Art, Religion and the Smartphone : Pictures and pictures of paintings by AHA Tutor Freddie Mason

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Whilst in the Capitoline Museum in Rome, one of the more philosophically inclined students on the AHA early summer course remarked to me: ‘isn’t it funny that the first thing people do when they see an original work of art, … Continue reading

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Artistic Walking Tours: AHA alum Helena Roy’s picks from the Tate Britain’s ‘BP Walk Through British Art’

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The BP ‘Walk Through British Art’ is a Lonely-Planet-style walking tour through the pinnacles of Britain’s creativity from the 16th century until today. A chronological re-hang of the Tate’s collection, it offers icons of every Art History textbook, as well … Continue reading

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Lift Off! A review of Gustav Metzger’s current exhibition at Kettle’s Yard, by Frankie Dytor

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“So, it’s, um, auto-destructivist art. A creative form of political protest through destruction and disintegration”. Such were my words in an attempt to convince my family to come to the new exhibition at Kettle’s Yard, ‘Lift Off!’, featuring the work … Continue reading

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Paintable Pain: Helena Roy reviews ‘The Great War in Portraits’ at the National Portrait Gallery

By the end of the Great War the social, imperial, political and military structure of society had transformed. Humanity was mercilessly plunged into the common predicament of grief and suffering; and the innocence of an entire generation was destroyed. ‘The Great War in Portraits’ at the National Portrait Gallery is a moving commemoration to the people who embroidered the world’s harrowing experience with individual stories.

The exhibition immediately confronts you with a distorted sculpture; at once machinery and man,  then transports you to the war’s lacy Edwardian prelude. Portraits of royals with pomp and circumstance map a family tree spanning Britain, Germany, Russia and Austria-Hungary. These grand portraits of a lost age show striking similarity and blithe ignorance. The portrait of Archduke Franz Ferdinand – whose death led to the deployment of over 70 million military personnel, with eventual losses of more than 9 million – is harrowingly modest.

Torso in Metal from 'The Rock Drill' by Sir Jacob Epstein (1913 – 14)

A room entitled ‘Leaders and Followers’ displays a hierarchy of seniority – commanding officers in traditional garb, ordinary soldiers through a broken lens. A portrait of Field Marshal Sir Douglas Haig shows him watery-eyed and blank-faced. On observing the portrait he instructed ‘Go and paint the men… They’re getting killed every day.’ The Battle of the Somme, which he led, brought 57,470 British casualties, 19,240 dead, on its first day. Contrasted to his medalled portrait is the cracked ‘La Mitrailleuse’ by C. R. W. Nevinson (1915). The fractured perspective of a volunteer ambulance driver tragically points out the shattered reality of military plans compared to their orchestrated theoretical plots.

'La Mitrailleuse' by C. R. W. Nevinson (1915)

Initial patriotic euphoria quickly faded into angry disillusionment. As time progresses, artists visibly work against the shackles of propaganda, increasing tension as the exhibition progresses. People crowded round ‘Gassed and Wounded’ by Eric Kennington  (1918). The cramped and ruddy conditions muffle almost audible screams of pain.

'Gassed and Wounded' by Eric Kennington (1918)

‘Captain A. Jacka’ by Colin Gill (1919) is painted with clear colours – facial contours emphasised to bring out contorted confusion. Jacka was worshipped in Australian press for incredible military acts – both audacious and lethal. ‘Damaged and wounded’ by Henry Tonks (1916-1918) is small and shy by comparison, but infinitely more devastating than the admiring celebration of killing.

Albert Ball - recipient of the Victoria Cross and the first pilot to become a British popular hero, died aged 21 in 1917

Albert Ball - recipient of the Victoria Cross and the first pilot to become a British popular hero, died aged 21 in 1917

A detail from 'Soldier with Facial Wounds', by Henry Tonks (1916-18)

The methods of slaughter revealed new depths of barbarism: gas, barbed wire, flame throwers, machine guns – all were unimagined horrors that confronted soldiers above the trenches. Between 1914 and 1918, compassion was seemingly smothered by unabated and unjustified cruelty and hatred. The attempt to represent the psyche of a traumatised nation erased traditional artistic styles. ‘Hell: the way home’ by Max Beckmann (1919) throws forth the pain of pointless defeat. ‘Self portrait’ by William Orpen (1917) is blank and objective, stifling emotions against snowy white background.

'Self portrait' by William Orpen (1917)

Today, as part of a generation that never possessed the innocence the Great War destroyed, it can be hard to imagine the trauma to those who survived. The National Portrait Gallery’s unabashed and unafraid display of this tragic transition is one of the most effective renditions yet. When faced with pain that is utterly unspeakable, sometimes art can be the best way to shout.

With thanks to the National Portrait Gallery, the Guardian, BBC and the Tate for photographs.

‘The Great War in Portraits’ is on at the National Portrait Gallery until 15 June 2014, admission is free. For more information visit http://www.npg.org.uk/whatson/firstworldwarcentenary/exhibition.php

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Kaleidoscope Landscapes and Playful Goats: John Craxton, by AHA alum Anna Fothergill

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John Craxton. The name many have little significance to the British public, but his recent exhibition at the Fitzwilliam in Cambridge (which closed at the end of last month) served to change the fact.  And with just cause. The British-born, Mediterranean-bred artist, … Continue reading

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Matisse: The Cut-Outs. A review and other thoughts by AHA tutor Richard Stemp

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Starting, unconventionally, in Pittsburgh, Richard Stemp looks forward – and back – to Matisse’s Paper Cut-Outs on display at Tate Modern, and then looks forward again to living happily ever after. I have been to Pittsburgh four or five times, … Continue reading

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Pick of the week: a mini guide to London’s artistic eateries – by Helena Roy

Food and art have a long and illustrious history (think Caravaggio’s ‘The Supper at Emmaus’, or Van Gogh’s ‘Apples’ or ‘Crabs’) – and ever more cafés, restaurants and bars are adding to that tradition in London. A recent post detailed the artistic work of Taylor St Baristas – not a gallery, but a coffee shop.

Van Gogh's 'Apples' (c. 1885)

Though I have yet to find an Italian example (I’m at a loss as to why given a) my obsession with pasta and b) the Italian love of art – any suggestions would be greatly appreciated), one discovery led to another, and thus here are a couple more artistic eateries in London…

Koshari Street

Koshari is a delicious and speedy traditional Egyptian street food: a hearty combination of lentils, rice and pasta topped with a spicy tomato sauce and garnished with caramelised onion, boiled chickpeas, dried herbs and nuts. Koshari Street is a new restaurant (read: cramped but cosy alley that bursts onto the street) serving the dish from St Martin’s Lane, just off Trafalgar Square.

Inside you’ll find the stark black and white street art from Egyptian artist Samir M. Zoghby. A self-taught artist, Zoghby works with a modest felt pen and acrylics. Born in Egypt, he completed his education in the USA and served with the US Government. Zoghby says, ‘my work conveys no message but simply looks at the world through the changing prism of earthy humour.’ His signature is all clear lines, blank monochrome and traditional forms; a nadf style mostly influences by his Arab and Czech roots, and experiences in Africa and America. He has designed stamps for UNICEF and the World Food Program.

Koshari Street and the work of Samir M Zoghby

Dishoom

A slice of Bombay in London, Dishoom is a tribute to the old Bombay cafés – or Irani cafés – a tradition which Dishoom believes has been ‘lost in the frantic rush of progress’. A myriad of hot spiced, salty and sweet tastes, Dishoom offers Indian cuisine with a twist. Dishes are moderate in size but big in zest: packed to the brim with a heady mix of flavours. Their Shoreditch branch is a charming, idiosyncratic blend of warmth and bare decoration.

Dishoom in Shoreditch

Dishoom’s art is of the DIY variety: nostalgically reminiscent of the paint-your-own pottery cafés of childhood. Their plate-wallah is a project whereby customers can note their memories of Irani cafés down online, and the best ones (crazy and unusual anecdotes encouraged) are displayed at Dishoom. The more personal the stories, the better. Umbrella-shaped text on a creamy plate tells stories of discovery on rainy days, while jagged strips of words convey incomprehension after the Mumbai terror attack in November 2008.

Dishoom's Plates

Galleries

Of course, there are some gorgeous locations for a drink and a nibble in galleries across London. On a Friday evening in the summer, the Royal Academy’s sunlit courtyard is packed with people sipping Pimm’s amongst posters and sculptures. The Tate Modern bar offers a minimalist interior, with spectacular skyline views across the Thames to St Paul’s; as does the National Portrait Gallery’s restaurant over Trafalgar Square.

Food and art are two of the best ways to get to know the soul of a culture. What makes these eateries so unique is not necessarily the food or drink – though it is fantastic. It’s the sense of a different, original atmosphere which brings comfort and escape. The art infinitely contributes to that in telling the cuisine and café’s story. It brings warmth and fullness to the material comfort of sharing a meal.

With thanks to Koshari Street and Dishoom for photos.

Posted in AHA Alumni, Arts and Crafts, Britain, Discovery, Food, india, Random, Reviews, Social | Tagged , , , , , , , , , , , , , , | Leave a comment

As we approach Easter, Richard Stemp enjoys a minor Passion

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One of the great joys of teaching for Art History Abroad is the possibility to see some of the great masterpieces of world art on a regular basis. Given this ‘regularity’, students – both young and old – regularly ask … Continue reading

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Is the cult of celebrity undermining portraiture? Helena Roy looks at modern subjects…

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A trip to the National Portrait Gallery requires passing the newsagents’ stalls that litter every London tube station and street corner. Here, fluorescent glossy magazines throw pictures of a myriad of celebrities at the bystander. Entering the gallery, you recognise … Continue reading

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Art and Politics too (2): In a second post inspired by his almost daily walk across Trafalgar Square, Richard Stemp considers the historical background to the great art of the Dutch Golden age.

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My musings on Katharina Fritsch’s Hahn/Cock (see the previous post!) reminded me of a recent visit to the newly, and splendidly, refurbished Rijksmuseum in Amsterdam. While many will flock to the works of the Golden Age, the Rembrandts and Vermeers … Continue reading

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