Tag Archives: milton keynes

Marilyn, Mao, and more at Milton Keynes

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ONCE AGAIN, THE MK Gallery at Milton Keynes has put on a superb exhibition. Until 29 June 2025, there is a show of artworks by the artist and film maker Andy Warhol (1928-1987), who was born in the USA. Best known for his multiple portraits of figures such as Marilyn Monroe and Mao Tse Tung and Pop Art images, there is much more than this on display at the MK.

The first room of the show contains work that Warhol created in the 1950s and early 1960s. Like artists such as Picasso and Hockney, whose creative lives began with works that were not as experimental and novel as their later works, Warhol’s earlier, less revolutionary, images show that he was a competent draughtsman capable of producing highly acceptable ‘straightforward’ compositions. It was interesting to see his earlier works because they are rarely displayed in public galleries. And it is always nice to see how an artist who is best known for his or her more extraordinary creations began his or her creative output.

The exhibition includes many of Warhol’s Pop Art images including those of Marilyn and Mao, but also there are several of his portraits of other figures. These include the artist Basquiat, the politician Barry Goldwater, Marcel Duchamp, Joseph Beuys, Muhammad Ali, and Liz Taylor. What I found interesting was that amongst the portraits on display, there were a few of the British artistic couple Gilbert and George. As the exhibition booklet related:

“The British artistic duo Gilbert and George , like Warhol, explored the interplay between personal and public identity, often blurring the lines between performance and art.”

Warhol’s portraits of this couple reflect their own graphic artistic style.

Other images on display relate to the Cold War and to the electric chair. The images on display in the show include drawings, prints, posters, and photographs (often adjusted to create interesting artistic effects). There are also exhibits relating to Warhol’s prolific output of films. He made about 600 of them. It would have been interesting to have been able to see extracts from some of them.

In brief, this is an exhibition that is worth travelling to. Apart from being beautifully displayed alongside helpful information panels, it is worthy of a visit to be able to enjoy seeing this artist’s rarely seen early works.

The versatility of a female artist seen at an exhibition in Milton Keynes

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IN 1961 MY MOTHER, Helen Yamey (1920-1980) was invited to exhibit some of her sculptures in the prestigious London Group (‘LG’) annual exhibition. The LG, founded in 1913, staged artists whose work was good, but too adventurous or experimental for the Royal Academy. It was the first group in Britain to actively promote Modernism in British art. Her warks were exhibited alongside those of now famous artists such as Frank Bowling, David Hockney, Howard Hodgkin, Francis Newton Souza, Eileen Agar, Frank Auerbach, Duncan Grant, LS Lowry, Julian Trevelyan, and Vanessa Bell. Because of the last name mentioned, it was with great interest to me that we visited the exhibition of works by Vanessa Bell which was being held at the Milton Keynes Gallery until 23 February 2025.

Vanessa Bell (1879-1961), a niece of the famous Victorian photographer Julia Margaret Cameron, was in the final year of her life when the above-mentioned LG exhibition was held. It would be interesting to know whether she met my mother at this show. There is a small chance that this meeting might have happened because the LG exhibition was held in March 1961 and Bell died (of a brief illness) in early April that year.

The exhibition at Milton Keynes was well-curated and beautifully laid-out. In a series of interconnecting rooms, the visitor was able to follow Bell’s creative output from the beginning of the twentieth century until near the end of her life. The show demonstrates Bell’s great versatility as an artist.  One of the earliest of her paintings is a portrait of her father, Sir Leslie Stephen. It is an extremely competent painting in the style of the Old Masters. Soon after painting this, her style changed because of being influenced by the styles of early twentieth century European avant-garde artists. Her paintings began to acquire a tendency towards abstraction, but with a few exceptions on display at the exhibition, they never ceased to be even slightly figurative. In 1912, she exhibited her works in the Second Post Impressionist Exhibition alongside those of, for example, Matisse, Braque, and Picasso. A few of the paintings we saw reminded us of Modigliani.

Shortly before the outbreak of WW1, Vanessa moved out to Charleston in Sussex along with her husband Clive Bell, Duncan Grant, and Duncan’s lover David Garnett. She hired a cottage so that Duncan and David could work as farm labourers and thus avoid being conscripted into the military.  After WW1, when the more adventurous styles of what was then ‘modern art’ went out of fashion in the English art market, Bell’s paintings reverted to being more figurative in style. The exhibition includes many examples of art which were created collaboratively by Vanessa Bell and Duncan Grant. These works include furnishings (many for decorating the house in Charleston) and ceramic works, including a series of 50 plates, each with a portrait of a famous woman. These were commissioned by the art historian Kenneth Clark and were all on display in the exhibition. Bell also designed many book covers, notably for her sister, the author Virginia Woolf,

Bell’s later paintings were all beautifully executed, many of them being depictions of domestic scenes. Although my favourites were her earlier paintings that tended towards abstraction, I was also very much taken by some of her later paintings executed in the 1950s. Having declared that, I must say that I am very pleased that I managed to see the wonderful exhibition at Milton Keynes in the ‘nick of time’.

Returning to my mother, whose works were exhibited in the same show as Vanessa Bell’s in 1961, you can read all about her and her activities at the forefront of British sculpture in the 1950s and early 1960s in my book “Remembering Helen: My Mother the Artist”, which is available from Amazon, e.g.:https://www.amazon.co.uk/REMEMBERING-HELEN-MY-MOTHER-ARTIST/dp/B0DKCZ7J7X/

Cross cultural fertilisation between India and Europe at Milton Keynes

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THE ARTIST REMBRANDT (1606-1669) produced a set of 23 drawings based on Mughal miniature paintings that were created in India in the early 1600s. In her article (see: https://mapacademy.io/what-rembrandt-learned-from-mughal-miniatures/), Shrey Maurya wrote:

“Perhaps the original Mughal miniatures arrived from the Dutch trading post in India. It’s also possible that he encountered the paintings in the collections of wealthy traders and various Dutch East India Company officials, who were his friends and often his clients.”

Shrey added:

“These drawings are remarkable for they allow us to understand the incredible global network established by trade ships which allowed an exchange of cultures to take place on a global scale.”

Recently, we visited an excellent exhibition at the MK Gallery in Milton Keynes: “Beyond the Page. South Asian Miniatures and Britain 1600 to now.” Amongst the many beautiful and intriguing exhibits, there were a few that illustrated the influence of Mughal painting on Western European artists. Although none of the above-mentioned Rembrandt drawings were on display, what I saw interested me greatly. I have been long aware of the influence of western artistic trends on the works of artists from the Subcontinent, but not the other way around.

An artist, Willem Schellinks (1623-1678), one of Rembrandt’s contemporaries is represented in the MK Gallery’s exhibition. He, like Rembrandt, is believed to have studied an album of Mughal paintings, which was thought to have been in the possession of the English art collector Alethea Howard (1585-1654), Countess of Arundel, who lived in Amsterdam from 1641 until her death. Incidentally, her portrait was painted by Peter Paul Rubens (1577-1640). In addition to sketches, Schellinks is known to have painted at least six paintings that contain Indian imagery (see the detail above). One of these and a sketch are on display at the MK Gallery.

In the same room as the Schellincks works, there is a painting by William Rothenstein (1872-1945). Drawing inspiration from traditional Mughal miniature paintings in the India Office Collection (in London), he created his “Sir Thomas Roe’s embassy to the court of Jahangir”, which was completed in 1924.

Before seeing the exhibition at Milton Keynes, I knew that Rothenstein had an interest in Indian culture. For example, he helped Rabindranath Tagore (1861-1941) to find accommodation in Hampstead’s Vale of Health in 1911-1912, but the well-produced exhibition catalogue provided me with information that was new to me. For example, Rothenstein had visited India and was a collector of Rajput paintings and drawings. In addition, in 1910 he was a co-founder of the India Society of London, whose aim was to bring Indian Art, in its many forms, to the attention of audiences in Britain and the world. So, it is maybe unsurprising that he chose to paint his picture of Sir Thomas Roe (c1581-1644) meeting with Emperor Jahangir (1569-1627) in a style that was influenced by the painters who would have around at the time of that historic rendezvous, sometime between 1616 and 1619.

Close to Rothenstein’s painting, there is an image by Abanindranath Tagore (1871-1951), who was a nephew of Rabindranath Tagore. This chromolithograph, “The Last Moments of Shah Jahan”, was created in 1903 in the style of traditional Mughal miniature painting. It is interesting to note that Abanindranath had never encountered Mughal paintings until he was in his twenties. He was introduced to them by another of the founders of the India Society, the art historian Ernest Binfield Havell (1861-1934). Havell had served the Madras School of Art as Superintendent for a decade from 1884, and in 1896 became Superintendent of the the Government School of Art in Calcutta. According to Wikipedia:

“Havell worked with Abanindranath Tagore to redefine Indian art education. He established the Indian Society of Oriental Art, which sought to adapt British art education in India so as to reject the previous emphasis placed on European traditions in favour of revivals of native Indian styles of art, in particular the Mughal miniature tradition.”

The works by Schellincks, Rothenstein, and Abinindranath Tagore, all on display at the MK Gallery, vividly demonstrate the cross-cultural fertilization that began when Europeans first set foot on Indian soil with intentions that were far from being cultural.  I have written about only a few of the wonderful exhibits in the show, but all of the others on display are not only beautiful but are filled with a wide variety of deep meanings. Of the many exhibitions I have seen this year, the one showing at the MK Gallery until the 28th of January 2024 is by far the best.

An old Mughal painting in an altered format

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THE PADSHAHNAMA WAS created by Abdul Hamid Lahori (and others) and completed in between 1630 and 1637. It is an illustrated history of the reign of the Mughal Emperor Shah Jahan I (1592-1666). In 1799, a copy of this valuable manuscript was sent by Saadat Ali Khan II, the Nawab of Awadh as a gift to the British King George III. This edition has been preserved in the Royal Library at Windsor. It contains 44 intricately painted Mughal miniatures. In 1997, reproductions of the paintings in this version of the Padshahnama were published in a catalogue produced to accompany the precious book as it travelled the world in an international touring exhibition. As with many publications, the illustrations in it are subject to copyright.

One of the paintings in the Windsor Padshahnama depicts the arrival of the gifts for Nadira Banu, the bride of Shah Jehan’s son, the ill-fated Dara Shikoh. They married in 1632, a year after Shah Jehan’s wife – Mumtaz Mahal – died.  The Taj Mahal was built in her honour. This painting has been lent by the Royal Collection to be displayed in a brilliant exhibition, “Beyond the Page – South Asian Miniatures and Britain, 1600 to Now”, which is being held at the M K Gallery in Milton Keynes until the 28th of January 2024. This lovely painting hangs in the first of the gallery’s five rooms.

In another room, the viewer will encounter a work by Hamra Abbas (born 1976 in Kuwait). Her artwork consists of four panels. The two central panels are enlarged copies of two pages of the catalogue of the above-mentioned exhibition. One of them is the title page of the catalogue, and to its left is the “all rights reserved” page, which warns the reader that no part of the publication may be reproduced in any way at all.  These two pages are flanked by two images (illegally) reproduced from the images of the original miniature in the catalogue, and then modified.

Ms Abbas has reproduced the part of the page in the Padshanahma which depicts the crowd of men bearing the bridegroom’s gifts to his bride. To the left of the two middle panels, we see the image of these bearers, but the gifts they were carrying have been removed from the image, leaving white spaces with the outlines of the shapes of the gifts, On the right side of the middle panels, we see the depictions of the removed gifts arranged against a white background. The artist has named this work “All Rights Reserved”. She devised it in 2004. By removing the gifts from the bearers, the artist has made her own interpretation of the removal of the Padshahnama from India in 1799.

The Padshahnama was not the only gift that Saadat Ali Khan II gave the British. He was crowned in 1798 by the British Governor General of Bengal, Sir John Shore. In gratitude, he ceded half of the Awadh (Oudh) kingdom to the British. Now that colonialism is being examined critically (at last), Ms Abbas’s intriguing artwork makes a subtle but powerful statement.

A concrete environment: a brave new world

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ONE SUNDAY MORNING in October 2023, we arrived in central Milton Keynes (‘MK’). The reason for our visit was to see an exhibition at the MK Gallery. I will describe the exhibition in a future posting. Although it was just after 10 am, there were few people around in the city centre. The little that we saw of central MK reminded me of trips to modern parts of cities in Eastern Europe before the collapse of the so-called ‘Iron Curtain’. However, in comparison with those places, central MK seemed much less lively.

Like New Belgrade and the new parts of Bratislava and Budapest, MK was built after WW2. In the 1960s, the UK government decided that to relieve the housing congestion that had developed in Greater London, new towns should be developed. MK was one of these. It was founded in 1967, and named after one of the villages in the area which the new city covers, rather than, as I had believed, in honour of two economists (John Maynard Keynes & Milton Friedman). Laid out in a grid pattern, it is modernist in conception. Having learned the mistakes made when planning earlier new towns in the UK, MK was designed to have commercial buildings that did not exceed six storeys, and residential that did not exceed three. However, a few taller buildings were added in the 21st century to provide the city with a central landmark. The city was designed by Melvyn Webber (1920-2006), who, according to an article in Wikipedia, believed:

“… telecommunications meant that the old idea of a city as a concentric cluster was out of date and that cities which enabled people to travel around them readily would be the thing of the future, achieving ‘community without propinquity’ for residents.”

Thus, MK has an amazing grid of roads that mostly intersect each other at roundabouts. It also has a high proportion of its area covered with open spaces (greenery and water features). MK was granted formal city status in August 2022. The part of MK we saw – and it was only a small part, but centrally located – has roads separated by wide tree-lined walkways. As already mentioned, the place reminded me of post-war urban developments in the formerly Communist countries of Central and Eastern Europe. I wondered whether the city has been a success. I have read that it makes an important contribution to the economy of the UK, but what I would like to know is how its inhabitants feel about living in what resembles a totalitarian utopia.