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.

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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).

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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.

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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