Spain and the Hispanic World – Royal Academy of Arts

The front of the Royal Academy

At the weekend I attended an exhibition at the Royal Academy of Arts. Spain and the Hispanic World: Treasures from the Hispanic Society Museum & Library is the exhibition’s full title, and sums up what it is all about.

The Hispanic Society was founded in 1908 in New York by Archer M. Huntington. A childhood love of Spain grew into an obsession with the country, its culture and art, and subsequently Latin America. The works on display reflect his wide-ranging interests: manuscripts and rare books, Old Master paintings, modern art and prehistoric pottery. Indigenous works from Latin American artists also made it into the collection, and Huntington was unique among his peers in recognising the Arabic contribution to Spanish culture: he learnt Arabic and included related arts and crafts in his collection.

There was plenty to see in the exhibition: it is rare to find such a wide-ranging selection on display. Multiple facets of Spain and the Hispanic world’s culture were represented. The Celtiberian jewellery was impressive, I loved the beautiful books on display, and enjoyed the historic artwork, but my favourites were the more modern paintings, such as those by Sorolla.

M.K. Čiurlionis: Between Worlds – Dulwich Picture Gallery

Entrance to the exhibition

The third and final exhibition I visited was M.K. Čiurlionis: Between Worlds at Dulwich Picture Gallery. Čiurlionis, revered in his native Lithuania, is not an artist I’d ever heard of, but after seeing this exhibition, I’m so grateful to the Gallery for introducing me to his work.

Painting showing a ghostly figure travelling by water beneath the light of a moon

Mikalojus Konstantinas Čiurlionis (1875-1911) was an artist, composer and writer. All of the works in this exhibition, loaned by the M. K. Čiurlionis National Museum of Art in Lithuania, were made over the course of just 6 years, and for most of them it is their first time on display in the UK.

Čiurlionis’ works are magical and mythical. They are symbolist and sometimes abstract but they have an unearthly beauty all of their own. Many of his works are fantastical, inspired by fairy tales, and many have a pagan flavour, shot through with Lithuanian folklore. This makes sense when you discover that Lithuania was the last European country to adopt Christianity, meaning that its pagan heritage is longer and deeper than most.

Painting showing two royal figures bending over a small world

Lithuania was connected to Poland at the beginning of Čiurlionis’ life, but later came under control of Russia, despite protests. It wasn’t until after the First World War that Lithuania’s independence was confirmed. Čiurlionis was a founder member of the Society of Lithuanian Art in 1907, and dreamed of helping to create a ‘House of the Nation’ – a museum, concert hall and library of Lithuanian arts and culture. In his nationalism he rather reminds me of Alphonse Mucha, whose own later work aimed to uplift and unite the Slav peoples.

Čiurlionis was also interested in Eastern philosophy and religion. His works often feature a figure called Rex, representing a godlike monarch, creator or protector, symbolising the unity of the Earth. The mythical nature of his work reminded me of William Blake, who was also inspired by the tales and legends surrounding his homeland.

Painting showing a tower and walkways with tiny figures

Magnificent Maps of London – London Metropolitan Archives

The second exhibition I visited on my day off was Magnificent Maps of London, held at the London Metropolitan Archives. As the title suggests, the exhibition was made up of weird and wonderful maps of London spanning the last 500 years, from the sixteenth century to the present day. The maps document the history of the city in detail, showing the development of London from a small city surrounded by rural fields to the sprawling metropolis we know today.

Map of London

The maps displayed served different purposes. Some were designed simply to map the city, showing what was there in greater or lesser detail. Others had another purpose: maps were created to chart poverty, to show the presence of a Jewish community, track the abundance of plague, trace bomb damage, and show the prevalence of racist attacks. Maps are not neutral: they are created for a purpose, whether explicitly political or with everyday usefulness in mind.

Some maps are huge, spanning the entirety of London and taking up an entire wall. Others are small, pocket maps or guidebooks designed to help tourists and visitors to London.

Map of London

I was fascinated by all the different maps and spent ages looking at them. My favourite was the sixteenth-century map of the city showing all the theatres on Bankside. I also loved the large map which covered as far as Ealing, so I could see how my local area has changed over the years.

This exhibition is fascinating and well worth a visit – especially as it’s free. It’s open until 29 March.

Map of London

Cezanne – Tate Modern

Entrance to the exhibition

I had a midweek day off work last week and decided to visit several exhibitions. The first one I chose was Cezanne at the Tate Modern, which is coming to the end of its run.

Paul Cezanne (1839-1906) is one of the most respected artists of the late nineteenth century. He revolutionised painting, seeing it as a process of investigation. The exhibition contains several works which have rarely been seen outside of France. The first half looks at Cezanne in the context of his time, while the second half focuses on particular themes.

As a young adult, Cezanne’s father wanted him to pursue a career in law, but his school friend, the novelist Émile Zola, encouraged him to move to Paris and pursue art. He was befriended and mentored by fellow artist Camille Pissarro, whose influence is present in his early work. Cezanne lived through times of social and political upheaval: this can be seen in paintings such as The Conversation, which hint at his political views, and Scipio, which was possibly influenced by abolitionism.

Painting showing skulls and flowers

Cezanne preferred to paint models he knew well, such as his partner  Marie-Hortense Fiquet and their son Paul. However, he also painted many works of bathers, which influenced painters such as Matisse and Picasso. He worked on several landscapes, particularly during his stay on the south coast of France, and is also famous for his still lives, mostly featuring apples.

I must admit I struggled to engage with many of the paintings. I don’t find still lives particularly interesting and I wasn’t enamoured with the pictures of bathers. I could see the appeal in the landscapes, but my favourite works included the skulls that Cezanne painted towards the end of his life. There was also one particular work that seemed to show a murder, which had a strong compelling energy.

Cezanne painting showing two figures attacking another

I feel a bit guilty saying all of this as Cezanne is an acclaimed artist and I really don’t have the knowledge to be able to criticise his works properly. All I can do is comment from my own uneducated perspective, and I guess these works just aren’t really my thing.

Hieroglyphs: unlocking ancient Egypt – British Museum

The second exhibition I visited was Hieroglyphs: unlocking ancient Egypt at the British Museum. I love ancient Egypt – who doesn’t? – so I definitely wanted to see this.

Unlike many exhibitions on the topic, there are few mummies and tales of the Pharaohs to be found here – the focus of this show is the struggle to crack the code of Hieroglyphics. The Rosetta Stone, which inspired this breakthrough, is on display here: as it bears the same text, written in three different languages – hieroglyphs, demotic and Greek – it was the key to deciphering the mysterious pictorial language of the ancient Egyptians.

Before this discovery, hieroglyphic writing was thought by many to have magical or occult powers, and artefacts with such writing were often displayed by collectors in cabinets of curiosity. Items on display in the exhibition include a black granite bathtub, inscribed with spells to give bathers relief from lovesickness, and a model of a man’s torso covered with writing and pictures of gods.

The exhibition traces the complex history of how wars, invasions and conflicts both buried the meaning of hieroglyphs and assisted in its rediscovery: the Rosetta Stone was discovered by scholars accompanying Napoleon’s soldiers at a fort they were occupying. It follows the race between British polymath Thomas Young and Frenchman Jean-Francois Champollion to be the first to crack the code; Champollion won, outlining his findings in a letter that was read in public on 27 September 1822.

I really enjoyed the exhibition, but despite all the interesting information outlined above, the best thing I learned from it is that ‘cat’ in ancient Egyptian is ‘mioew’.

Ancient Egyptian statue of a cat

Alexander the Great: The Making of a Myth – British Library

Alexander the Great exhibition poster

I got up earlier than usual to visit the British Library and the exhibition Alexander the Great: The Making of a Myth. The exhibition explores the life of the famous warrior and conqueror and some of the myths surrounding his life that have appeared since then. It is true that Alexander built a huge empire throughout his short life. It is less likely to be true that he rode across the sky on a flying chariot, travelled to the bottom of the sea in a glass bell, or that his horse Bucephalus, strong and powerful as he was, actually ate people.

Alexander the Great was born in Macedonia in 356 BC, the son of King Philip II of Macedon and Queen Olympias. His empire stretched from Greece to India, encompassing Egypt and Persia, though he died at only 32. We are not completely sure why he was called ‘the Great’: the earliest reference is in Mostellaria, a play by Plautus. He has been known by many names, depending on the language and culture of the society referring to him:  some of his names include Iskandar or Sikandar.

One of the key sources for the myths surrounding Alexander’s life is the Alexander Romance. During the ancient and medieval eras, this text was hugely popular, and portrayed Alexander as a mythical adventurer. In the twelfth century, the poet Nizami’s Iskandarnamah (Story of Alexander) told of Alexander’s journey to see Sirens, mythical half-bird or half-fish creatures.

Even today, Alexander’s story is still being reinvented for a modern audience. Reimena Yee publishes an ongoing graphic novel online, entitled Alexander, The Servant and the Water of Life. It is an Alexander Romance for the 21st century and shows how Alexander’s life and mythical status still captures the imagination.

Hallyu! The Korean Wave – V&A

At the weekend I went along to see Hallyu! The Korean Wave at the V&A with a friend. I visited Korea a few years ago, so I was looking forward to it.

As I would have expected, the exhibition began with the video of PSY’s ‘Gangnam Style’, the 2012 hit that was absolutely everywhere and inspired hundreds of parody videos. It’s the most famous, but by no means the only, aspect of Korean culture that has fascinated Britain.

After a short section on the recent history of Korea, focusing on the Korean War which divided the country into North and South, we got to see exhibits from Korean romantic and historical dramas that have gained in prominence, as well as more modern shows such as Squid Game. Korean film is also looked at, with exhibits from the recent Oscar winner Parasite.

Later the exhibition begins to focus on K-pop and how it has achieved increased popularity abroad, with bands like BTS achieving superstar status. My favourite part of this section of the exhibition was the opportunity to have a go at some dance moves and get yourself recorded and displayed on screen. My friend and I didn’t do this but we enjoyed watching everyone who did!

Overall this exhibition is a fascinating exploration of modern Korean popular culture – and well worth visiting.

Walter Sickert – Tate Britain

Poster for the Walter Sickert exhibition

Before heading up north for the second time this year, I visited the Walter Sickert exhibition at Tate Britain. I only knew Sickert from his ‘Camden Town Murder’ paintings – which are on display here – but there is much more to his work.

Sickert was born in Germany in 1860, but moved with his family to England aged eight. He initially sought to become an actor, but switched to art in 1882 – his artistic career would eventually span six decades.

The exhibition begins with an exploration of Sickert’s self-portraits, which show him experimenting with light and shade. It continues with a look at his early career and work in England and France, inspired by Whistler and, later, Degas.

My favourite pictures were those related to performance – theatres and music halls, circuses and outdoor performances. These were reminiscient of Degas’ paintings of ballet dancers, and were incredibly atmospheric, bringing the spaces to life. Sickert’s work spans the development and decline of music halls from lively entertainment venues to their role as the first cinemas.

Sickert’s portraits were mostly of well-known public figures, such as Aubrey Beardsley. They are vivid and demonstrate the sitters’ character. More informal portraits made much of their interior settings.

Landscapes, mainly of scenes in France and Italy, were particularly successful for Sickert, and often encompassed urban settings. He also painted nudes, often in more naturalistic, even dingy, settings than were traditional, leading to criticism.

The Camden Town Murder series features paintings of men and women in dingy, dark rooms in Camden Town, featuring props such as iron bedsteads. Their ambiguity led some to connect Sickert with the murders and even Jack the Ripper. They are atmospheric and have quite sinister undertones.

Sickert’s skill for portraying emotions and relationships were developed in his “conversation pieces”, exploring contemporary narratives and scenes. These paintings were innovative for the time and sought to illustrate everyday life in modern Britain.

I left the exhibition with a new-found appreciation for Sickert’s talent, range and focus – definitely worth seeing.

Off the Rails: The Line That Never Was – Elstree and Borehamwood Museum

Despite the excessive heat we had this weekend, I actually left the house and made the trip up to Elstree & Borehamwood Museum to check out an exhibition that’s been on since January this year. Off the Rails: The Line That Never Was takes a look at a planned Tube extension to the ‘Northern Heights’ that never materialised.

miniature Tube railway
A model of the proposed Northern Heights extension

The Museum

The museum as a whole opened in 2000 as an independent local museum. It is located on the top floor of a community building on the main street that also houses the library. Go into the library and up to the second floor to reach the museum.

The museum hosts a permanent exhibition of items and information relating to the local area, including the history of Elstree and Borehamwood Studios.

Model of Elstree Studios

The Exhibition

As a big fan of the Underground, I found the exhibition fascinating. The Northern Line extension beyond Mill Hill East via Edgware to Brockley Hill, Elstree South and Bushey Heath was planned before the Second World War, aimed at increasing development of the area and turning it into a ‘Metro-Land’ similar to the one that already existed to the north west of the capital. Much of the preparatory work had been done by the time war broke out, including the construction of several arches and parts of the track which are still visible today.

tube map
Section of a tube map showing the proposed extension

The war naturally halted construction, but postwar austerity cannot be held solely responsible for the extension’s cancellation. The development of the Green Belt around London meant that further ‘Metro-Land’ developments were essentially prohibited, and extensions seen as pointless. The exhibition, complete with a working model of the tube route including miniature stations, is a reminder of the complexities involved in any kind of transportation development and a must-see for fans of the Tube. It runs until 22 October 2022.

Bushey Heath station in miniature
A model of the proposed Bushey Heath station

FACTS

Address: 96 Shenley Road, Borehamwood, Herts, WD6 1EB

Website: elstree-museum.org.uk

Opening Hours: Tues, Wed, Thurs 12-6pm; Sat 10am-3pm

Price: Free

150 Years of the Royal School of Needlework: Crown to Catwalk

Exhibition poster

I went to an embroidery class last Friday, hosted by the Royal School of Needlework at the Fashion & Textile Museum. The workshop had been arranged to mark the 150th anniversary of the RSN and the accompanying exhibition, 150 Years of the Royal School of Needlework: Crown to Catwalk. While I was at the workshop, I had a chance to take a look around the exhibition.

In 1872, the Royal School of Needlework (RSN) was founded on two key principles – the first, the preservation of hand embroidery as an art form and the second, the support of women’s independence through work. Many aspects of this artform were in danger of being lost, and the School aimed to preserve them.

Particularly in its early days, the School undertook commissions for members of the Royal Family, often working continuously for hours to complete work on time. Some of this work is on display here, testament to the ability and tenacity of the School’s members.

The exhibition also contains examples of work students have produced over time, ranging from classic and religious symbolism to more modern images inspired by books or popular culture. The works encompass many techniques including blackwork, gold embroidery and Jacobean crewel work.

Many of the items on display were made by current members of the RSN, including Kate Pankhurst’s beautiful Tudor box. I could have spent hours looking at the incredibly detailed stitching on display. One of my favourite items was the Red Dress Project – a dress that has been around the world and embroidered by women in 29 different countries.

The exhibition is a must-see for anyone remotely interested in the art of embroidery. It is simply breathtaking.