Exploring more of the Courtauld Gallery

Whilst we were at the gallery for the Monet and London exhibition we made the most of seeing other exhibits and the spaces that held them

The staircase is pretty spectacular, and was conceived as a symbolic ‘journey to enlightenment’ - with visitors progressing upwards through the building and moving from the dark to light to reach the top-floor landing. We hadn’t realised that and went straight to the top, I guess fast forwarding and possibly missing the enlightenment on offer. It’s a narrow space and the rooms on each floor have narrow ceilings, so the stairs do rise quite steeply on the final stretch.

VASE OF FLOWERS - CLAUDE MONET

As we know Monet painted so much more than the views of the Thames, and just outside the exhibition we stopped alongside this painting which he started in 1881, but signed and sold around 1920. Clearly a different subject and brighter, more floral colours but equally as impressive.

A BAR AT THE FOLIES-BERGERÈ - EDOUARD MANET

This was the painting that was the most recognisable to me from our visit - which I learnt is considered one of the iconic paintings of modern life, and was completed a year before he died in 1883. And while the barmaid is recognisable, I’d not seen the legs and green boots of a trapeze artist in the top left corner, which the blurb says ‘hint at the exciting musical and circus acts entertaining the audience’.

LILIES IN A JAR, 1914 - MATTHEW SMITH

The painting above by Matthew Smith was painting in 1914. Entitled Lilies in a Jar was one of my favourites from the whole day, and he was encouraged by Henri Matisse to ‘paint in a more intense and liberated way’ which makes this still life anything but still - and I’d happily have this one at home.

BALCONY VIEW, IPING CHURCH - 1943 - IVON HITCHENS

The painting above by Ivon Hitchens was painted at the height of the Second World War and after his London home was bombed during the Blitz in 1940. He moved to West Sussex where he painted this view looking towards the church from the balcony of a house. I think this is one you could easily have in your own home, and one that you could spend time looking at, and looking at some more.

ADAM AND EVE, 1326 - LUCAS CRANACH THE ELDER

Another image which may be familiar, and most certainly the subject matter is - but also one that I wouldn’t have been able to name the artist of.

We moved onto the ceramics section and here it was the lustred ceramics that caught my eye. The lustred ceramics would have been a must-have luxury item in the fashionable Renaissance homes, and it’s easy to see why. Lustre is made when a glazed and fired ceramic is painted with metal oxide pigments and fired again at a low temperature with restricted air supply, and results in a metallic film that shimmers in candlelight.

Outside in the December early evening we were now heading off to complete our other plans, but not without stopping and admiring this new-to-us rainbow snake of seating in a part of the Strand which is now pedestrianised, and which I’m sure on warmer days will be much used by both visitors and people working in the area alike.

We enjoyed our visit to the Courtauld Gallery, so if you’re in London and looking for something to do then definitely put this one on your list, and soak up some culture new and old while you’re there. There’s nearly always something going on at Somerset House too - when we visited the Festive ice rink was in full swing, but in the summer it’s also a great place to sit and people watch, it’s just one of those places that is constantly changing and is better for that.

I’m hoping that next time we’re in the area, it’s much warmer so I can try out at least one of the colourful seats!

Visiting the Monet and London exhibition

Back at the start of December we popped to London for the day for a pre-Christmas visit, primarily for our annual steak fest at the gorgeous Hawksmoor restaurant in Air Street and to secure some Fortnum and Mason’s mince pies (side note - this time we opted for the crunchy almond topped mince pies, and they weren’t my favourite). I always like to use days in London to do something we can’t do here - that could be an exhibition, a museum, or something else.

This time though I’d seen that the Courtauld Gallery at Somerset House were hosting a Monet and London exhibition, and so I got us tickets. We’d not been to anything in the gallery before, even though we’d been to events and even a restaurant at Somerset House and that along with seeing some paintings seemed good enough reason to go. It seems though it was a really popular exhibition with notices up when we visited to say that tickets sold out until it closed mid January.

We’re by no imagination huge art aficionados, but we do like to take a look and try to imagine the said art in our house, or not!

As most people probably know Claude Monet is renowned as the leading figure of French impressionism, which changed modern art, and I think probably one of his most famous pieces is the Water Lilies - or at least that’s the one I knew of most. I seem to recall we saw, or at least tried to see one of these paintings in Paris once - so long ago, that if there were pictures they were probably printed photos, and also why my memory is hazy!

Views of the Thames

But as the exhibition blurb goes ‘some of Monet’s most remarkable Impressionist paintings were made not in France but in London’ depicting views of the Thames evoking atmosphere, mysterious light and colour. Paintings begun during three stays in the capital between 1899 and 1901 paintings of Charing Cross Bridge, Waterloo Bridge and the House of Parliament were unveiled in Paris in 1904. Until last year they had never been the subject of an UK exhibition, which I guess explains why they were such hot tickets!

There were 21 paintings in the exhibition and lots of people viewing them - some needing to be right in front of you, or even at the exact spot you were in and couldn’t possibly wait for you to move on - sigh! - though generally most people were much more courteous.

The paintings were definitely worth seeing, my favourites were those of the Houses of Parliament:

HOUSES OF PARLIAMENT, SUNSET - 1903 - CLAUDE MONET

LONDON: THE HOUSES OF PARLIAMENT SHAFT OF SUNLIGHT IN THE FOG - 1904 - CLAUDE MONET

THE HOUSES OF PARLIAMENT (EFFECT OF FOG) - 1903 - CLAUDE MONET

THE HOUSES OF PARLIAMENT - 1904 - CLAUDE MONET

The last one above I think is my favourite of these - this was one of the works that he made for the unrealised show in London. He’d been unable to borrow back enough sold paintings from the original series for the exhibition, so set about completing unfinished canvasses left in his studio - which goes to show that having unfinished works in progress is nothing new for crafters and artists today!

He hoped that these newly finished works would be ‘as good as the other ones, if not better’ which is just the inspiration that many of us need to clear through our own stash of half-finished projects, even if we’re nowhere near as talented or prolific as he clearly was.

It was great to see these paintings - and great that his long hoped for exhibition finally took place - we took the chance to see a bit more of the Courtauld Gallery while we were there, so look out for that post soon.

Hamid Zenati at the Nottingham Contemporary

While there are plenty of exhibitions in London - one of which we’ve been to recently, there’s also plenty of exhibitions and ‘culture’ outside of the capital, and that’s something we’re still exploring. Since we’ve lived in Nottinghamshire though, I think we’ve been to more concerts and such, which given we practically lived on the O2’s doorstep in Greenwich is pretty odd! I think here we’re actively looking for things to explore as we build our new lives, but all of that is made so much easier by the institutions here putting on such great programmes.

Anyway, while my car was in for its service and MOT we decided to catch the bus into Nottingham and spend the day there. We weren’t sure which bus exactly, but the garage pointed us in the right direction and on both journeys we had to run for the bus, so that was a bonus too.

I’d spotted the Two Steps at a Time exhibition at the Nottingham Contemporary in a magazine and had added the exhibition dates to my calendar, so that was just the prompt I needed to sort out something a little different. I also signed us up to the ‘Wednesday Walkthrough’ session where we were led through more details about the artist by an art expert, at this session Sheyda Aisha Khaymaz an artist, curator and PhD Candidate in Art History at the University of Texas at Austin.

After completing the more usual tasks of shopping and checking out items for potential future online purchases, and then grabbing a coffee we set off to find the Nottingham Contemporary. It’s a fairly brutalist piece of architecture, and one we hadn’t seen before - however when we arrived we realised we’d probably been less than a few hundred feet away from it on most of our visits to the city. Even better was we’re getting our bearings and knew this just by looking at our surroundings - it’s great when that happens and you start to find your way around a new place naturally isn’t it?

NOTTINGHAM CONTEMPORARY

I knew nothing of the artist before we booked our spaces, but learnt from the website blurb that Hamid Zenati (b 1944 Algeria; d 2022 Germany) was a self-taught and prolific artist working across many surfaces including textiles, fashion and ceramics and more.

This exhibition is the second-ever showing of his nearly sixty year career and the first in the UK - and from the images on the website I knew we were in for a feast of colour.

It was great to hear more about the artist, and the talk was busy with up to thirty people also attending, which the organisers clearly welcomed. I’ll not share much more about the artist or the talk, but we enjoyed both - I’ve realised lately that I’m very much a visual person (it’s not really a surprise tbh), so I’ll leave you (mostly anyway) to enjoy my favourite pictures.

The gallery with the textiles was my favourite of the two spaces. They were hung at varying levels from the super high space and that also provided movement, and being able to get up so close was unexpected, as was being able to walk through (literally) the pieces - though of course people were respecting them and ducking to avoid any contact.

The piece at the centre top of the image above is I think my favourite piece of the exhibition. I’m not sure if that’s because it captured your attention as soon as you walked in through its height or its colours, but it’s the one I kept coming back to - and there were plenty in here that I liked.

The boldness of the pieces was amazing, and perhaps this is attributed to being self taught and not needing to follow the rules, or perhaps it’s just what it is and what needed to come out! He didn’t document much of his work at all, so there’s no sure way of knowing - which again means you can make up your own mind, as can I.

The one below was close to being my favourite, for the colours. I can imagine that making a lovely summer dress! Which isn’t as mad or sacrilegious as it sounds, as the gallery staff were wearing his designs. I’m not sure how they felt about it, but it was a fab touch to bring the art to life.

I’ll share one final textile, this one had me captivated during the first part of the talk. It was in my direct eye line and I found myself wondering if they were whales or just fish. They could be either I guess.

This last picture is the one the MOH was most taken with. It’s in the second gallery where there’s more ceramics and even more textiles, though smaller ones which are laid out on plinths. It too follows the ‘fill the space’ approach which isn’t something I’m against. I too love the bold colours, and would happily have a pair of matching, or at least complementary, vases like this on our half-stair landing - though I’d be worried about them bouncing down the stairs unaided.

It’s great to find exhibitions such as this locally, I’m glad I spotted it and that we were able to go and enjoy it - I’m sure we’ll be back to the Nottingham Contemporary, and I’m pretty sure there’s much more in Nottingham and around for us to discover.