I was absolutely blown away by the Scottish National Portrait Gallery – it’s a high quality collection that’s also well displayed in interesting groupings that also gives a nod to wider historical trends, eg a large gallery explaining the jacobite cause and the Stuart’s visual propaganda around this, another gallery on the Italian Grand Tour, a third in Victorian imperial expansion. Well worth a visit.
Paintings top to bottom:
Kathleen Raine by Victoria Crowe; Sir William Bruce by John William Wright; the Dalyells by Victoria Crowe; Sir George Seton and sons by Adam de Colone; Culloden quodlibet by Thomas Keyes; John Campbell by Charles Jervas; apartment of the Earl of Seaforth in Naples by Pierrot Fabris: Lady Charlotte Campbell by Johann Wilhelmina Tischben
In some countries, 8 May is women’s day, so here’s a bunch more of the Vanessa Bell & Duncan Grant set that will hopefully be bought be Charleston soon and remain on public display.
The collection covered dancers (Pavlova, Taglioni), political movers and shakers (Sarah Churchill and several queens), writers (Georges Sand and Eliot), artists and muses (“La Bella Simonetta” was a subject for Bottecelli) and royal mistresses.
I recognised most of the women in set, including Dorothy Osborne, whose letters I studied at uni, but Agnes Sorel had me stumped…
Photos from my visit to the Piano Nobile gallery.
Unexpected highlight of recent trip to Paris, January 2018.
How beautiful is this statue from the antique collection at the Rodin Museum? Rodin collected Greek, Roman and Egyptian art for over 20 years and left it to the French state as part of his own works’ bequest.
I’m pretty sure that I’ve written before about how much I enjoy finding unexpected correspondences between a places, but I have a similar thing for faces.
It struck me as I was going round the Musee d’Orsay how much this Fantin-Latour sitter’s face is like a Gerald Brocklehurst from 70 years later.
Or how Berthe Morisot’s defiant face, painted by Manet in the 1860s, is exactly like this young girl’s face in Doisneau’s photo of 1957.
Or that this Bonnard really does feel like it could sit in the American Midwest.
All photos on the left of the pairs by me from the Musee d’Orsay.
It’s been a good winter for art in London this year – I can’t recommend highly enough the Cezanne portraits at the NPG, the two Opera and Balenciaga shows at the V&A or the Scythians at the BM – but the Rachel Whiteread at Tate Britain was actually rather a disappointment for such a talented artist who previously did a well-displayed installation at Tate Modern just along the river.
Instead, I say keep your visit to the ever excellent permanent collection (free), especially the wonderful Henry Moore rooms (free!), and if you want some Whiteread, this gummy bear piece in the main upstairs hall that is currently turned over to sculpture (all free).
You’re getting the point…save your £15 and just enjoy the permanent show!
All photos from last month.
Angela Burdett-Coutts was not only a formidable philanthropist and champion of Dickens, she also clearly had a good eye for a bit of gold-glitzed tartan. Joking aside, I do like how the National Portrait Gallery is finally including more women on its walls, from Georgian actresses and suffragettes to the artists themselves. About time! Follow along on their Instagram feed for more wonderful discoveries, including pieces from their recent photographic commissions.
This quirky shot of Larsen’s Winter day at the zoo from Ordrupgaard’s Instagram feed really made me laugh.
If you go to the RA (and aren’t distracted by the chicken trucks), then go to the top floor by the Sackler Wing and see if Richard Deacon’s selection of RA diploma pieces is still there. Bracketed together by Deacon’s choices there’s a subtle and varied set of sculptures which I actually enjoyed more than the exhibition I’d been to see. From the classical to the avant garde, through marble to terracotta, metals, paint and rough to smooth there as something for every eye.
All photos October 2017.