Tag Archives: london

Caught in the act midair

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TO CAPTURE A DETAILED IMAGE of a hawk attacking a bird in mid-air using photography would require a decent camera with a good lens and a high shutter speed. Yet, in about 1832 – long before cameras with high shutter speeds existed – the painter Edward Landseer (1802-1873) depicted a hawk attacking another bird high above the ground. He did not use photography. He created his picture on canvas with his paintbrushes and oil paints. His painting, “Hawking in the Olden Time”, hand in north London’s Kenwood House where I saw it today, the 11th of April 2023.

Clearly, Landseer’s image is a painting, but it contains as much detail as a reasonably good photograph. It must have taken him very much longer to execute than the fraction of a second that the event – the attack, which he captured on canvas, lasted in real life. Was his visual memory so good that he was able to hold a detailed memory of that instant in his head whilst he painted it? Although I doubt it, that possibility cannot be ruled out.

As I stood in front of the picture, pondering about it, another theory entered my head. During the nineteenth century, the art of taxidermy had reached a high degree of development. For example, the British ornithologist John Hancock (1808-1890) was an accomplished taxidermist. One of his works, “The Struggle with the Quarry”, which is in the Hancock Museum (in Newcastle upon Tyne) consists of one stuffed bird attacking another, and at first glance makes one think of Landseer’s painting. Although this was created after Landseer made his painting, the art of taxidermy had already begun to be perfected by taxidermists such as Louis Dufresne (1752-1832). So, when I was standing in front of the painting at Kenwood and thinking that Landseer might well have used a work of taxidermy as a model for his picture, I might not have been mistaken.

Kenwood House contains one of London’s best collections of old master paintings outside the city’s major public art galleries. Each time I visit it, I discover something that I had not noticed before. I am sure that I had seen the painting by Landseer, but it was not until today that I gave it more than a passing glance. Today, while walking around the house with some friends who had never been there before, we stopped in front of the painting of mid-air carnage and wondered how this image had been created before modern photography had been invented. Maybe, what I have written provides the answer.

Revealing the soul. Alice Neel.

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DESCRIBED AS THE FIRST living artist to have had a retrospective exhibition in the Soviet Union, the American painter Alice Neel (1900-1984), there is a superb exhibition of her art at the Barbican Centre in the City of London until the 21st of May 2023. Alice, who was born in a small town in Pennsylvania, led a colourful life – and by this, I am not referring only to her paintings. Politically, she was leftward leaning. In 1935, she joined the US Communist Party and remained a member throughout the McCarthy era and after it. She participated actively in anti-fascist activity before WW2. Some of the portraits she painted were of Marxists and members of the US Communist Party. Maybe, it was this political activity that got her, her family, and her paintings invited to Moscow in 1981. She was a Communist but objected to the bureaucracy associated with the Party. In late life, when she was asked about her political views, she replied that she was “an anarchic humanist.”

During the Great Depression that hit the USA in 1929, President Franklin Delaney Roosevelt initiated the New Deal programme to deal with the unemployment crisis. In 1933, as part of this the Public Works Art Project was set up, and Alice joined it immediately. She was paid US $26.88 per week to produce a painting every six weeks. Her works done for this organisation and its successor, the Federal Art Project of the Works Progress Association, depicted urban scenes of adversity and social injustices. These paintings were her own brand of Socialist realism. I liked what was on display.

Alice remained a figurative artist throughout her life and throughout the period when most of her fellow American artists were moving away from the figurative and increasingly towards the abstract. The highlights of the exhibition are her portraits, some of them of subjects who have removed their clothing. In all of her portraits, she gets beneath her subjects’ clothing or external appearance and portrays not what a conventional portraitist depicts, but the personalities of her subjects as she understood them. The results were not always liked by her subjects, but the viewer can get much more of an idea of what the people would have been like had we been lucky enough to meet them. Like the Victorian photographer Julia Margaret Cameron (1815-1879), Alice’s portraits are not a slavish reproductions of nature but a wonderful attempt to portray what lies beneath the surface – the subject’s soul and character. She once said:


“As for people who want flattering pictures of themselves, even if I wanted to do them, I wouldn’t know what flattery is. To me, as Keats said, beauty is truth, truth beauty … I paint to reveal the struggle, tragedy, and joy of life.”

Included at the Barbican’s exhibition, there is a documentary film about Alice made by Nancy Baer. Alice was filmed in various situations, and comes across as a delightful person. Some of the scenes in the documentary show her at work on a portrait. What impressed me when watching these scenes in her studio was her ability to create straight from life unwaveringly. She looked at her subject and without faltering painted elements of the portrait that did not need adjusting. Her eye-brain-hand coordination looked to be superb.

Returning to the Moscow exhibition, the “Morning Star” newspaper (https://morningstaronline.co.uk/article/c/rebel-cause), which praised the exhibition, pointed out:


“…a wall text incorrectly refers to Neel’s 1981 Moscow exhibition as being by the “first living artist to have a retrospective in the Soviet Union,” whereas many artists including Yuri Petrov-Vodkin, Alexander Deyneka, Pablo Picasso and Fernand Leger had exhibited there from the 1930s onwards.”


They may well be right, but whether the artists mentioned were showing a few of their works rather than a retrospective covering their whole output until the date of the exhibition, is a question I cannot answer. In any case, it was no mean achievement to have been both invited to exhibit in Moscow during the Cold War and to have been elected to the American Academy and Institute of Arts and Letters (in 1976).

Once again, I must admit my ignorance: Alice Neel was an artist who was new to me. However, I am pleased that she is now on my radar. I can strongly recommend visiting the exhibition at the Barbican for an exciting visual feast.

Tokenhouse Yard

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ST MARGARET LOTHBURY CHURCH stands on Lothbury, facing the north side of the Bank of England. It is, so the rector told us, the only one of the churches designed after the Great Fire of London (1666) by Christopher Wren, which did not suffer damage during WW2. It contains some beautifully crafted wooden features including a choir screen originally erected in the Church of All Hallows the Great (demolished 1894) in about 1683. In a side chapel, my wife spotted a gravestone that aroused our interest.

The black grave stone is to commemorate the Barnes family. The name at the top of the carved inscription is “James Barnes Jnr” of Tokenhouse Yard, who died in 1830. Other members of the family, who died later than him are listed below his name. What interested us was James’s address. Tokenhouse Yard, which is just under 100 yards in length, still exists and runs in a northerly direction beginning a few feet away from the west end of St Margaret’s church.

Tokenhouse Yard was laid out by the economist Sir William Petty (1623-1687) during the reign of King Charles I on land which had been occupied by the house and garden of the Earl of Arundel. Petty was, in addition to being an economist, a physician, physicist, philosopher, and one of the first members of the Royal Society. According to an online history of London (www.british-history.ac.uk/old-new-london/vol1/pp513-515) the Yard:


“… derived its name from an old house which was once the office for the delivery of farthing pocketpieces, or tokens, issued for several centuries by many London tradesmen. Copper coinage, with very few exceptions, was unauthorised in England till 1672.”


Daniel Defoe (c1660-1731), who was a child when the Great Plague broke out in London in 1665, later wrote that he remembered terrible sounds and scenes in the then densely populated, and probably somewhat squalid Tokenhouse Yard, many of whose inhabitants were infected. As it was during the worst days of our recent covid19 pandemic, back in 1665 there was nobody out in Tokenhouse Yard. He wrote:


“Passing through Tokenhouse Yard, in Lothbury, of a sudden a casement violently opened just over my head, and a woman gave three frightful screeches, and then cried, ‘Oh! death, death, death!’ in a most inimitable tone, which struck me with horror, and a chilliness in my very blood. There was nobody to be seen in the whole street, neither did any other window open, for people had no curiosity now in any case, nor could anybody help one another. Just in Bell Alley, on the right hand of the passage, there was a more terrible cry than that, though it was not so directed out at the window; but the whole family was in a terrible fright, and I could hear women and children run screaming about the rooms like distracted; when a garret window opened, and somebody from a window on the other side the alley called and asked, ‘What is the matter?’ upon which, from the first window it was answered, ‘Ay, ay, quite dead and cold!’ This person was a merchant, and a deputy-alderman, and very rich.”

Today, few, if any, people live in Tokenhouse Yard. It is now lined with office buildings, some quite elegant. At the north end of the Yard, there is a large decorative terracotta coloured Victorian edifice – number 12, named Token House. This was built for Huth’s Bank in 1872 to the designs of EA Gruning, a German immigrant. The bank was founded by another German – Frederick Huth (1777-1864). Today, the building houses offices.

An archway in the façade of Token House is the entrance to a covered alleyway – effectively a tunnel – that leads to Telegraph Street. This is so-named because it was near the building housing the Electric and International Telegraph Company (founded in 1855). Of interest, if you happen to be in the area, there is a nice coffee house, Ravello, on this street.

The Fire of London destroyed many buildings in 1666. Although these were replaced by newer ones, many of which have been demolished since, the conflagration did not destroy the medieval street layout of pre-Fire London. Thus, today we can enjoy the quaint narrow streets of yesteryear even though many of them, including Tokenhouse Yard and Telegraph Street (formerly the eastern part of ‘Great Bell Alley’) are lined with buildings constructed after Queen Victoria ascended to the Throne. The archaic network of streets in the old City of London add charm to what otherwise would have become a far less interesting urban area.

Before we began carrying personal water supplies

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LONG BEFORE LONDONERS began the current fashion of carrying bottle of water wherever they go, the city’s inhabitants had to rely on water sources such as hand-operated street pumps. Although there are still a few functioning public drinking fountains in London, there are no usable pumps to be found. However, a few of them have been kept as historic monuments. One of these is located on the north pavement of Cornhill, a few yards east of the Royal Exchange building.

The pump, which is now kept looking like new – except that it no longer works – was set-up in 1799. On one of its four sides, the manufacturers, Phillips & Hopwood (“Engine Makers”), have included the information that the pump was paid for by the Bank of England, the East India Company, Fire Offices (i.e., insurance companies), and the “bankers and traders of the Ward of Cornhill”. The inscription on this side of the pump also mentions that the it was erected above a well that had been discovered and enlarged.

On another side of the pump, that facing south, there is a brief history of the well. It was first dug before 1282 when Henry Wallis (aka Henry le Walleis; died 1302), thrice Mayor of London, built a “House of Correction” on the spot. This was a prison for “night walkers” and was known as “The Tun”. Stow writing his “Survey of London” in 1598, noted that the prison was built of stone and (preserving Stow’s spelling) we learn:
“In the yeare 1298. certaine principall Citizens of London, brake vp this prison called the Tunne, and tooke out certain prisoners for the which they were sharply punished by long imprisonment, & great fines, as in another place I haue shewed.
In the yeare 1401. this prison house called the Tunne was made a Cesterne for sweete water conueyed by pipes of Leade frõ the towne of Tyborne, and was from thence forth called the conduite vpon Cornhill: Conduite vpõ Cornhill.Then was the wall planked ouer, and a strong prison made of Timber, called a Cage, with a payre of stockes set vpon it, on the top of which Cage was placed a Pillory for the punishment of Bakers offending in the Assise of Breade: for Millers stealeing of Corne at the Mill: and for baudes Cage, stockes and pillorie vpon Cornhill.and scolds &c.”

By the time the pump was set-up, the prison had long since gone (? demolished). How and why the well was rediscovered, I cannot say, but it was, and its water became accessible by using the pump. The top of the pump serves as an advertisement. At the top of each of the four sides of the pump, there are symbols, which people would have recognised as being the trademarks of four insurance companies in existence at the time that it was established. Back in the 18th and early 19th centuries, firefighting services were provided by the insurance companies. The trademarks of insurance companies were placed on buildings so that firefighters of each insurance company could recognise which houses had paid for policies that made them eligible to be saved by the firemen.

Today, firefighting is no longer provided by insurance companies, and water is no longer available from public pumps. So, it is not surprising to see many people wandering around London with their own supplies of drinking water – in plastic bottles and other containers. What does surprise me is that when I was younger, in the 1960s and 1970s, one hardly ever saw people carrying their own drinking water. Now, it is quite common to see people sipping from their personal water carriers. Have people become thirstier recently, or what is it that makes them feel that they should never be without a portable supply of potable water?

The hole truth

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AFTER AN INTERESTING visit to the Bank of England’s museum, we headed north east to Brick Lane. Our destination was Beigel Bake at number 159. Not to be confused with its near neighbour, Beigel Shop, the far superior Beigel Bake, which is open 24 hours a day, was established in 1974. Although now a separate business from the Beigel Shop, the two places were originally the same business, as is recorded in an online article (https://londonist.com/london/food/things-you-probably-didn-t-know-about-beigel-bake):
“Although widely seen as rivals, the two shops were originally owned by the same family. Brothers Asher and Sammy Cohen started off working for another brother at The Beigel Shop next door, but eventually branched out to 159 Brick Lane in 1976. When the brothers aren’t putting in a shift, Nathan Cohen, one of two sons can be seen overseeing the sale and production of the 2,000-3,000 beigels baked in-house every day.”
I am uncertain whether the brothers are still with us or whether Nathan still oversees the place. In any case, Beigel Bake is well worth a visit. We did so today, the 4th of April 2023.

A few weeks earlier, we ate salt beef (Reuben)sandwiches at Selfridge’s Brass Rail eatery, which I have described elsewhere (https://adam-yamey-writes.com/2023/03/25/the-brass-rail/). We went to Brick Lane both because we were hungry and, also because we wanted to compare the salt beef on offer there with that we ate at Selfridges. After waiting in a long, but fast-moving queue, we were served our beigels, stuffed full of warm salt beef, some mustard, and slices of pickled gherkin.

Beigel Bake salt beef in a beigel (bagel)

As the Beigel Bake does not offer any seating, one has to eat the generously filled beigels elsewhere. At the Brass Rail, you can sit at a comfortable table, where a waiter brings the salt beef sandwich to you. The salt beef served at Beigel Bake is much tastier than that at the Brass Rail. Unlike the latter, Beigel Bake does not put sauerkraut and cheese into the sandwich. Without those ingredients, the salt beef tastes far superior to when they are present. In addition, the beigel suits the salt beef much better than the rather soft bread used at the Brass Rail. In brief, to my taste the Beigel Bake offering is far superior in all respects to that of the Brass Rail.

As mentioned, at the Brass Rail you can sit and eat your sandwich comfortably. However, currently the sandwich costs £14.95 to take-away (more if you eat-in). In contrast, a salt beef beigel with pickle and mustard, currently costs £6.00 at Beigel Bake. What you get at the Brass Rail is definitely not worth £8.95 more that at the less pretentious Beigel Bake, and it seemed like there was more beef in the latter’s offering than in the former.

A word of advice: do not bother with the nearby Beigel Shop even if there is a long queue at Beigel Bake – it is well worth the wait.

Freshly painted frescos at Tate Britain

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FRESHLY PAINTED FRESCOS

UNTIL I WAS SIXTEEN, my parents took me to Florence (Italy) every year, except in 1967 – the year after the city had been devastated by a flood. My parents were crazy about Italy, the Italians, and Italian art. In Florence, we used to view many frescos in churches and palaces and even those removed from their original locations and placed in museums.

Traditional fresco painting was a laborious process, which produced durable images on walls and ceilings. To create a fresco, first a couple of layers of plaster are applied to a surface (wall or ceiling) and allowed to dry. Then, the artist(s) sketch the image that will eventually be created. Next, a part of the sketch is covered with fresh plaster. The extent of this is the area which the artist can paint during one day. While the plaster is damp, the artist paints that section of the picture with water-based coloured paints. As the plaster dries, the paint becomes incorporated within it, producing a surface more durable than if the paint had been painted onto dry plaster. Day by day, section by section, the process is continued until the whole image has been finished.

I mentioned that some frescoes have been moved into museums. The Italians developed a method for doing this. The fresco to be moved is covered with a cloth sheet coated with adhesive, Then the cloth is pulled away from the wall or ceiling. As it is peeled away, it takes with it that layer of the fresco that contains the paint-absorbed layer of plaster. When this layer has been removed, the artist’s sketch becomes revealed. This is of great interest to historians of art, who can learn how the artist developed his final product from his original sketch. This whole process fascinated me when I was a child, and still amazes me.

Most of the great Italian frescos were created many centuries ago, and the process has fallen out of fashion. Well, at least that is what I believed until I visited a lovely exhibition at Tate Britain. On show until the 7th of May 2023, it is a display of works created by Hannah Quinlan (born 1991) and Rosie Hastings (born 1991). They have created six large, colourful images depicting, to quote the Tate’s website:


“…street scenes showing groups of people portraying various power dynamics, class and social relations and positions of authority.”


Attractive and fascinating as these works are, what really intrigued me is the way that they were made. The paintings, which have been created during the last few years, have been executed using traditional fresco technique such as I described above. In an interview recorded on the Tate website, they were asked why they used this archaic technique, and they replied:


“Fresco painting is often found in places of political, legal and educational importance and is executed at a monumental scale. Traditionally, frescos depict scenes loaded with ideology and symbolism while presenting themselves as neutral or universal. A fresco often represents the moral code of the time within which it is painted, intended as an instructional and educational medium that reinforces dominant perceptions.”


I can understand this, and like their reasoning. I enjoyed the exhibition, and encourage others to take a look. Enjoy the frescos, but do not omit to examine the lovely drawing the artists created using graphite.

ART AND ARCHITECTURE IN A MAYFAIR GALLERY

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ONE OF THE MANY JOYS of visiting London’s commercial art galleries is, apart from seeing the works of art on display, viewing the architecture of the galleries. Today, the 1st of Aoril 2023, we made a brief visit to the Bernard Jacobson Gallery in Mayfair’s Duke Street St James. Most of the exhibition space is in the basement. However, who ever designed the place has done something both spectacular and intelligent. Part of the ceiling of the basement has been removed to reveal above it a two or three storey high lightwell,which admits ample daylight to augment the artificial illumination in the rest of the basement.

The exhibition we viewed, which continues until the 28th of April 2023, is of paintings by the German artist Bernd Koberling (born 1938). His large works, executed in a variety of materials, are colorful abstracts. Even though they are abstracts, they bring to mind plants and other natural phenomena including reflections in watery surfaces.

I liked the pictures, but could not help being distracted by the gallery’s eye-catching design.

Pioneers of making selfies?

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THE LONDON-BASED ARTISTS Gilbert Prousch (born 1943) and George Passmore (born 1942) first met whilst they were studying sculpture at the St Martins School of Art, where, incidentally, my mother created sculptures in the 1950s and early 1960s. From the late 1960s onwards, most of their creations have portrayed themselves, usually together, in an incredible variety of poses and situations. One might say that they were pioneers of selfie-making.

On the 1st of April, Gilbert and George (‘G+G’) opened their new establishment, The Gilbert & George Centre, in London’s Heneage Street near Spitalfields and Brick Lane (see https://gilbertandgeorgecentre.org/). I have yet to visit this new gallery, and look forward to doings so soon. To coincide with this new venture, the White Cube Gallery in Mayfair’s Masons Yard is holding an exhibition of works by G+G until the 20th of May 2023.

Called “The Corpsing Pictures”, this exhibition at White Cube consists of G+G posing as corpses in a range of different settings. In each picture, the two artists are portrayed lying as if dead but fully dressed in their characteristic smart suits. In many pictures, images of bones have been included in the compositions. At first sight, these pictures, which look like stained glass windows, appear somewhat macabre, but soon the viewer becomes aware of the playful and often punning nature of the images. Each composition is compelling visually and together the collection is a stunningly beautiful sight.

I suspect that the crowds at the Heneage Street Centre will be great for the first few weeks after its opening. So, if you want to see some good examples of the works of G+G without being bothered by too many other viewers, I recommend that you head for the White Cube in Masons Yard.

Morandi or bore-andi

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CALL ME A PHILISTINE if you wish but I was underwhelmed by the much-hyped temporary exhibition of the works of the Italian artist Giorgio Morandi (1890-1964), which is being shown until the 28th of May 2023 at the Estorick Collection of Modern Italian Art in London’s Canonbury district. Morandi, who was born in Bologna (Italy), where he lived most of his life and died, was primarily a still-life and landscape artist. Without doubt, his works are both carefully and extremely well executed. However, his numerous still life works depicting bottles, jars, and other containers, did little to excite my interest in them. His landscape images appealed to me more, but not much more. For me, almost the best work in the show is a self-portrait, showing Morandi seated.

Compared with the other works in the Estorick’s permanent collection (e.g., Balla, De Chirico, Modigliani, Boccioni, Music, Greco, Manzu, and Russolo), all of which are highly creative and visually exciting, poor old Morandi’s work pales into insignificance. Having expressed my opinion about the temporary exhibition, I must admit that many of the other viewers I saw today seemed to find Morandi’s works of great interest. Many of them stood staring intensely at individual works for minutes rather than a few seconds. Few of the works in the exhibition grabbed my attention for more than a few instants.

Well, maybe I missed something that other people see in Morandi’s art, but if someone were to give me a genuine Morandi, I would sell it as quickly as possible, and might spend the money on a work by a more interesting Italian artist.