Upon entering the exhibition, the first room we call upon is 'Portraiture and New Genres'. We are presented with a group of famous artists who moved from the continent (particularly the Netherlands) to make a living in the British Isles or at least spend some time here working. They brought with them a new style of painting not seen in the country before and also presented an incredible articulation to detail which gained them huge popularity within British courts.
Two absolutely beautiful works instantly caught my eye; firstly Hans Eworth's Portrait of an unknown lady (left) and Marcus Gheeraerts portrait of Mary Rogers (right). Both works present the viewer with a smorgasbord of visual feast; the detailing in the garments is stupendous. Articulation in capturing the finery is only intensified by the black background, highlighting the sheer skill of the craftsmanship within dressmaking at the time.
There was also another painting within this section which instantly struck my attention. In one of my previous posts, I was discussing how Camberwell had once been a village surrounded by countryside - a surprise to my eyes came about, when I saw Jan Siberechts - View of a House and its Estate in Belsize, Middlesex. Presuming this is the now modern day Belsize Park, my mind cannot help but wonder at the complete and utter change that has taken place over 400 years, it seems so sad almost, that we have lost this beautiful land to car filled streets and ugly monotonous housing estates. The image isn't particularly clear, but on viewing it in person, you can see London and its then newly built architecture in the far distance. Particularly distinguishable is Westminster Abbey.
Rooms to follow; 'Italy, Neoclassicism and the Royal Academy' and 'Dialogues between Britain, France and America'. The first of the two explores the newly becoming fashionable neoclassicism; as foreign travel became ever more popular, so did the rise of the artist training abroad which brought with it an undeniable shift in style, in particular we see how the Italien schools influenced artists in this section. More drama, lofty illusions of light and bolder statements of portraiture, plus fascinating landscapes such as those of Canaletto who came to work in Britain for a period and painted some fantastic scenes. The next room is a selection of works by American and British artists who studied in Paris and also selected works by James Tissot, which present the most beautiful costume studies.
The Gallery of HMS Calcutta (Portsmouth) apparently had negative reactions when it was first exhibited in Britain, mainly because it presented very clearly and acutely bare human emotion and desire - as we see within the work, the Naval officer is somewhat infatuated by the girl in the foreground. Scenes like this were less common in the then contemporary British art, where as the French artists were more able to engage and portray emotions within their work. The costumes in this painting are absolutely fascinating too, he paints in detail the frothing ruffles and excess of bow embellishment; plus the attention to detail in the fabric - the girl in the middle has a sheer organza dress, which he has beautifully conveyed with the translucency of paint, baring the flesh tones beneath. An absolute delight to behold.
Rooms to follow these have a sense of displacement. Starting with Jewish art and Refugees from Nazi Europe; here we are presented with works which really explore the identity of a very much disparate group of people in Europe, a group of people who have a sense of expression steeped in longing and desperation, but yet seemingly, the art presented is one which seeks to clarify and really drive home to the viewer the true meaning of what it is to be a Jew. One of my personal favourite works by David Bomberg The Mud Bath, which without understanding the context presents the viewer with an image that evokes bodily movement, broken down to the aboslute minimal form - strikingly bold and perfectly balanced.
Further on into the gallery, we see the wider perspective of art and displacement on an intentional scale. Works from Indian, Chinese and Afro-Carribean artists but to name a few, who have been born in Britain or at some point found exile here. Here we see more challenging and thought provoking works. Particularly in the 'New Diasporic Voices' room, one incredibly touching video installation from Mona Hatoum Measures of Distance is a recollection of the upheaval and devastation that the conflict in the Middle East has had on Hatoums mother and her family. Its a heart breaking recount of how they basically lost everything and therefore became completely displaced within the world - no real home, identity or material worth, utter isolation in a country (Britain) which you feel like a total stranger. Her art work in general is a very strong and emotional portrayal of anguish and frustration that has taken place within her and her families life.
Part 1
Part 2
Mona Hatoum - Measures of Distance 1988
Race tensions which has seemingly become a bubbling pot once again within Britain since last summers riots which took place in London (and all over Britain) and only sought to highlight the still unresolved issues that prevail within our society. Some of the works presented within this exhibition were a stark reminder of the past and how the present still has unhealed wounds. I was amazed to watch part of one video within the exhibition by the Black Audio Film Collective Handsworth Songs which is a recount of the race riots which took place in London in 1985, its not all too dissimilar to what took place a mere 12 months ago. Sadly, I cannot find a video of this on Youtube, so you'll just have to go and see it for yourself - bear in mind the video last 58 minutes.
Last but not least, one of my favourite videos was Francis Alÿs Railings, which struck a chord with the flâneur in me. The essence of the navigation one takes throughout the city is confounded by our exploration of the architectural surrounding us. The sounds that these buildings make never becomes a question one asks upon viewing, or an action one generally soughts to take. Alÿs playful approach is reminiscent of that of a child with a stick they have picked up off the floor and feel the need to 'create' something of the surroundings rather than simply experience as is, just as they might bang on the pots and pans in a kitchen; the artist, who I believe wasn't born here, feels the need to confront his alienation in a new city by creating poetry from his surroundings.
Francis Alÿs - Railings 2004
I am definitely tempted to do this next time I'm wandering through the streets.
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