The private Soane and an exhibition

Sir John Soane’s Museum, 13 Lincoln’s Inn Fields, London WC2

Mrs Soane’s Morning Room ©Gareth Gardner

Mrs Soane’s Morning Room
©Gareth Gardner

There can be little doubt that Sir John Soane’s Museum is one of London’s great treasures and a fascinating place to visit. Now it is even more so since for the first time in a hundred and sixty years the now fully restored private apartments on the second floor can be visited. They consist of Mrs Soane’s Morning Room, the Model Room (formerly Mrs Soane’s bedroom and converted by Soane in 1834), Soane’s bedroom and bathroom, the Oratory and Book Passage and they are a delight to behold and reveal even more about Soane and his life.

Abraham Thomas, the Museum’s Director says “It is wonderful to see Soane’s private apartments and Model Room reopen, so that they can be enjoyed by future visitors as he intended. Unseen in over 160 years, the restoration of the second floor offers an intriguing view into Regency life and will allow visitors to further explore the astonishing collection of the Museum. They also are a stunning demonstration of how a combination of in-depth research and skilled craftsmanship can return historic environments to their former glory.

View of the Model Room, recreating a watercolour of the room by C J Richardson c.1834-35 ©Gareth Gardner

View of the Model Room, recreating a watercolour
of the room by C J Richardson c.1834-35
©Gareth Gardner

Soane’s model collection was also at the heart of his endeavour to ensure his Museum was a space for learning and inspiration, and architectural models continue to have that function today. That is why we are delighted with the response we have had to our Adopt-a-Model initiative, where each of Soane’s models can be adopted for a ten-year period. The money we have raised so far towards our endowment target not only supports the future conservation of these rare artefacts, but also plays a critical role in allowing us to continue Soane’s vision of using his collection as a launch pad for creative practice and contemporary debate.”

The chimneypiece in Soane’s Bath Room ©Gareth Gardner

The chimneypiece in Soane’s Bath Room
©Gareth Gardner

Access to the Private Rooms is only available through pre-booking. For more details about how to visit and to book, please see the Museum’s website: www.soane.org

 

Drawn from the Antique: Artists & the Classical Ideal, Sir John Soane’s Museum, until 26th September 2015

Fialetti, Katrin Bellinger Collection

Fialetti, Katrin Bellinger Collection

This is a wonderful loan show which traces how the sculptures of ancient Greece and Rome inspired the visual arts of the West from the Renaissance to the nineteenth century, influencing artists such as Rubens, Fuseli, Turner and Zuccaro as well connoisseurs, collectors and architects, including Soane himself.

Desflaches, Katrin Bellinger Collection

Desflaches, Katrin Bellinger Collection

www.soane.org

 

Hair – The Art of Loss

JANE WILDGOOSE – BEYOND ALL PRICE, Waddesdon Manor, Waddesdon, Near Aylesbury, Buckinghamshire, until 25th October 2015

Wildgoose hair mirror Jane Wildgoose, Beyond All Price, detail, 2015; hair-work flowers, feathers, mirror; © Jane Wildgoose; Photographed in the Green Boudoir, Waddesdon Manor by Mike Fear © The National Trust, Waddesdon Manor

Wildgoose hair mirror
Jane Wildgoose, Beyond All Price, detail, 2015; hair-work flowers, feathers, mirror; © Jane Wildgoose; Photographed in the Green Boudoir, Waddesdon Manor by Mike Fear © The National Trust, Waddesdon Manor

It is appropriate that the State Bedroom and the adjoining Green Boudoir should be the centre for this installation which emotively explores the theme of loss, mourning and love, as the bedroom was where Queen Victoria rested and received Baron Ferdinand privately during her visit on 14th May 1890.

Hair-work flowers, © Jane Wildgoose

Hair-work flowers, © Jane Wildgoose

While one may easily be forgiven for thinking that the idea of mourning could have originated with Queen Victoria’s grief following the death of her husband Prince Albert in 1861 this exhibition shows that in fact the origins are earlier.

The centrepiece in the Green Boudoir is a small photograph, perhaps from a locket, of Ferdinand’s wife Evelina and their stillborn child who both died in 1866 just eighteen months after their marriage.

One common theme in commemorating the departed was human hair and the artist Jane Wildgoose has created new works using hair and they are seen alongside items from Royal Collection, generously lent by Her Majesty The Queen, the Museum of London, the National Maritime Museum, the Victoria and Albert Museum, Waddesdon and private collections.

 

Green Boudoir Jane Wildgoose: Beyond all Price in the Green Boudoir at Waddesdon Manor.  © Jane Wildgoose. Photo: Mike Fear © The National Trust, Waddesdon Manor

Green Boudoir
Jane Wildgoose: Beyond all Price in the Green Boudoir at Waddesdon Manor.
© Jane Wildgoose. Photo: Mike Fear © The National Trust, Waddesdon Manor

Please note:

Artist’s Tour: Jane Wildgoose

Power House and House

Wednesday 9th September

10.45-12.15 (coffee on arrival 10.15)

Join artist Jane Wildgoose for an introduction to her exhibition Beyond all Price with a chance to view the installation in the Green Boudoir in her company.

£15.00

www.janewildgoose.co.uk

www.waddesdon.org.uk

Gabriel Orozco

Gabriel Orozco, Marian Goodman Gallery, 5-8 Lower John Street, London W1, until 7th August 2015

Untitled, 2015 Pigment print Paper: 16 x 20 in. (40.6 x 50.8 cm) Courtesy the Artist and Marian Goodman Gallery Copyright Gabriel Orozco

Untitled, 2015
Pigment print
Paper: 16 x 20 in. (40.6 x 50.8 cm)
Courtesy the Artist and Marian Goodman Gallery
Copyright Gabriel Orozco

There is still time to see this exhibition by Gabriel Orozco which is his first in London since the retrospective at Tate Modern in 2011.

Installation View Courtesy the Artist and Marian Goodman Gallery Copyright Gabriel Orozco

Installation View
Courtesy the Artist and Marian Goodman Gallery
Copyright Gabriel Orozco

The works on show – paintings, scrolls, drawings, photographs and sculptures – are all new works created over the last year mainly in Japan but with some executed in his native Mexico as well. His time in Japan, earlier this year, has seen the creation of twenty-eight collages on traditional scrolls and many feature the recurring circular motif that has been a characteristic in his work for the last ten years. His photographic works are both a reflection and diary of his nomadic lifestyle.

Untitled, 2015 Tempera and burnished gold leaf on linen canvas 120 x 120 cm. (47.24 x 47.24 in.) Courtesy the Artist and Marian Goodman Gallery Copyright Gabriel Orozco

Untitled, 2015
Tempera and burnished gold leaf on linen canvas 120 x 120 cm. (47.24 x 47.24 in.)
Courtesy the Artist and Marian Goodman Gallery
Copyright Gabriel Orozco

http://www.mariangoodman.com

ART & SOUND

Spazio Visivo | Beyond Sight, Paolo Cavinato & Stefano Trevisi, Rosenfeld Porcini, 37 Rathbone Street, London W1, until 30th September 2015

Spazio Visivo,  teatrino drops 2010

Spazio Visivo,
teatrino drops 2010

One can certainly see elements of Paolo Cavinato’s earlier career as a stage designer in the composition of the sculptures and installations throughout the gallery and when combined with the sonic compositions of Stefano Trevisi you have a special experience. It certainly explains why their collaboration as Spazio Visivo deserves this, their first solo exhibition in the UK and even more so presages an exciting future for them.

Spazio Visivo,  Lost, detail, 2015

Spazio Visivo,
Lost, detail, 2015

Spazio Visivo,  Totem, 2011

Spazio Visivo,
Totem, 2011

www.rosenfeldporcini.com

 

Soundscapes, Sainsbury Wing, National Gallery, Trafalgar Square, London WC 2, until 6th September 2015

 

Antonello da Messina  Saint Jerome in his Study  about 1475  © The National Gallery, London

Antonello da Messina
Saint Jerome in his Study
about 1475
© The National Gallery, London

This exhibition which mixes six painting from the Gallery’s collections with contemporary musicians and sound artists is an exhibition which will produce ambivalent responses. Each of the six rooms is soundproofed and the concept is to hear the picture reflected in the sound and the sound reflected in the picture. I found to my surprise that I liked it. However with one caveat; in some of the rooms the very dark background contrasted against the strong focus of light on the painting means that if, like me, you wear light-reflective lenses then when you turn from the picture you may find that you cannot see where you are. In fact I twice had to ask an attendant to steer me in the right direction.

Paul Cézanne  Bathers (Les Grandes Baigneuses)  about 1894-1905  © The National Gallery, London

Paul Cézanne
Bathers (Les Grandes Baigneuses)
about 1894-1905
© The National Gallery, London

The artists and the paintings they chose are:

Nico MuhlyThe Wilton Diptych, English or French (?) about 1395-9

Susan Philipsz –The Ambassadors, Hans Holbein the Younger, 1533

Gabriel Yared – Bathers (Les Grandes Baigneuses), Paul Cézanne, about 1894-1905 

Jamie xx – Coastal Scene, Théo van Rysselberghe, about 1892

Chris Watson – Lake Keitele, Akseli Gallen-Kallela, 1905

Janet Cardiff and George Bures Miller – St Jerome in his Study, Antonello da Messina, about 1475

 

Hans Holbein the Younger  Jean de Dinteville and Georges de Selve ('The Ambassadors')  1533  © The National Gallery, London

Hans Holbein the Younger
Jean de Dinteville and Georges de Selve (‘The Ambassadors’)
1533
© The National Gallery, London

http://www.nationalgallery.org.uk

 

Mother Mould

Jane McAdam Freud – Mother Mould, Gazelli Art House, 39 Dover Street London W1, until 15th August 2015

©Jane McAdam Freud, Mother Mould Installation View, 2015. Courtesy Gazelli Art House.  Photography Benjamin Westoby

©Jane McAdam Freud, Mother Mould Installation View, 2015. Courtesy Gazelli Art House. Photography Benjamin Westoby

It may well come as no surprise to those visiting this exhibition that the artist’s great-grandfather was Sigmund Freud and her father was the celebrated artist Lucian Freud. In her works she explores some of her great-grandfather’s theories such as sexuality and unconscious influence.

 In this latest exhibition the artist considers the theme of the family through twelve large-scale mesh sculptures that enclose found objects which represent the idea that the mother is the source.

©Jane McAdam Freud, Mother Mould Installation View, 2015. Courtesy Gazelli Art House.  Photography Benjamin Westoby

©Jane McAdam Freud, Mother Mould Installation View, 2015. Courtesy Gazelli Art House. Photography Benjamin Westoby

They are engrossing, thought-provoking and elegantly different works.

 

 

www.gazelliarthouse.com

La Serenissima

VENICE -An Exhibition of Paintings, Drawings & Prints, The Fine Art Society Plc, 148 New Bond Street, London W, until 29th July 2015

FRANCESCO GUARDI (attributed artist) Venice 1712 – 1793 Venice: The Grand Canal, looking South-West from the Church of the Scalzi to the Fondamenta della Croce, with the Church of San Simeone Piccolo Oil on canvas | 23 " x 37 ! in (60.6 x 94.4 cm) Courtesy of Charles Beddington Ltd

FRANCESCO GUARDI (attributed artist)
Venice 1712 – 1793
Venice: The Grand Canal, looking South-West from the Church of the
Scalzi to the Fondamenta della Croce, with the Church of San Simeone
Piccolo
Oil on canvas | 23 ” x 37 ! in (60.6 x 94.4 cm)
Courtesy of Charles Beddington Ltd

This exhibition which was part of the successful London Art Week brings a delightful selection of works that celebrate four centuries of art depicting this sublime city. The Fine Art Society, which is London’s oldest commercial gallery, has joined forces with New York’s Hill-Stone Inc and Old Master and Canaletto specialist Charles Beddington to bring us this hugely enjoyable show.

JAMES MCNEILL WHISTLER 1834-1903 The Two Doorways, 1879-1880 Etching and drypoint | 8 x 11 1/2 inches (20.2 x 29.2 cm) Courtesy of The Fine Art Society Plc

JAMES MCNEILL WHISTLER
1834-1903
The Two Doorways, 1879-1880
Etching and drypoint | 8 x 11 1/2 inches (20.2 x 29.2 cm)
Courtesy of The Fine Art Society Plc

 

www.faslondon.com

GIUSEPPE BORSATO Venice 1771 – 1849 Set Design for Rossini’s Opera “Semiramide”, Act 1, Scene 13, Teatro La Fenice, Venice, 1823 Brown ink and wash on off-white paper, signed ‘Borsato’ lower right; inscribed on the mount 'Scena eseguita nel Gran Teatro la Fenice l'anno 1832/ per l'Opera Semiramide' in upper right corner numbered ’10.’ 6 x 8 " in (15.2 x 22.6 cm)  Courtesy of Charles Beddington Ltd

GIUSEPPE BORSATO
Venice 1771 – 1849
Set Design for Rossini’s Opera “Semiramide”, Act 1, Scene 13, Teatro La
Fenice, Venice, 1823
Brown ink and wash on off-white paper, signed ‘Borsato’ lower right; inscribed on the mount
‘Scena eseguita nel Gran Teatro la Fenice l’anno 1832/ per l’Opera Semiramide’ in upper right corner numbered ’10.’
6 x 8 ” in (15.2 x 22.6 cm)
Courtesy of Charles Beddington Ltd

 

 

 

 

 

 

 

 

 

 

 

 

 

 

CARLO GRUBACS Perast(o), Montenegro 1801 – Venice 1870 The Molo in a Rainstorm Oil on canvas, signed 'C Grubas' lower left 10 1/2 x 15 5/8 in (27 x 39.7 cm) Courtesy of Charles Beddington Ltd

CARLO GRUBACS
Perast(o), Montenegro 1801 – Venice 1870
The Molo in a Rainstorm
Oil on canvas, signed ‘C Grubas’ lower left
10 1/2 x 15 5/8 in (27 x 39.7 cm)
Courtesy of Charles Beddington Ltd

 

GIOVANNI MIGLIARA Alessandria 1785 – 1837 Milan Corridor leading to a Loggia Oil on Canvas, signed verso 'G Migliara' Diameter 3 ! inches (8cm) Courtesy of Charles Beddington Ltd

GIOVANNI MIGLIARA
Alessandria 1785 – 1837 Milan
Corridor leading to a Loggia
Oil on Canvas, signed verso ‘G Migliara’
Diameter 3 ! inches (8cm)
Courtesy of Charles Beddington Ltd

A HUGUENOT LEGACY

Fabric of the City, Cass Bank Gallery, 59-63 Whitechapel High Street, London E1, until 31st July 2015

Fabric of the City (c)Stephen Blunt

Fabric of the City
(c)Stephen Blunt

While this may not appeal to all it is an interesting exhibition in that it celebrates the heritage of Spitalfields which thanks to the influx of Huguenots became the leading textile centre in the 17th and 18th centuries. Indeed as I write this I see a fragment of an exquisite mid-18th century Spitalfields silk dress hanging on the wall in front of me.

Fabric of the City (c)Stephen Blunt

Fabric of the City
(c)Stephen Blunt

Hosted by the The Cass, London Metropolitan University the show has been curated by their course leader Gina Pierce who invited 14 leading East London-based textile and fashion designers to take part. These designers have created unique pieces that reflect and carry on the traditions of the Huguenot weavers in our present age.

Fabric of the City (c)Stephen Blunt

Fabric of the City
(c)Stephen Blunt

 

Fabric of the City Exhibitors:

 

Opening hours (Mon, Tues, Wed, Fri, Sat) 12-4

(Thurs) 12-8

Fabric of the City (c)Stephen Blunt

Fabric of the City
(c)Stephen Blunt

http://www.thecass.com

 

Sublime Gardens

 

Painting Paradise: The Art of the Garden, The Queen’s Gallery, Buckingham Palace, London SW1, until11th October 2015

Marco Ricci, A View of the Cascade, Bushy Park Water Gardens, c.1715. Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014

Marco Ricci, A View of the Cascade, Bushy Park Water Gardens, c.1715.
Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014

This is a great exhibition which celebrates the idea of the garden through paintings, drawings, books and the decorative arts from the 16th to the early 20th century.

Mir 'Ali Sir Nava'l, Seven Couples in a Garden, c. 1510. Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014

Mir ‘Ali Sir Nava’l, Seven Couples in a Garden, c. 1510.
Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014

We see a Persian garden depicted in an Islamic manuscript, the gardens of Versailles and Hampton Court, Kew, Windsor and Osborne House. Works by Rembrandt, Leonardo da Vinci, Jan Brueghel the Elder as well as late 19th and early 20th century watercolours and a Fantin-Latour painting.

Jan Brueghel the Elder, Adam and Eve in the Garden of Eden, 1615. Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014

Jan Brueghel the Elder, Adam and Eve in the Garden of Eden, 1615.
Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014

There is a wonderful selection of floral decoration on Bow, Chelsea, Meissen and Sèvres porcelains, textiles, furniture, silver, fans and jewellery, including pieces commissioned by Prince Albert for Queen Victoria and of course works by Carl Fabergé.

Workshop of Carl Faberge, Bleeding Heart, c.1900. Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014

Workshop of Carl Faberge, Bleeding Heart, c.1900.
Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014

This engaging exhibition appeals to most tastes as it reveals the garden as a place of beauty, a place for research and science, a place to relax and enjoy and a place to wonder at the glories of nature.

Thomas Tompion, one of a pair of sundials, 17th century. Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014

Thomas Tompion, one of a pair of sundials, 17th century.
Royal Collection Trust / copyright Her Majesty Queen Elizabeth II 2014

http://www.royalcollection.org.uk

 

The RA’s Summer Exhibition 2015

Summer Exhibition, Royal Academy of Art, Burlington House, Piccadilly, London W1, until 16th August 2015

View of the Central Hall Photography: John Bodkin, DawkinsColour (c) Royal Academy of Arts

View of the Central Hall
Photography: John Bodkin, DawkinsColour
(c) Royal Academy of Arts

From the moment you enter the courtyard and experience Conrad Shawcross’s The Dappled Light of the Sun, 2015 you realise that this year’s Summer Exhibition is going to be different in a good way.  Upon entering the building this is confirmed by the main staircase which has become ZOBOP a highly colourful installation by Jim Lambie, which is made up from pieces of vinyl tape.  When you enter the exhibition you are greeted by the vivid green walls of the Wohl Central Hall with to the right the bright blue of the Lecture Room and to the left Gallery III is a wonderful deep pink colour.  The hang and display of the works is different too as there is a sense of balance and a less cluttered feel. This is helped by the fact that the Architecture Gallery is in the Large Weston Room and that two galleries are devoted to Prints.

Michael Craig-Martin CBE RA unveiling a new site-specific artwork by Jim Lambie for the Summer Exhibition 2015 © David Parry, Royal Academy of Arts

Michael Craig-Martin CBE RA unveiling a new site-specific artwork by Jim Lambie for the Summer Exhibition 2015
© David Parry, Royal Academy of Arts

All these positive changes are down to this year’s co-ordinator Michael Craig-Martin CBE RA and the hanging committee which includes Royal Academicians Norman Ackroyd, Olwyn Bowey, Gus Cummins, Jock McFadyen, David Remfry, Mick Rooney, Alison Wilding, Bill Woodrow and Ian Ritchie.  They have set a high bar for their successors next year.

Gallery III of the Summer Exhibition 2015 (c) David Parry, Royal Academy of Arts

Gallery III of the Summer Exhibition 2015
(c) David Parry, Royal Academy of Arts

The whole raison d’être of the Summer Exhibition is aptly summed up by Bob and Roberta Smith RA: The Summer Exhibition is about artists’ generosity and democracy. No other gallery in the world tries to do what the RA does – open its doors to everyone who thinks of themselves as an artist, to have their work judged by their peers.

Royal Academician Conrad Shawcross stands in front of The Dappled Light of the Sun, 2015 (c) Royal Academy of Arts, Benedict Johnson

Royal Academician Conrad Shawcross stands in front of The Dappled Light of the Sun, 2015
(c) Royal Academy of Arts, Benedict Johnson

 www.royalacademy.org.uk

View of the Lecture Room Photography: John Bodkin, DawkinsColour (c) Royal Academy of Arts

View of the Lecture Room
Photography: John Bodkin, DawkinsColour
(c) Royal Academy of Arts

Lucian Freud

Girl – Lucian Freud, Ordovas, 25 Savile Row, London W1, until 1st August 2015

Girl -­ Lucian Freud installation view,  photography by Mike Bruce  / The Lucian Freud Archive / Bridgeman Images

Girl -­ Lucian Freud installation view,
photography by Mike Bruce / The Lucian Freud Archive / Bridgeman Images

This is an exquisite exhibition of four small paintings and a selection of archival material and photographs. The subject is Lady Caroline Blackwood; the artist Lucian Freud; the connection is they married in 1953.

Lucian Freud,  Girl in Bed, 1952  © The Lucian Freud Archive / Bridgeman Images

Lucian Freud,
Girl in Bed, 1952
© The Lucian Freud Archive / Bridgeman Images

Caroline was 18 when they first met in 1949 at a ball and although Freud was separated from his first wife Kitty they were still married.   Caroline braved her mother’s (Maureen Dufferin and Ava) disapproval and moved in with Freud at his Paddington studio. He painted her between 1950 and 1956 and while these works are today thought to be tender depictions, at the time he was criticised for making her look older than her years.

Lucian Freud,  Girl by the Sea, 1956 © The Lucian Freud Archive / Bridgeman Images

Lucian Freud,
Girl by the Sea, 1956
© The Lucian Freud Archive / Bridgeman Images

In 1952 Caroline and Lucian eloped to Paris and lived there for a year and then in 1953 they married at the Chelsea Register Office on London’s Kings Road.  However the marriage was to be short-lived as Freud’s gambling and reckless behaviour led to its collapse. She moved to New York to study acting and became a well-known author but the bond between them lasted until her death in 1996.

Lucian Freud,  The Sisters, circa 1950 © The Lucian Freud Archive / Bridgeman Images

Lucian Freud,
The Sisters, circa 1950
© The Lucian Freud Archive / Bridgeman Images

Two of the paintings on show Girl in Bed and Girl Reading were both painted in 1952 while Girl by the Sea, 1956, was the last painting Freud did of Caroline and in fact he just finished it before their break-up.  Recently completed research has revealed that it was painted in Pedregalejo near Malaga, Spain. What added to Caroline’s beauty were her big blue-green eyes and the fourth painting (The Sisters, 1950) in the exhibition eloquently depicts one of them.

Lucian Freud,  Girl Reading, 1952 © The Lucian Freud Archive / Bridgeman Images

Lucian Freud,
Girl Reading, 1952
© The Lucian Freud Archive / Bridgeman Images

Try not to miss this!

 

Girl ­- Lucian Freud installation view,  photography by Mike Bruce / The Lucian Freud Archive / Bridgeman Images

Girl ­- Lucian Freud installation view,
photography by Mike Bruce / The Lucian Freud Archive / Bridgeman Images

http://www.ordovasart.com