The First Georgians

The First Georgians: Art & Monarchy 1714-1760, The Queen’s Gallery, Buckingham Palace, until 12 October 2014

 

Studio of Sir Godfrey Kneller George I, King of Great Britain and Ireland, Elector of Hanover, c. 1715 Image copyright of Royal Collection Trust/c Her Majesty Queen Elizabeth II 2013.

Studio of Sir Godfrey Kneller George I, King of Great Britain and Ireland, Elector of Hanover, c. 1715
Image copyright of Royal Collection Trust/c Her Majesty Queen Elizabeth II 2013.

This exhibition celebrates the three hundredth anniversary of the Hanoverian succession to the British throne in 1714 and what a story it tells looking at the reigns of George I (r.1714-27) and his son George II (r.1727-60) it also reveals the somewhat problematical relationship both Kings had with their heirs.

Christian Frederick Zincke, George II, c.1727 Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014.

Christian Frederick Zincke, George II, c.1727
Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014.

Over three hundred works from the Royal Collection are used to tell the tale, including the Jacobite claims from the ‘Old’ and ‘Young Pretender’ which culminated in the battle of Culloden in 1746. This is told through battle plans and military maps and includes a draft order of battle for Culloden which is thought to have been made by the Duke of Cumberland, George II’s son who led his troops to victory.

R Cattermole, The Cupola Room, Kensington Palace, c. 1817 Image copyright of Royal Collection Trust/c Her Majesty Queen Elizabeth II 2013.

R Cattermole, The Cupola Room, Kensington Palace, c. 1817
Image copyright of Royal Collection Trust/c Her Majesty Queen Elizabeth II 2013.

George I favoured Kensington Palace as a residence and employed William Kent to decorate a series of State Rooms which the King had furnished with the best examples of British furniture and Old Master paintings. George II’s son Frederick Prince of Wales was also a collector of Old Master paintings and his purchases included Guido Reni’s Cleopatra with the Asp, c.1628. He also liked to entertain and the spectacular marine service by Paul Crespin and Nicholas Sprimont was made for use at his table. Frederick’s mother Queen Caroline was without doubt the dynasty’s most intellectual member and her interests in art, gardening and genealogy is revealed here.

Christian Frederick Zincke, Queen Caroline, c.1727 Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014.

Christian Frederick Zincke, Queen Caroline, c.1727
Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014.

An important development in 18th century British cultural life was the slow move away from Court patronage as artists were able to achieve fame and success without the support of a royal patron. Satire, whether written or depicted became a favourite weapon ridiculing public taste and the emerging new leisure class provided good subject matter.

The Neptune Centrepiece, 1741-2 Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014.

The Neptune Centrepiece, 1741-2
Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014.

There was an increasing demand for luxury items which drove British commercial enterprise to new heights and saw the development of such new enterprises as the Chelsea porcelain works which competed with the German Meissen factory, and whose products are still eagerly sought after today.

Chelsea Porcelain Manufactory, oval dish from a dessert service, 1752-6 Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014.

Chelsea Porcelain Manufactory, oval dish from a dessert service, 1752-6
Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014.

It really is a fascinating, wide-ranging exhibition which not only celebrates the first two Georges but also shows how it was the time when Britain started to become a cosmopolitan, liberal society, which embraced commerce, freedom of both expression and the exchange of ideas. So definitely worth commemorating!

Giovanni Antonio Canal, called Canaletto, London: The Thames from Somerset House Terrace towards Westminster, c. 1750.  Image copyright of Royal Collection Trust/c Her Majesty Queen Elizabeth II 2013.

Giovanni Antonio Canal, called Canaletto, London: The Thames from Somerset House Terrace towards Westminster, c. 1750.
Image copyright of Royal Collection Trust/c Her Majesty Queen Elizabeth II 2013.

 

www.royalcollection.org.uk

Dennis Hopper

There are two exhibitions in London celebrating the American actor, film director and artist, Dennis Hopper who died in 2010.

 

The first is Dennis Hopper: The Lost Album at the Royal Academy of Arts which features more than four hundred original photographs which he took between 1961 and 1967. What makes this exhibition special is that the images on show were only rediscovered after Hopper’s death and are the ones he chose for his first major exhibition in 1970 at the Fort Worth Art Center, Texas.

Dennis Hopper Double Standard, 1961 Photograph, 17.45 x 24.87 cm The Hopper Art Trust © Dennis Hopper, courtesy The Hopper Art Trust. www.dennishopper.com

Dennis Hopper
Double Standard, 1961
Photograph, 17.45 x 24.87 cm
The Hopper Art Trust
© Dennis Hopper, courtesy The Hopper Art Trust. http://www.dennishopper.com

On returning to Los Angeles in 1961, he found himself on the Hollywood blacklist and over the next six years photography became his creative output. He is thought to have taken eighteen thousand photographs.

Dennis Hopper Untitled (Hippie Girl Dancing), 1967 Photograph, 34.29 x 23.37 cm The Hopper Art Trust © Dennis Hopper, courtesy The Hopper Art Trust. www.dennishopper.com

Dennis Hopper
Untitled (Hippie Girl Dancing), 1967
Photograph, 34.29 x 23.37 cm
The Hopper Art Trust
© Dennis Hopper, courtesy The Hopper Art Trust. http://www.dennishopper.com

This show provides a “snapshot” (forgive the pun please) of 1960s American social and cultural life. They range from portraits of Jane Fonda, Paul Newman and Andy Warhol to Hells Angels, hippy gatherings and the African-American Civil Rights Movement. He accompanied Martin Luther King on the 1965 march from Selma to Montgomery.

Dennis Hopper Martin Luther King, Jr., 1965 Photograph, 23.37 x 34.29 cm The Hopper Art Trust © Dennis Hopper, courtesy The Hopper Art Trust. www.dennishopper.com

Dennis Hopper
Martin Luther King, Jr., 1965
Photograph, 23.37 x 34.29 cm
The Hopper Art Trust
© Dennis Hopper, courtesy The Hopper Art Trust. http://www.dennishopper.com

The photographs capture the humour and volatility of life and of them Hopper said “I wanted to document something. I wanted to leave something that I thought would be a record of it, whether it was Martin Luther King, the hippies, or whether it was the artist.”

Dennis Hopper Paul Newman, 1964 Photograph, 16.64 x 25.02 cm The Hopper Art Trust © Dennis Hopper, courtesy The Hopper Art Trust. www.dennishopper.com

Dennis Hopper
Paul Newman, 1964
Photograph, 16.64 x 25.02 cm
The Hopper Art Trust
© Dennis Hopper, courtesy The Hopper Art Trust. http://www.dennishopper.com

 

Close by is the second exhibition Lost Angels at the Mead Carney Gallery and thanks to The Dennis Hopper Trust it combines 1960’s photographs from Hopper’s archive with a series of new works by California-based artist Russell Young.

 Dennis Hopper Andy Warhol (at a table) , 1963 Stamped on verso by The Hopper Art Trust Silver gelatine print 30 3/4 x 44 7/8 in 78 x 114 cm Edition of 3

Dennis Hopper
Andy Warhol (at a table) , 1963
Stamped on verso by The Hopper Art Trust
Silver gelatine print
30 3/4 x 44 7/8 in
78 x 114 cm
Edition of 3

Young discovered within the archive a small strip of early 1960s photographic negatives which revealed how Hopper had caught the lifestyle of the Californian Hells Angels on film. Using his distinctive California colours Young has brought us a new way to look at these young men of the road.

 Russell Young Lost Angel #4 - Fight Pink + Black , 2014 Signed & dated on verso Acrylic paint and enamel on linen 19 x 26 1/2 in 48.3 x 67.3 cm

Russell Young
Lost Angel #4 – Fight Pink + Black , 2014
Signed & dated on verso
Acrylic paint and enamel on linen
19 x 26 1/2 in
48.3 x 67.3 cm

The Dennis Hopper Art Trust will present a selection of specially-printed negatives taken by Dennis Hopper between 1961- 1967 currently exhibited at The Royal Academy Of Arts, London in the form of a special edition for sale.

 

Exhibition Details:

 

Dennis Hopper: The Lost Album, The Royal Academy Of Arts, Burlington Gardens, London W1, until 19 October 2014

 www.royalacademy.org.uk

 

Dennis Hopper & Russell Young: Lost Angels, Mead Carney Fine Art, 45 Dover Street, London W1, until 20th September 2014

 www.meadcarney.com

The London Arts Board

The London Arts Board

 

When is a gallery not a gallery? The answer is when it is a no longer used municipal notice board which has become a “gallery space” known as The London Arts Board.

 The London Arts Board

The London Arts Board

It is now being used to give emerging artists a solo London exhibition space.  Up until September 2nd you can see two collage works – On Paper and The Action of Forces by Terry Greene, a Yorkshire-based artist.

On Paper, Terry Greene

On Paper, Terry Greene

The board is in Camberwell at the corner of Peckham Road and Vestry Road and is “open” 24/7

The Action of Forces, Terry Greene

The Action of Forces, Terry Greene

 

londonartsboard.blogspot.co.uk

Today’s Specials, Pace London

Today’s Specials, Pace London, 6 Burlington Gardens, London, W1, until 6th September 2014

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This group exhibition, presented by Abdullah AlTurki, takes a humorous look at society’s obsession with food whether through blogs, television programmes or eating. While photography is the strongest medium in the show, there is video, installation and sculpture as well.

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Like a meal this is an exhibition which should be savoured with its mixture of lighter and darker textures. Hopefully it will not leave you with indigestion but with rather more measured approach to your appetite.

 Today's Specials, Pace, London, 6 Burlington Gardens - Installation Shot 3 (1024x683)

The artists featured are:

Yto Barrada
Mat Collishaw
Keith Coventry
Roe Ethridge
Mona Hatoum
Elad Lassry
Sarah Lucas
Vik Muniz
Gabriel Orozco
Song Dong
Juergen Teller

http://www.pacegallery.com/london

All images are copyright

INDIAN SUMMER at the Albemarle Gallery

INDIAN SUMMER, Albemarle Gallery in association with Arts For India and Tao Gallery, until 23rd August 2014

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As the images show this is a bright, colourful exhibition of works by Indian artists and those inspired by Indian art. The Albemarle Gallery is once again collaborating with Arts For India, a UK-registered charity whose purpose is to support the Delhi-based International Institute of Fine Arts (IIFA).

IndianSummer03

The IIFA is a private sector provider of art education in India and as such is only one of a few doing so there. They provide education for more than 375 students, of which a good number receive a Four Year Sponsorship Programme which is supported by a world-wide network of patrons.

IndianSummer09

A third of sale proceeds will go to help support Arts for India’s work

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www.albemarlegallery.com

LEST WE FORGET: 4th August 1914 – 4th August 2014

Traces of War: Landscapes of the Western Front, until 18th October, The Fleming Collection, 13 Berkeley Street, London W1

 

Peter Cattrell, Lone Tree, Y Ravine, Beaumont-Hamel, Somme, France, 2000 © Peter Cattrell

Peter Cattrell, Lone Tree, Y Ravine, Beaumont-Hamel, Somme, France, 2000 © Peter Cattrell

As we mark today the hundredth anniversary of Great Britain’s entry into the First World War I thought that I would draw your attention to this very beautiful and moving exhibition at the Fleming Collection of the work of the Scottish photographer Peter Cattrell.

Peter Cattrell, Line of Trees Winter, Thiepval, Somme, France, 2000 © Peter Cattrell

Peter Cattrell, Line of Trees Winter, Thiepval, Somme, France, 2000 © Peter Cattrell

The inspiration for this body of work started when Cattrell came across a photograph of his great-uncle William Wyatt Bagshawe and three other men of the Sheffield ‘Pals’ Battalion. They had enlisted in response to Lord Kitchener’s call to arms and all four died as a result of the first assault along the Somme on July 1st 1916. In 1989 Cattrell discovered his great-uncle’s name on the War Memorial at Thiepval in Belgium.

Peter Cattrell, Wire Picket in Farm Fence, Frezenburg, Ypres, Belgium, 1997 © Peter Cattrell

Peter Cattrell, Wire Picket in Farm Fence, Frezenburg, Ypres, Belgium, 1997 © Peter Cattrell

Seven years later, armed with his camera, he returned to the Somme and it was to be the first of many visits in which he captured the landscapes which had been the sites of such horrific scenes in the Great War. In fact during his visits he came across shrapnel and debris which he brought back to his studio and very carefully photographed with the same respect as his landscapes. I cannot really find the right words to say how much these images moved me. They took me by surprise. In their sense of peace they provoked in me a profound sense of loss for all who lost their lives there and also just as nature has revived so too a hope that we too will grow in a greater sense of camaraderie and unity so that such folly will not be repeated again.

Peter Cattrell, Avenue of Trees, Newfoundland Park, Somme, France, 2000 © Peter Cattrell

Peter Cattrell, Avenue of Trees, Newfoundland Park, Somme, France, 2000 © Peter Cattrell

 

Alongside them is a group of photographs by George P Lewis, on loan from the Scottish National Portrait Gallery, showing women working in heavy industry and transport during the War.   The Women’s Work Committee for the Imperial War Museum commissioned them from Lewis in 1918 and these silver gelatin prints were produced by Cattrell in 2004 at the SNPG’s request.

George P Lewis, Granite blaster, Messrs Stewart and Co., Aberdeen, 1918 (printer 2004) © Scottish National Portrait Gallery

George P Lewis, Granite blaster, Messrs Stewart and Co., Aberdeen, 1918 (printer 2004) © Scottish National Portrait Gallery

 

http://www.flemingcollection.com

George P Lewis, Spreading refined sugar before bagging, Glebe Sugar Refinery, Greenock, 1918 (printed 2004) © Scottish National Portrait Gallery

George P Lewis, Spreading refined sugar before bagging, Glebe Sugar Refinery, Greenock, 1918 (printed 2004) © Scottish National Portrait Gallery

WADDESDON MANOR – 3

Although not an exhibition as such this is an important and happy tale.


A One-time Pair of Paintings by a Master of the Dutch Golden Age

 

Thanks to the Rothschild Foundation acquiring this year An Encampment with Soldiers Gambling by Philips Wouwerman (1619-1668) it has now been reunited with a painting by the same artist with which it was originally paired in the18th century – A Hawking Party Resting outside an Inn.

Philips Wouwerman; Dutch; b.1619, d.1668, An Encampment with Soldiers Gambling on a Drum, c 1655 – c 1657; oil on oak panel; 350 x 410; Waddesdon, The Rothschild Collection (Rothschild Family Trusts) On loan since 2014; accession number 28.2013. Photo: Mike Fear © The National Trust, Waddesdon Manor

Philips Wouwerman; Dutch; b.1619, d.1668, An Encampment with Soldiers Gambling on a Drum, c 1655 – c 1657; oil on oak panel; 350 x 410; Waddesdon, The Rothschild Collection (Rothschild Family Trusts) On loan since 2014; accession number 28.2013. Photo: Mike Fear © The National Trust, Waddesdon Manor

Both hung in the collection of Paul Randon de Boisset (1710-1776), Receveur Géneral des Finances, who was a keen promoter of the vogue for 17th century Dutch pictures in 18th century Paris. It was customary to hang them alongside works by contemporary artists such as Boucher, Greuze and Fragonard.

Philips Wouwerman; Dutch; b.1619, d.1668, A Hawking Party Resting outside an Inn, 1655-57; oil on panel; 362 x 413; Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; accession number 2567. Photo: Mike Fear © The National Trust, Waddesdon Manor

Philips Wouwerman; Dutch; b.1619, d.1668, A Hawking Party Resting outside an Inn, 1655-57; oil on panel; 362 x 413; Waddesdon, The Rothschild Collection (The National Trust) Bequest of James de Rothschild, 1957; accession number 2567. Photo: Mike Fear © The National Trust, Waddesdon Manor

Although less highly regarded today than he was in the 18th and 19th centuries Wouwerman was appreciated for his depictions of horses and scenes of everyday life and highly valued, especially for the contrast between light and shade and the complex compositions.

The pictures remained together until 1812 when they were sold at auction but ended up in different Rothschild collections. The Encampment was in the collection of Alfred de Rothschild while the Hawking Party was acquired by Anselm de Rothschild and left to his son Ferdinand de Rothschild who built Waddesdon. Now happily they can be seen together again in the Blue Dining Room. Long may it be thus.

Blue Dining Room, Waddesdon Manor  ©National Trust, Waddesdon Manor photo : John Bigelow Taylor’

Blue Dining Room, Waddesdon Manor
©National Trust, Waddesdon Manor photo : John Bigelow Taylor’

 

http://www.waddesdon.org.uk