.

Art exhibitions always tempt me to take up drawing and painting again but what with Classical Greek, the Piano  and Writing the sequel ’25 Houses’ to my memoir ‘Woman in a White Coat’   I just haven’t found the time.

Perhaps next week!!

Dorothy Tanning Tate Modern London

One of Tanning’s Surrealist paintings

Dorothy Tanning ‘s Surrealist paintings (1910-2012) are very reminiscent of those of one of my favourite painters, Leonora Carrington (1917-2011), her contemporary and also a lover of Max Ernst (1891- 1976), a Dadaist and Surrealist who had left his wife for Dorothy Tanning.

Although I liked several of her surrealist paintings, I much preferred her later paintings, many from her stay at Sedonia, Arizona with Max Ernst – her abstracted ‘prismatic’ style. She wanted her pictures discovered slowly – ‘pictures that would shimmer and that you would discover something new every time you looked at them.’

Avalon (1987). begun in 1984

One of my favourites is ‘Avalon’ – painted over 3 years from 1984-1987 . It  is typical of her abstracted paintings, with parts of bodies and objects emerging from flower-like bursts of white and green.

I found her soft sculptures interesting though not particularly moving. The video at the end of the exhibition is excellent. Highly recommended.

Every time I go to an exhibition I think about taking up painting again – one of the many classes I took at Morley College and CityLit after I retired.

Read about my adventures at Further Education colleges in my memoir ‘Woman in a White Coat.’

Buy Woman in a White Coat on Kindle at £2.99 or as a paperback on Amazon at £9.99

http://bit.ly/Woman_in_a_White_Coat

 

250th Summer Exhibition Royal Academy, London. Reading #3 My Art Class from ‘Woman in a White Coat’

What a brilliant idea!!

What a brilliant idea – having Grayson Perry curate this important 250th Summer Exhibition at the Royal Academy.

 

Royal Valkyrie by Joana Vasconcelos

 

 

The brilliant mixed media sculpture by Joana Vasconcelos greets you as you enter. And I loved the Architecture Room.

 

The Architecture Room

 

Often I’ve felt overwhelmed at the Summer Exhibitions by the crowds and the works massed together higgledy-piggledy, but this year the exhibition is themed and great. It’s absolutely a ‘MUST GO’.

This fabulous exhibition  made me feel I ought to get out my paints and pastels and start painting and drawing again. After I retired in 1991 I went to a wide variety of classes including drawing and painting.

Hear about the Art Class at the Mary Ward Centre in Queen Square I attended after I retired in 1991 in this excerpt from my memoir Woman in a White Coat’  – Chapter 26 pp 355-356 and pp 361-363

Woman in a White Coat’  is available on Kindle at £2.99 or as a paperback on Amazon at £9.99

Chapter 26 Woman in a White Coat

I enrolled for lots of classes, some at one Further Education college and some at another – painting, drawing, cooking, history of art, Spanish, creative writing, pottery, dressmaking, machine knitting, felt making – everything I hadn’t had time for when I was working. It wasn’t just that I hadn’t had the time, I hadn’t had the inclination. My mind was always so full of work. Even when I was at the theatre, I would find myself thinking about a difficult diagnosis or a hiccup in our research.

Continue reading 250th Summer Exhibition Royal Academy, London. Reading #3 My Art Class from ‘Woman in a White Coat’

The EY Exhibition Picasso 1932 – Love, Fame, Tragedy; Tate Modern London

An incredible exhibition of works carried out by Picasso in only one year – 1932.  Great to exhibit so many paintings I’ve never seen before and, for once, with labels large enough to read with ease.

Hard to believe one man could produce this much work in one year though much of the colour is in flat sheets. A  film of Picasso painting on glass showed just how quickly he could draw. However, I would defy him to produce this number of paintings in the styled of Las Meninas by Velasquez that he admired and of which he painted simplified derivative images.

A few sculptures and examples of his ceramics as well as images of his ‘castle’ in France.

Tate Modern has done it again!!

Woman in a White Coat still doing well. many thanks to my readers.

Dan Colen’s ‘Sweet Liberty’ at Damien Hirst’s Newport Street Gallery, London

Dan Colen at the Newport Street Gallery

Another fun exhibition – Dan Colen’s ‘Sweet Liberty’ –  at Damien Hirst’s spacious Newport Street Gallery has now  been extended until January 28th.

Note: There seem to be road works everywhere in Westminster so if you’re driving be persistent – there is a way through!!

Colen examines notions of identity and individuality, set against a portrait of contemporary America.

Haiku (2015-17)

His works are said to be read as self-portraits. Colen (born 1979 in New Jersey) must have been feeling quite down when he made this big sad Scooby Doo (Haiku 2015-17).

There are a variety of fascinating shapes punched through the walls (Livin and Dyin) of Wile E. Coyote, Kool-Aid Man, Roger Rabbit and of Colen naked. The walls are around 1 foot thick. I wonder how they were originally knocked through and whether they will be made good completely or become a permanent display.

Untitled (Me and You) 2006-7

This mysterious painting Untitled (Me and You 2006-7)  is one of my favourite works from this exhibition. It is one of a series of Colen’s paintings based stills from Disney’s Pinocchio showing a candle on the workbench of Pinocchio’s creator – Geppetto.

 

Charles II: Art and Power, Queen’s Gallery, Buckingham Palace

Charles II with his symbols of power

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.

Ornate gold Plate

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.

A print of Nell Gwyn 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.

Read about my attempt at becoming a fine artist in my memoir Woman in a White Coat

Modigliani at Tate Modern, London

At Tate Modern until April 2nd 2018

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?

Great selection of prints to buy

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.

And if you’re not into Art – have a swing instead!!

‘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.

 

Monochrome at the National Gallery, Trafalgar Square, London

Monochrome was 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.

‘La Grande Odalisque’ in black and white. The pillars are in the glaring yellow colour of the last room of the exhibition

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.

Ingres’s La Grande Odalisque in colour

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.

Image of a young girl painted to look like a photograph

 

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.