WHA Introduction with notes (Pages 2-21)
WHA Introduction with notes (Pages 2-21)
“When you look at a portrait, try to find out something about the sitter so that you can judge how the artist has interpreted their character. Focus on two or three personalities. As well as looking at how the artist has portrayed the sitter, think about where the picture was originally displayed. How big is it? Who was it for? Who would have seen it?” p49 Course Guide.
Portrait of Margaret, Duchess of Argyll
Artist: Gerald Leslie Brockhurst 1890-1978
Medium: Oil paint on canvas
Dimensions: support: 762 x 641 x 20 mm
© Richard Woodward
‘This smaller than life-size portrait by Gerald Leslie Brockhurst depicts the socialite Margaret Sweeney, Duchess of Argyll (1912–1993) against a background comprising a dark sky and a landscape of mountains and lakes. Margaret is presented frontally, with her face, shoulders and torso in view. She wears a dark dress, the golden, floral embroidery of which Brockhurst has rendered in hyper-realistic detail using small brushstrokes. Her pale, porcelain-like skin contrasts with the subdued tones of the rest of the picture, especially her dark eyes and eyebrows, which punctuate the whiteness of her face. Margaret was known to be intensely proud of her Scottish heritage, and this is reflected in the painting’s scenery, which evokes the lochs and mountains of Scotland.
Portrait of Margaret, Duchess of Argyll has been interpreted by scholars such as Ray as both a realistic rendering of the sitter and an idealised representation of her beauty and taste (Ray 2006, p.14). Margaret’s fashionable clothing, her attractive features and the painting’s dramatic backdrop reflect the ways in which she constructed her public identity, while the formality of her pose and the hyper-realistic detail with which Brockhurst rendered Margaret’s face and clothing point to the reality that lies behind her self-presentation. The portrait is notable for its similarity in composition and palette to Leonardo da Vinci’s Mona Lisa c.1503–6 (Musée du Louvre, Paris). Leonardo’s work became a source of influence for Brockhurst following a trip he made to Paris and Italy in 1913, and there is a clear visual link between this portrait and the Mona Lisa in their half-length format, background landscapes with a low horizon, and their sitters’ inscrutable smiles.’
I really like this painting. I like the Duchesses face and how pretty and confident she is. The colours of the brocade on the dress and her hairstyle are very life-like. I see from the above notes that it mentions her pale skin. The background really does show that off and it feels like quite a playful portrait. I would hope that this portrait was made to be hung in a grand room, above a big fireplace maybe and was to be the focal point. I love the red on her lips and it is almost photographic in the detail.
David and Barbara Carr
Artist: Sir Cedric Morris, Bt 1889-1982
Medium: Oil paint on canvas
Dimensions: support: 1003 x 746 mm
© The Estate of Sir Cedric Morris
‘In 1937 Cedric Morris and his partner Arthur Lett-Haines opened their own private art school at Dedham in Essex, which they called The East Anglian School of Painting and Drawing. The school provided its students with an atmosphere of freedom, dedication and enthusiasm. David Carr and Barbara Gilligan were both students at this art school when they sat for this joint portrait. They married later. David Carr was a painter and sculptor and Barbara was a painter. Morris has presented these two friends in an unusual composition and has enjoyed painting the textures of their woollen jumpers.’
I love the feel of texture in this portrait. The chiselled faces and angles of the way they are sat, the expressions and the fullness of the sitters eyes and lips. I like how the above notes mention that Cedric Morris ‘enjoyed painting the textures of their woollen jumpers’ I think that this might have been quite a small painting for the sitters to either keep for themselves or for the artist to keep as a record of his friends at the school.
“An artist’s self-portrait is historically fascinating as well as being personally significant. Go online and compare the self-portraits of Dürer, Rembrandt, van Gogh and Munch. Amongst more modern works look at self-portraits by Lucian Freud, Bruce Nauman, Cindy Sherman, Sam Taylor-Wood and Sarah Lucas. What new problems arise when an artist decides to portray themselves?” p49
Dürer Self Portrait. Age 28.
‘The Christ-like self-portrait above was painted in 1500, shortly before Dürer’s 29th birthday. The painting was made in oil on a wooden panel, and is now in the collection of the Alte Pinakothek in Munich. Unlike his earlier self-portraits, which were composed in the customary three-quarters view, Dürer’s self-portrait of 1500 depicts the artist faced squarely toward the viewer, a pose usually reserved at that time for images of Christ. His hand, touching the fur collar of his coat, brings to mind the gestures of blessing in religious icons. The highly symmetric composition draws attention to the eyes, which gaze directly at the viewer. The artist’s monogram, “AD,” and the Latin inscription — “I, Albrecht Dürer of Nuremberg, portrayed myself in everlasting colours aged twenty-eight years”, are placed at eye-level to strengthen the effect. The year “1500” is written directly above the monogram, giving the “AD” a second meaning as Anno Domini, which further reinforces the connection between Dürer and Christ. The art historian Joseph Koerner has suggested that the entire composition, from the triangular outline of the frontal likeness to the curve of Dürer’s fingers, echoes the overarching “A” and nestled “D” of the artist’s monogram. “Nothing we see in a Dürer is not Dürer’s,” writes Koerner, “monogram or not.”
My first thoughts about this painting is how confident he looks and that he has very nice hair. The coat he is wearing with the fur lining is very special and the dark orange sets off the background of the painting which in turn brings the artist out more. The gold monogrammed writing commands attention to the viewer and gives an air of mystery and also one of superiority. He is looking directly at the viewer and asking you to look at him and his very lovely hair.
Rembrandt Self Portrait.
Self Portrait as a Young Man
1634 Oil on canvas; Uffizi, Florence
This portrait by Rembrandt was painted a long time after the Dürer image but it still has the same feel of pomp and gives viewers a document of the artist to look at and compare through time. It isn’t as colourful as Dürers image and doesn’t have any fur included but it does look like he has a bit of leather necklace action going on or it could be metal. I like his jaunty hat and detailed chain holding his cape around his shoulders. Just enough.
The background and feel of the painting is a lot darker with the use of only a few set colours and it appears to be lit from behind, maybe by candlelight or painted to give the feel of it. I think this painting is part of a record to look back on. Maybe painted originally for the artist to see but also as a record for the future. Maybe Rembrandt knew his images would be seen and sought after so he continued to paint many self portraits over the years.
Van Gogh Self Portrait.
Self Portrait as a Painter.
Vincent van Gogh (1853 – 1890), Paris, December 1887-February 1888′ oil on canvas, 65.1 cm x 50 cm
Credits (obliged to state): Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
‘Van Gogh presented himself in this self-portrait as a painter, holding a palette and paintbrushes behind his easel. He showed that he was a modern artist by using a new painting style, with bright, almost un-blended colours. The palette contains the complementary colour pairs red/green, yellow/purple and blue/orange – precisely the colours Van Gogh used for this painting. He laid these pairs down side by side to intensify one another: the blue of his smock, for instance, and the orange-red of his beard.
Self-Portrait as a Painter was the last work Van Gogh produced in Paris; the city had exhausted him both mentally and physically. He told his sister Wil how he had portrayed himself: ‘wrinkles in forehead and around the mouth, stiffly wooden, a very red beard, quite unkempt and sad’.
Painted over 250 years after the Rembrandt, the difference in style and colour is very obvious. Despite him mentioning that he looks sad I think he looks as though he is concentrating. I have a lot of time for Van Gogh paintings and I went to the Van Gogh Museum in Amsterdam years ago to see his work. It was very eye-opening to see the differences in his pieces over time and also the variable colours which are always primary or secondary mixed. The use of colour in this portrait is very different to the first two images, there is more texture and you can get more of a feel for the person and his equipment. He doesn’t look fancy and I think he also felt this way.
Munch Self Portrait.
The colours in this painting are quite different from previous portraits as everything is very peach and pink with a lovely black and grey feeling about it. His face has deep painted lines which are highlighted and shown more with the harsh lighting used. The muscles and lines on his body are well toned and also this could be as he has no clothes on. Maybe some trousers but we can’t see.Bruce Nauman Self Portrait.
Self Portrait as a Fountain
1966-67, printed 1970
Whitney Museum of American Art, New York; Purchase
Rights and Reproductions Information
© artist or artist’s estate
‘Self-Portrait as a Fountain is one of Bruce Nauman’s Photographic Suite of eleven photographs based on puns. The portfolio reveals Bruce Nauman’s interest in the functions of language, as he humorously depicts literal interpretations of common phrases. In Self-Portrait as a Fountain, Nauman questions the traditional role of the artist. He depicts himself shirtless, with raised arms and open palms, spewing an arc of water out of his pursed lips, in imitation of the nude statues customarily found in decorative fountains. Thus the artist and the work of art become one and the same. During the period in which he made this work, Nauman used the statement “The true artist is an amazing luminous fountain” in a number of text-based works. This playful illustration of the statement satirises the cliché of the artist as a prolific genius who spews forth a steady stream of masterpieces. Self-Portrait as a Fountain also pays homage to Marcel Duchamp‘s notorious Fountain (1917)—a ready-made porcelain urinal that Duchamp provocatively exhibited as a sculpture. Like Fountain, Nauman’s Self-Portrait as a Fountain subverts conventional definitions of what constitutes a work of art.’
This portrait is a photograph which makes it different to all the rest of the previous portraits I have looked at. Again Neuman is without top half clothes but he is imitating a fountain so I suppose he would get wet if he was dressed properly. He uses his mouth and hands to create comedy and movement in the picture like a stone carved fountain which is elaborate could be seen doing or those musical ones in Las Vegas.
Cindy Sherman-Self Portrait
Untitled (Self-Portrait with Sun Tan), 2003
Serpentine Gallery, London, pub.
Cindy Sherman is a master of disguise and it is difficult to choose an image of her as ‘Cindy Sherman’ as each image includes her but as somebody else, living their life and being their character. Sherman is well-known for her different identities and I feel that each person documented is real or she has seen somebody like them, met them and then copies them. There is more about her HERE as her website seems to be down.
Sam Taylor Wood Self Portrait.
http://samtaylorjohnson.com/publications/self-portrait-suspended– accessed 10th February 2018.
Sam Taylor-Johnson’s self portrait is another photograph rather than a painting. I have to be honest that I don’t know much about her body of work. I have really tried and tried and I have had people shout at me for this but you don’t have to know everything about every artist surely? I do like this portrait and it feels calming and the colours muted and simple. I like how she is upside down and there is a weightlessness to it. She is suspended on wires that have been edited out but also it gives me a feeling of being underwater.
Sarah Lucas Self Portrait.
Sarah Lucas (‘Self-Portrait with Mug of Tea’) by Sarah Lucas
Iris print, 1993
27 1/4 in. x 20 3/4 in. (693 mm x 529 mm)
Given by Sadie Coles HQ, 2001
I like this portrait as it deals with collage as well as photography as the medium.
If I was to look at Sam Taylor-Johnson’s portrait I can see how quiet it is and muted and neat. Then I look at the Sarah Lucas piece and I feel she is saying ‘I am having a cup of tea, leave me to have a minute and I will speak to you when I am ready’
There is confidence, she isn’t dressed up or being quiet and it is brash and real. I like it and I like that it is simple and includes tea.
Have you ever attempted a self-portrait? If not, now might be a good opportunity to give it a try. Even if you don’t feel brave enough to attempt one, think about how you’d explain yourself visually to others. What would you include? What would you leave out? ” p49
I am not a selfie person and very rarely have my photograph taken unless it is at a family event, and then I will go through each and every picture until I am satisfied with the outcome.
I have chosen to include a photo of when I was around 8 years old taken with Dangermouse. My older sister used to work at Cosgrove Hall and they had an open day. I don’t remember much but I remember Danger Mouse. I can say that now almost 27 years later I look more or less the same, have the exact same hair cut but it is black in colour – dyed but that’s a secret and I wear glasses. If I was to describe myself I have black cats eye glasses, a fringe, cheeks and a pointy nose. I have a best side and it is to the right.
If I were to be painted I think I would go the whole hog and have dramatic big hair, lots of jewels and a power suit. I am thinking a cross between Pat Phoenix as Elsie Tanner, Barbara Cartland and Elizabeth Taylor the ‘Burton’ years. Make of this what you will.
All websites and links accessed between 1st- 10th February 2018.
This was to be my first time visiting The Midland and I was very excited. The Midland Hotel opened on 12 July 1933. It was built by the London, Midland and Scottish (LMS) Railway, and replaced a Victorian hotel of the same name. The new hotel was designed by Oliver Hill in the ‘Moderne’ style, in the hope that this would attract wealthy visitors to the town. I was told to look up a lot and on the roof I saw The Two Seahorses by Eric Gill.
I felt ever so grand walking up to the door and I was entranced by the Crittle windows and imagining I was in Poirot. They really did film an episode here in 1993 and you can watch it below.
My memories of the hotel are very limited. I remember it as a kid as always being there on the drive through Morecambe and then on further visits over the years it had sadly become derelict. I vaguely remember it being renovated when passing through and now it is fully booked up for years.
I was greeted by a lovely lady on reception and she gave me a guide and a map of the exhibition to see. I decided to start from the top and work down. Climbing up those grand steps I felt ever so posh. The staircase was designed by architect Oliver Hill. I imagined all the people who had walked up and down over the years in their best dress going down for dinner, which on further reading led me to this video of Thora Hird talking about the hotel in 1993. I love her yellow beret.
I really loved the designs on the pieces and the colours and how intricate and uniformed they are. The reproduction Marion Dorn rug sits underneath this piece.
Moving down into the foyer I walked past the bar where I wouldn’t have minded a quick Guinness and came to the screen prints.
They reminded me of a completely different time and the shapes and art deco influence. I wanted to stay at the hotel and be back in the 1930’s with afternoon tea and maybe a game of bridge on the sea terrace.
I loved all of the screen prints but my favourite is this blue design. It reminded me of the roof of The Midland, maybe it is the lines at the top but anyway it is my favourite and that’s that.
I couldn’t get over it all, the designs, the colours, the screen prints and the trinkets in the glass cases. It is so grand and so full of history but I was also starting to get in people’s way looking at everything as it was nearly tea time.
I would very much like a model of The Midland that is in this case.
Odysseus welcomed from the sea by Nausicaa- Eric Gill. Unless you are next to it and it is in front of you then you cannot say how you feel about it as it is truly beautiful. There is a bit more about Eric Gills work at The Midland HERE and also at one time this mural was feared lost forever and you can read about that HERE.
Seahorse by Marion Dorn. Marion Dorn was a textile designer primarily in the form of wall hangings, carpeting and rugs, however she is also known to have produced wallpaper, graphics, and illustrations Known for her significant contributions to modern British interiors in particular for her ‘sculpted’ carpets.
The original rugs that she designed for The Midland have long gone but there is a reproduction by the bar. However if you look HERE and HERE you can see the original carpets in the hotel that Marion Dorn designed. I liked this seahorse design very much and I thought about how long it had been there, the feet that have walked over it and it was still there to see everything when the hotel was derelict. I get too nostalgic.
Moving outside as guests were getting ready for dinner, I said thank you and goodbye and went back outside into the wind. I liked these windows very much but I unfortunately wasn’t going to be there to see them lit up at dusk.
The glass front restaurant and those curves.
More treats were outside on the promenade. The banners looked lovely in the October sun and the colours really worked with the sea and surroundings. It reminded me of being by the sea and of a completely different time. I liked the pink banners the best as a nod to the seahorse design was on them.
As I was running out of car park monies I had to go back, plus it was really cold and I had come without my hat. I came across some nice things on the way that on closer inspection seemed to be once part of something a lot bigger.
Becoming very bemused at the steps that lead to nowhere I walked a bit further on and saw some very tasteful beige tiles.
More bemusement followed and I needed to know what I was looking at.
It seems to be the remnants of Morecambe Swimming Stadium. I found quite a bit on the internet about it and I am amazed that it was knocked down. Look at this postcard, it makes me sad how beautiful it all was and that is some swimming pool.
and then this;
‘Morecambe was in a similar position in the holiday market to Hastings. Morecambe Council also decided it needed a large outdoor pool to compete with nearby Blackpool. A new pool was built in 1936 on the site of the former ship breaking business of T W Ward Ltd. The ship breakers had long been considered an eyesore to the town, but paradoxically were something of an attraction. Many visitors paid to go on board the doomed ocean liners and warships. This time Morecambe’s councillors made sure that they outdid Blackpool. The pool was truly massive, 396ft by 110ft. It was called the Super Swimming Stadium. The pool was designed by architects Cross and Sutton and built by Sir Lindsey Parkinson. The style was uncompromisingly modern. Ostensibly, it was built from reinforced concrete, like the pool at Hastings. However, 500,000 old-fashioned bricks were used in the construction. The statistics of the materials used make awesome reading. As well as the bricks, there were 15,000 cubic yards of concrete, 450 tons of steel reinforcement, 2,000 square yards of granolithic flooring, 5.5 miles of pipes, 12 miles of electrical wiring and 400 lights.
Morecambe’s new pool had problems right from the start. The Council was sued, unsuccessfully as it turned out, when a boy slipped on the new pool’s non-slip steps and broke his front teeth. More seriously, a leak had appeared in the sea wall that formed the basin, in which the pool was set, even before construction of the pool itself began. The cause of the leak was never established and repair work never really cured the problem. This meant that sea-water could leak into the pool at high tide and the water from the pool could escape at low tide.
In spite of its problems the pool did go on to play host to the Miss Great Britain contests after the War, but was eventually demolished in the ‘seventies.’
and there is a video of the stadium showing The Miss Great Britain contest 1963.
It was then made into a water park called Bubbles and these are some of the tiles that are left.
My old nostalgic brain had begun to freeze in the wind and I will definitely go back in summer to investigate some more.
Exhibition guide and map.
I had a lovely time visiting Morecambe and The Midland and Jenny Steele’s exhibition. I have also been overwhelmed about how much there is to find out about these places.
I found THESE pictures of the hotel when it was derelict and it is really sad how it looked but it has all turned out good in the end.
There is also THIS very informative website which details the hotel as it was through to being refurbished.
Thank you to The Midland Hotel for letting me wander about, take pictures and use your beautiful toilets. Excellent hand wash.
Following on from my gallery visit I thought about this question. I found that the gallery was very modern and held travelling exhibitions more than having their own set collections.
The exhibition was about the art work made during World War 2 so a lot of the artists were well known throughout but a lot of the others were not. At least not to me.
I feel the notions of a western canon in the exhibition where found in the artists exhibited.
The artist Feliks Topolski had work shown alongside artists who I researched such as Hilda Davis and Shearer Armstrong. All different artists with differing styles but some who were illustrators and writers mixed together.
All links and websites accessed 27th January 2018.
Back in December I visited Lymington. It is a historic market town with a harbour, high street, slippy cobbles and excellent charity shops. I thought that I would tie the trip into research for a gallery visit to use for my first assignment.
St Barbe Museum and Art Gallery is situated off the main high street. From the outside without any knowledge of the history of the building it all looked very new and modern and had a cafe with big windows to nose out of. I understand that ‘nose’ isn’t the correct language to use when researching but they were very big windows.
On arrival it was quite busy with lots of people in the cafe and bustling around. I had my National Art Pass so entrance was free on producing but the prices vary between adult and child and are between £3.00 and £6.00 if you include gift aid.
The exhibition that was being shown was Art of World War II: John Noott Collection.
‘Featuring rarely seen portrayals of Dunkirk, the Battle of Britain and the Blitz, this exhibition explores the art of the Second World War through the remarkable collection of art dealer John Noott.’
‘John Noott was just seven when war broke out in 1939. Later in life, as a successful art dealer, he began to collect art made during the war years. The collection now includes over 100 paintings, prints and posters by famous and lesser-known artists, including Felix Topolski and Eduardo Paolozzi. After a brief showing at the Broadway Arts Festival in 2016, this exhibition represents the first major gallery showing of Noott’s rich collection of war art.’
I didn’t ask about taking pictures in the gallery spaces until I was inside so I kept it to a minimum of a couple of outdoor images and a few indoor to show the inside of the gallery.
I looked up the origins of the museum on their website;
‘St Barbe Museum and Art Gallery is an independent organisation governed by Lymington Museum Trust, a registered charity (no.1018779). Since opening in 1999, it has acquired a reputation as one of the finest museums and art galleries in the region. In July 2017, St Barbe re-opened after a 10 month closure for a total refurbishment. The project was made possible by a £1.78 million grant from the Heritage Lottery Fund, and more than £500,000 in donations from other trusts, organisations, businesses and individuals.’
How the gallery used to look before refurbishment. This image is on the art uk website and it hasn’t been updated to show the new building. I feel I must tell them.
‘The Museum is housed in a building which was formerly Lymington’s first national school, built in 1835. The museum was opened in its current form in 1999 and is fully accessible. St Barbe Museum and Art Gallery’s collections cover primarily the social history of the New Forest coast area, including Lymington, New Milton, Milford-on-Sea, Barton, Boldre, Sway and Hordle. This comprises a large photographic collection, prints and drawings and a collection of items reflecting the people, events, places and businesses of the Solent shore.’
Going into the first gallery the exhibition was brightly lit and very well set out. There was lot to get through and see but as I had set my mind on looking for portraits I felt I did skim past some of the paintings around the side.
Ruskin Spear (1911-1990) VE Night.
I was drawn to this image mainly because of the colours and how busy it was.
‘Ruskin Spear, CBE, RA (30 June 1911 – 17 January 1990) was an English painter. Born in Hammersmith, Spear attended the local art school before going on to the Royal College of Art in 1930. He began his teaching career at Croydon School of Art, going on to teach at the Royal College of Art from 1948 to 1975.
Initially influenced by Walter Sickert and the Camden Town Group, and the portraiture of the Euston Road School, his work often has a narrative quality, with elements of humour and gentle satire.
Because he used a wheelchair due to childhood polio, much of his work focused on his immediate surroundings. He rendered the citizens of Hammersmith relaxing in and around the local pubs, theatres and shops. A retrospective of Spear’s work was held at the Royal Academy in 1980. His work is represented in the Tate Gallery Collection.
A large number of Spear’s paintings are held in important public collections, including the Government Art Collection, Arts Council England, National Portrait Gallery, Imperial War Museum and the Royal Academy of Arts.’
After reading about him concentrating on his immediate surroundings I could see this reflected in the image. I imagine this party happening outside the pub, people pouring out into the streets to celebrate. Finally being able to see some sort of end to the war and for just this one night life was as it used to be.
The detail is very apparent in the colours, the people dancing and waving flags, even the ironwork above the doorway and the signs get the same detailed treatment.
Next to this painting is a piece by Feliks Topolski of The Nuremberg Trials.
‘Feliks Topolski was born on 14 August 1907 in Warsaw, Poland. He studied in the Warsaw Academy of Art, and trained as an artillery officer.
Later he studied and worked in Italy and France, and eventually he moved to Britain in 1935 after being commissioned to record King George V’s silver jubilee. He opened a studio near Waterloo station, which later became an exhibition and then a cafe-bar featuring his art.
During the Second World War, Topolski became an official war artist and painted scenes of the Battle of Britain and other battlefields. In 1941, Topolski travelled to Russia alongside the men of 151 Wing RAF on board the RMS Llanstephan Castle, which was sailing to the port Archangelsk as part of Force Benedict, a mission to provide air support in defence of the port of Murmansk. Topolski was travelling as an accredited War Artist for both Polish and British governments. He was also under contract to Picture Post magazine, which published many of his drawings after his return.’
You can only just see the image at the side but again this is an artist I hadn’t heard of but once starting to research you recognise his images and style. I am cross with myself that I don’t know more about him as his work is wonderful. Here is some information about his Nuremberg paintings. http://www.topolskicentury.org.uk/memoir/belsen-and-nuremberg/
How heavenly to be in civvies again, David Louis Ghilchik. 1944.
I focused in on this image which I thought was worth a sneaky photograph. I loved the colours and line drawings by the artist and it reminded me of old-fashioned perfume adverts from the 1930’s. I liked the brazenness of it and the rough sketched design. I think I might use and research this image further for my assignment.
‘David Louis Ghilchik was born in Botoşani, Romania, on 7 April 1892, the son of Abraham Josef Ghilchik, a dealer in lace and linen, and his wife Sali. The family moved to Salford, and David studied under Adolphe Valette at Manchester School of Art from 1907 to 1915. He went on to study under Henry Tonks and Ambrose McEvoy at the Slade School of Fine Art. He served as a truck driver on the Italian front during the First World War.
He drew cartoons for Punch, including some silent comic pages, and the Daily Sketch, between the wars. He competed for Great Britain in the 1928 and 1932 Olympics in the mixed painting, drawing and watercolour event, and painted in oils in a style influenced by Christopher Wood, exhibiting widely. He died in Poplar, London, in the fourth quarter of 1972.’
I found the first gallery well set out and you were able to walk through without any obstacles in the way. I was able to get up close to the images and see and study them. The only issue is that some of the paintings were framed and the reflection of the lights would bounce off the glass. There is not really much you can do about this unless you ask for some of the lights to be turned off and this isn’t something I was going to do and this is everywhere so it really isn’t even an issue. The floor space was big enough so that you could stand back and admire the paintings. There were an awful lot of artists I didn’t know and having since researched the exhibition further there were a lot of artists that I did know but showing work that was different.
The displays in the middle of the floor, I didn’t really notice. The floor space is quite large and I think because I was looking for certain paintings that I needed to research, I walked past them. If I hadn’t taken these pictures I don’t think I would have remembered them. I don’t know why this is, maybe I was concentrating too much and walked round the outside only.
The second room held the museum which had lots of local history pieces inside. I am not from the area but it was very interesting to learn about its past and the surrounding areas. I did very much liked these big shells and sharks teeth.
The exhibition had very good access going from room to room, Full disabled access along with magnifiers and guide dogs and seating if you needed it. The large print exhibition labels were very good for me as even with glasses I can struggle sometimes.
Seating and wheelchair available
Nappy changing facility
Full wheelchair access
Assistance dogs welcome
Exhibition labels in large print
The cabinets were full of curiosities mainly about the history of Lymington and the surrounding areas. Lots of interactive exhibits to listen to and touch.
Compare this view with the one above of what the gallery and museum looked like before being refurbished and there is a very big difference. The style of the building is very modern and the signage and glass front. I was surprised when I first arrived at how nice and welcoming it looked and the galleries inside although not huge are big enough to fill and be able to see in peace without falling over things or other people.
Those slippy cobbles I mentioned earlier. ‘Lethal in the frost’ I was told.
New Forest ponies. Certainly a novelty for me.
The exhibition was very interesting and the gallery itself is a little gem. They have an excellent website that tells you all about the history and the exhibitions they have on show. I am unsure at to whether their was an exhibition catalogue as this is one thing I really could have done with.
Visit their Website https://www.stbarbe-museum.org.uk/
The exhibition is on show until 17th February 2018.
All websites and links accessed 11th January -18th January consecutively.
Reflection- Reworked 16th January 2018.
Looking back over this assignment it has filled me with dread for months. I knew at the time of first submitting I hadn’t fully understood what was required in order to explain the questions asked and I knew it was by far my worst submission.
I think with hindsight I wouldn’t have chosen this song to use as even though it is well known and quite short with a punchy, start, middle and chorus once you start to analyse it there’s a lot more to it.
I felt at first it was quite easy and flowed right in order to make assumptions on the protagonists involved but as you start to research further into all the parts that are asked for in the assignment you realise that there is a lot to talk about.
I knew my tutor’s comments were being kind to me and I know that my first draft wasn’t clear and this really is why it has taken so long for me to rework it.
Looking through my tutor notes I can see how the original didn’t flow and with taking all of this on board I feel this new reworked version flows better.
I used the lyrics of the song to better explain parts of the story and it became very apparent how one sided the story was. I had never noticed this before as it was a song that was usually played at the end of the night somewhere, when everybody was tired and a little tipsy and it was no more than a ‘everyone sing very loud to the chorus ‘song.
The use of turning the piece into a one sided argument helped as my previous submission didn’t show this. It is very one sided but also moulds into two at times as there isn’t a clear definition as to who is asking or speaking certain parts, such as ‘What about me, well?’ I am thinking he has been asked this question once the situation has calmed down a bit and the relationship and what has happened has been partially sorted.
My views on creative writing haven’t changed from my last commentary. It isn’t something that I enjoy and even though once I get into it and start to understand the basics I can see how it goes together but I find I have lots to say and then get it can get confusing.
I am hoping this is because of the subject as I really struggled with part 2 and it isn’t something I wish to repeat, however I enjoyed writing about the film protagonists and researching the roles of various characters and how moving small parts of their character can completely change the plot outlook.
‘Do you think there’s still a clear distinction between fine art and popular culture today or is it more useful to think in terms of a spectrum of visual culture?’
In answer to this question I do think there is still a distinction between fine art and popular culture.
The works of artists from the past are still in favour today and they are still popular like Van Gogh and Picasso. Today’s fine art can be seen to me as quite cliquey. Lots of pieces of work can be copied and made into something new but always with a new twist to it. They can date easily.
The same thing can be said about popular culture mixed with fine art as whatever is the current ‘theme’ such as colour, layout, line strength, font can be used until the next thing comes along.
‘With Millions of images available online, is there still a place for the traditional art gallery?’
Yes I think there is a place for art galleries. I think that you have to be able to see the art in front of your eyes and look at it in real life. Yes you can look at the image on the screen but who wants to do that? The actual housing of art works in a gallery where you can go and visit is something very special.
To see a piece in person, on the wall is real, it is there and you are stood in front of a piece of work that the artist you admire has painted. To download the image and look online at catalogues or in books of the work, yes can give you information and knowledge but actually seeing these pieces is where the real learning is.
About ten years ago I went to see Damien Hirsts ‘For the Love of God’ in The Rijksmuseum in Amsterdam. With this being a sculpture and from things I had read and seen about it, nothing was like walking into that darkened room and seeing the piece, shining and glittering. The size, the impact, the feeling all cannot be truly felt from seeing the image online I don’t think.
All links and websites accessed 16th January 2017.