Rudeness at the Tate

I have the best of worlds for visiting London. I can catch the reduced-fare train from Bicester at 9:12, and arrive at Marylebone Station an hour later. The ticket is only £23 return, about $37.50 Canadian. I can wait to be sure the weather is OK, and the off-hour train is always empty. I never plan to do too much, not wanting to cram so much in that I lose track of what I have seen. Travel on the London Tube is cheap; still, I prefer walking when I can.

So my main focus this day in Westminster is to spend lots of time in the art gallery, Tate Britain, with its special exhibit entitled Rude Britannia, which has been variously reviewed in the British media, most critics seeing it for the self-effacing British humour and wit it represents.

One of my favourite London spots is Trafalgar Square. I came here first today to see the giant maze “created” in the centre of the square, but I missed it by a few days.

A news image of the maze I missed. Oh well, it is unlikely I could have found my way out anyway!

I wandered along Whitehall. The Old Shades pub self-identifies as one of the oldest and finest pubs in London, on the Dick Whittington Trail. The legend of Dick Whittington is that he came to London to seek his fortune, hearing that the streets were paved with gold. No gold, but plenty of rats, and eventually the young orphan, now hired as a scullery boy, bought a cat that proved to be an amazing ratter. Dick became a rich man when his cat was sold for a fortune to the King of Barbary, whose palace was full of mice. He became business partner with his employer, married his daughter, and later became Lord Mayor of London three times.

One of the troopers of the Household Calvary. The troopers are relieved once every hour from 10 a.m. until 4 p.m. It is amusing to watch them avoid eye contact with the queue of tourists snapping pictures, coming in close to the horse for a photo, but wary of the warning sign that the steeds might bite or kick!

The inspection of the Guard takes place every day at 4 p.m., a tradition dating back to Queen Victoria, who once came through the entrance—only the Sovereign can use this entrance—and found no one there—they were all drunk on ale. As a result she decreed that the Household Calvary would parade every day at 4:00 for one hundred years—an order that is still being obeyed over 130 years later.

About one hundred tourists were waiting at the gates to Downing Street so I joined them. It was clear that some dignitary was preparing to leave after visiting Prime Minister Cameron at No. 10 Downing Street.

There is more security here than even at Buckingham Palace!

No one had any idea who was leaving, what with the speeding cars with tinted windows. But it was, I suppose, interesting to spend a few minutes wondering.

Tourists just don’t get closer than this to the Prime Minister’s home in London in the black section, right.

Views of Big Ben. It is a magnificent clock and tower. I am impressed by its intricate beauty every time I see it. The BBC reported that three men hired to check for damage to the clock and tower abseiled from above to do their repair work.

Even the ornamentation of fences—these around the Westminster Parliament—is designed to thwart climbers. And if these didn't dissuade you, the heavily armed police nearby probably would!

The long-standing Peace Camp in Parliament Square was disassembled in a police sweep recently, although one or two protesters remain on the sidewalk.

Old Sir Winston scowls over the heads of the protesters towards the Westminster Parliament.

The Victoria Tower is the tallest tower in the Palace of Westminster and was named after Queen Victoria. On the top of the tower is an iron flagstaff. From here either the Royal Standard (if the Sovereign is present) or the Union Jack is flown.

Westminster Palace, the original part of the Parliament complex.

Next is The Sovereign’s Entrance: By tradition, it is the only entrance the Queen is permitted to use when entering Westminster Palace. The steps leading from the entrance to the Norman Porch are known as the Royal Staircase and are part of the processional route taken by the Queen each year when she opens Parliament. By tradition this route is the only one the sovereign can take when he or she comes to the House of Lords. Due to its prominent setting and significance in pomp and circumstance the designer used particularly rich and elaborate sculpture for its interior and the underside of its entrance arch. These include statues of the patron saints of England, Scotland, Ireland and Wales, a life-size Queen Victoria and two allegorical figures for Justice and Mercy.

Completed in 1860, Victoria Tower was designed by Charles Barry. Between 1990 and 1994 during restoration, over 1,000 cubic feet of decayed stonework was replaced, and over 100 shields were re-carved on-site by stonemasons.

Monument commemorating the work of Ms Emmeline Pankhurst, Suffragette.

The Burghers of Calais

“These figures known as The Burghers of Calais commemorate six citizens of that town who offered themselves as hostages to Edward III, after he had vainly besieged their town for nearly a year in 1347. The story goes that their lives were spared on the intercession of Edward’s queen Philippa of Hainault.”

The Buxton Memorial

“The Buxton Memorial was erected to commemorate the emancipation of slaves following the 1833 Slavery Abolition Act. The memorial was donated by Charles Buxton, MP, in memory of his father, Sir Thomas Folwell Buxton, and those associated with him in the struggle for the abolition of slavery in the British colonies. It was originally sited in Parliament Square, but later removed and erected in Victoria Tower Gardens in 1957, to mark the 150^th anniversary of the 1807 Act abolishing the trans-Atlantic slave trade.”

"Designed by S. S. Teulon in the Gothic style, the spire is timber framed, and clad with enamelled sheet steel. Many different materials and decorative techniques are used, including grey and pink granite, limestone, grey and red sandstone, rosso marble enamelled metalwork, mosaic, wrought iron and terracotta. Following extensive restoration by The Royal Parks, the Memorial was unveiled in March 2007 to commemorate the 200^th anniversary of the 1907 Act."

View of Westminster Bridge and The London Eye, from Victoria Royal Park.

The Tate Britain is located at Millbank on the Thames, on the site of the old Millbank Prison. The front section of the building was designed by Sidney R. J. Smith with a classic portico and dome. It opened in July 1897 as the National Gallery of British Art, but became commonly known as The Tate Gallery after its founder Sir Henry Tate, and later The Tate Britain.

There are four Tates: The Tate Britain, The Tate Liverpool, The Tate St Ives, and The Tate Modern. The Tate Britain features British Art from 1500 to the present. There is a dock and a boat that can take patrons from the Tate Britain upriver to The Tate Modern.

Harrier & Jaguar by Fiona Banner. June 2010 to January 2011 in the Duveen Gallery at Tate Britain.

Artist Fiona Banner was commissioned to create this exhibit, sponsored by Sothebys. Banner is known for her fascination with the fighter plane as a symbol of the “uncomfortable resonances” of war machines. “Here, Banner places recently decommissioned fighter planes in the incongruous setting of the Duveen Galleries. For Banner these objects represent the ‘opposite of language,’ used when communication fails. In bringing body and machine into close proximity she explores the tension between the intellectual perception of the fighter plane and physical experience of the subject. . . . Harrier and Jaguar remain ambiguous objects implying both captured beast and fallen trophy."

“A Jaguar lies belly up on the floor suggestive of a submissive animal. Stripped and polished, its surface functions as a shifting armour, exposing the audience to its own reactions.”

“I remember long sublime walks in the Welsh mountains with my father, when suddenly a fighter plane would rip through the sky and shatter everything. It was so exciting, loud, and overwhelming; it would literally take our breath away. The sound would arrive from nowhere, all you would see is a shadow and then the plane was gone. At the time the Harrier Jump Jets were at the cutting edge of technology but to me they were dinosaurs, prehistoric, from a time before words.” [Artist Fiona Banner]

Twice, in Scotland, I have had that same experience: suddenly I saw a jet slicing the air over a loch, and before I could tell the person next to me to look, it was gone.

Exciting stuff.

“The suspended Sea Harrier transforms machine into captured bird, the feather markings tattooing its surface evoking its namesake, the Harrier Hawk.”

I have to admire this fellow who spontaneously ran up and threw himself under the nose of the Harrier. Plus the security people who stood back as amused as I was by his sense of irony.

After a decent lunch in the café, I headed straight for the Pre-Raphaelite Brotherhood Gallery. There was a no photography sign on the stairwell, but I saw no others; besides, several other patrons were taking photos, so I snapped a few.

Proserpine by Dante Garbriel Rossetti, 1874.

This is my favourite Pre-Raphaelite image, a print of which I hang in my bedroom at home. “In the classical myth Proserpine was kidnapped by Pluto, the god of the underworld, to be his wife. She begged to be returned to earth, but because she had eaten some pomegranate seeds Pluto confined her to his kingdom for half of each year. She is shown here eating a pomegranate, which symbolises captivity. Jane Morris modelled for Proserpine. She was married to Dante Gabriel Rossetti’s friend William Morris and was also Rossetti’s lover. She was unhappy in her marriage, and Rossetti may have seen her as a captive goddess.” Printed on the frame are these lines:

Afar away the light that brings cold cheer

Unto this wall,--one instant and no more

Admitted at my distant palace-door:

Afar the flowers of Enna from this drear

Cold fruit, which, tasted once, must thrall me here:

Afar these skies from this Tartareen grey

That chills me: and afar; how far away,

The nights that shall be from the days that were.

Afar from mine own self I seem, and wing

Strange ways in thought, and listen for a sign:

And still some heart unto some soul doth pine.

(Whose sound mine inner sense is fain to bring,

Continually together murmuring.)

“Woe’s me for thee, unhappy Proserpine!”

A Boy at Play, by William Goscombe John, bronze, 1895.

“A young boy is laying a game of knuckles. The level of poise and skill required is demonstrated by his naked figure which is perfectly balanced to complete the task. The ideal body type, as created by Goscombe John, became increasingly important during the late nineteenth century as the debilitating effects of malnourishment and tuberculosis became a cause for concern. Exercise was regarded as a vital preventive measure. This is one of a number of sculptures Goscombe John created on this theme.”

The Bath of Psyche, by Frederic Leighton; exhibited at the Royal Academy 1890.

“The story of Psyche comes from a tale by the Roman Poet Lucius Apuleuis. Psyche was the daughter of a king. Cupid, Venus’s son, fell in love with her, but she angered him and he left her. Psyche wandered over the earth in search of Cupid until Jupiter took pity on her, made her immortal, and re-united the lovers. Leighton based Psyche’s pose on an ancient statue of Venus Leaving the Bath that he’d seen in Naples in 1859. He may also have designed the frame, which echoes the architectural details in the background of the picture.”

Leider ohne Worte, by Frederic Leighton, 1860-1; exhibited at the Royal Academy 1861.

“The title refers to the ‘songs without words’ the girl is listening to: the sound of the gently trickling water and the singing of the blackbird behind her. Leighton knew many of his viewers would connect it with Mendelssohn’s set of piano pieces of the same title, which were very popular in England at this time. The subject’s ‘timelessness’, and the harmony of the composition and colouring, suggest the power of music to evoke specific moods.”

The Nymph of Loch Awe, by Frederick William Pomeroy, 1897; marble and onyx.

“This subject was based on an old legend explaining the origin of the Loch Awe in the Scottish Highlands. A nymph was asked to watch a magic well to check that the water did not rise above a certain height. She fell asleep, the water rose and she drowned. Dead or dying female figures lying prostrate on the ground were a popular subject in French art at this time. But they were usually more sensuous than Pomeroy’s figure. In contrast, he arranges the woman’s limbs to emphasise the weight and vulnerability of her body.”

Pandora, by Harry Bates, 1891; marble, ivory and bronze.

“In Greek myth Pandora was the first mortal woman. The gods gave her gifts of beauty, the power of song and eloquence. Zeus gave her a box containing every human ill and sent her to earth. When she opened the box, all the misfortunes that afflicted mankind flew out. Bates shows the moment of hesitation before Pandora opens the forbidden box. He suggests Pandora’s mood of consideration and temptation while also recognising the inevitable fulfilment of the myth. This way he acknowledges the compulsion of character, and frailty of the human spirit. The ivory box is carved with figures relating to the creation of Pandora.”

Three Studies for Figures at the Base of a Crucifixion, about 1944, by Francis Bacon.

“These three paintings were part of a larger group, made during the Second World War, based on photographs of Nazis. Bacon sought to destroy most of the others, in which the specific source as more evident. The Three Studies were first exhibited in April 1945, just as the Nazi concentration camps were revealed to the world, and came to be seen as expressions of cruelty and despair. Their display marked the return of an artist who had not exhibited for eight years. More importantly, it marked a huge departure in his art and the history of art in general.”

Ophelia by Sir John Everett Millais, 1852.

This work is admired for its beauty and its accurate depiction of a natural landscape. According to Wikipedia, its market value is at least £30 million.

One of the most imaginative projects any student ever did for me was a re-enactment of this image whilst we were studying Hamlet. Her name was Ms Carter, and she was dressed in a dress close in appearance to this one, in similar surroundings. She was carefully photographed, with beautiful results.

Phaëton, by Gillian Ayres, 1990.

Titania and Bottom, by Henry Fuseli, 1790.

The Turner Gallery and the Exhibits on The Romantics featured superb works. But this one, in composition, subject matter and scale, was my favourite.

“Shakespeare’s A Midsummer Night’s Dream, from which this painting takes its subject, offered rich material to the Romantic artist. The mingling of the human and supernatural realms that takes place throughout the play anticipates the later eighteen-century fascination with alternative realities. This work was commissioned by John Boydell for his ‘Shakespeare Gallery’, and attests to the growing market for fantastical pictures. It was enthusiastically received, with one reviewer claiming ‘Beings, which “melted . . . into thin air” are now embodied upon the canvas.’”

A young art student is copying a piece in the Lucien Freud gallery.

Man with a Thistle (Self-Portrait) by Lucien Freud, 1946.

Leigh Bowery by Lucien Freud, 1991.

My Parents by David Hockney, 1977.

“This is one of a number of double portraits done by Hockney between 1968 and 1977 in which he portrayed the relationships between people he was close to. Hockney has said that ‘Naturally it is hard to paint your parents because you are examining both them and yourself. It’s a portrait of three people, in a way.’”

If not now when, by John Isaacs, 2010; wax, oil paint, steel, fabric. Photo by AP/Sang Tan.

I’m Dead, by David Shrigley, 2007.

In the Rude Britannia gallery entitled “The Absurd.”

“The Oxford English Dictionary definition of ‘absurd’ reads ‘Out of harmony with reason or propriety; incongruous, unreasonable, illogical . . . plainly opposed to reason, and hence, ridiculous, silly.’”

The only thing more silly would be to keep a cat frozen in your freezer for two years. But that’s something from my past best left untold.

From the gallery entitled "Politics", hosted by caricaturist Gerald Scarfe. A fun look at the art of caricature.

A 'political statement' in a chamber pot featuring the image of Napoleon.

From the "Bawdy" gallery of “robust sexual humour” is likely the only image I might dare put on my blog: the warnings about sexually explicit images and language were understatements! This image is by artist Beryl Cook. All in all, the entire Rude Britannia exhibit was great fun!

Dirge by Sir Charles Lawes-Witteronge, two views.

The Rescue of Andromeda by Henry C. Fehr, 1893.

The Erstwhile Traveler, by Shep. Flesh and bone, with a few sprigs of hair, 2010.

Locking Piece by Henry Moore, 1963-64.

Owned by Tate; loaned to City of Westminster. I was so determined to make sure none of the building across the Thames showed through the opening, that I failed to notice I had not included the plinth!

St George Wharf rising above The Vauxhall Bridge is a residential complex in Lambeth.

The Secret Intelligence Service Building or SIS Building is also known as the M16 Building. Some jokingly call it Legoland! Besides housing Britain’s spy agency, the building has been seen in several James Bond films, Golden Eye, The World is Not Enough and Die Another Day. SIS moved into the building in 1994.

I could find no plaque or information about this work, along the Vauxhall Bridge Road.

Little Ben, first erected in 1892; taken down in 1964, Restored and re-erected by the Westminster City Council in 1981, with the help of Elf Aquitane UK, offered as a gesture of Franco-British friendship.

Little Ben’s Apology for Summer Time

My hands you may retard or may advance/ My heart beats true for England as for France. (JWR)

I decided I should once--but never again--walk Oxford Street to see the stores. It was here that the rain started. I still detest shopping whether in London or in my hometown of Wolfville, Nova Scotia.

I went to the magnificent Selfridge's Department Store, and asked about their Alice in Wonderland department, referred to in travel guides. They laughed at me! Then I looked at underwear and decided that £49 was a bit much for my budget.

Fabulous architectural detail, though. Less pretentious than Harrod's.

Nearby Selfridge's is The Marble Arch, which was originally part of a grand gateway to Buckingham Palace but was moved to its current location in 1851 after it was reportedly found to be too small for Queen Victoria’s carriage. In fact, during the 1952 Coronation of Queen Elizabeth II, the gold state coach passed through the arch. Historically, only members of the Royal Family, the King’s Troop, Royal Horse Artillery are permitted to pass through the Arch in ceremonial processions.

A giant 27-foot tall statue of a horse—well, at least its head—is by artist Nic Fiddian-Green. It is located in the new Marble Arch park. Someone has neatly balanced a flattened football in its eye socket! The whole thing seems inspired by The Godfather.

I walked Edgeware Road towards Marylebone Train Station, and thought to myself that I could rent a London flat here: Hyde Park Mansions Nos. 6, 8, 10 along the Old Marylebone Road.

Hyde Park Mansions Nos. 3, 4, 5.

These architectural details caught my attention. The Old Grammar School on Marylebone Road, now housing the Abercorn School. It was founded as the Philological School in 1792 by Thomas Collingwood, under the patronage of the Duke of York, and its objective was to help “the heads of families, who by unexpected misfortune, have been reduced from a station of comfort and respectability.” In 1908 it became St Marylebone Grammar School. Alumni include singer Adam Ant, author Len Deighton, and footballer John Barnes.

Another Successful Day!

The return train was only minutes away so I found a comfortable pair of seats and came home to Bicester and Caversfield, my head packed with fascinating images and my day added to another chalked up as successful. Next visit to London will be to see Kew Gardens, a 46-minute Tube ride from Marylebone.