Papery Petals

Every year, without fail, I get drawn to the same types of flowers on display at the garden centre, and the perfect 'tissue paper' ruffled petals of the ranunculus get me each time.

Those whorls of delicate pastels (or darker colours) that remind me of crazy crinoline petticoats fascinate me, all set amongst those vibrant green 'parsley sprig' leaves. Beautiful!

Light on Water, Glowing Gorse...

Just a glance at this beautiful painting - The Fowling Pool of 1897 - along with others from the Flora exhibition at Penlee House Gallery and Museum plunges you into typical Cornish landscape, with the stunted bushes, scrubby gorse and of course light reflected on water, be that of pond, puddle or sea.

Samuel John'Lamorna' Birch (1869-1955) captured that particular atmospheric quality that makes Cornwall so instantly recognisable in any representation, be that on film, photo or canvas, as here in a later version of The Fowling Pool (1907).

The distinctive effect of light on gorse is so familiar that it seems timeless, as in the 1922 painting above, Chy-an-Mor, by Harold Harvey (1874-1941). I imagine I can hear that strange crackling noise the gorse seed pods make in the summer as they split open, not to mention that peculiar coconut smell of the bright yellow flowers that nestle amongst all those spines.

The same atmosphere is apparent in another of Birch's paintings, the above Spring Morning of 1904 which represents a view near Lamorna (unsurprisingly!) although it always reminds me of the landscape around Zennor, looking down towards the sea...

Likewise with A Landscape with Foxgloves by Alfred Munnings (1878-1959) with its majestic flowers that I instinctively associate with Cornwall, even though I have to admit that they can be found everywhere! The hunched and huddled forms of the hedgerow trees are surely unique however, and again their whole essence is caught by 'Lamorna' Birch in his work The Orchard c.1895.

Teasels and Frost...

The teasel must be one of those plants that look striking whatever the period of the year, but perhaps even more so in the winter months. With their sculptural silhouette of long spiny stems, they stand on the edges of fields or on wasteland, proud and aloof. Their stark, spiky bracts curve up around the head - the inflorescence - elegantly crowning its top.

All of this was magnified by the thin dusting of frost that still clung on later in the day, making everything seem a little more magical...

Equally elegant was the spindly, frosted cow parsley that looked like tattered lace, draped with slivers of icy spiders' webs and frozen droplets. For all the magic, the temperature was a harsh snap into reality and I couldn't wait to get home into the warmth!

Peace and Beauty... Assumption of the Virgin

Wondering why I just cannot 'feel' the Christmas mood anymore, be it in France or England, nor experience any desire to spend time trudging around shops, I wandered around the Victoria and Albert Museum for hours instead! Although I failed to recover the festive spirit in any sense whatsover, I did have a wonderful visit, especially on returning to the stunning Cast Courts. This time, the calm and beauty of one of the vast copies on display caught my attention; a section of a Baldacchino (tabernacle) representing the Virgin and angels, in a sculpted depiction of the Assumption. Almost 700 years old, the original work completed in 1359, is set in the Orsanmichele Church in Florence, commissioned just after the passing of the Black Death. The tabernacle structure served to frame a painting of the Madonna (by Bernardo Daddi), but I think it wholeheartedly stole the show! The details of the cast of the carved marble, with intricate features further highlighted by what was originally inlaid gold, glass, and lapis lazuli, creates a uniquely delicate effect that perhaps reflect the influence of the artist's background as son of a goldsmith. The sculptor responsible for its creation was Andrea di Cione - known as l'Orcagna - (c. 1308–c. 1368), and although he was known for his work as painter, poet and, of course, sculptor, his name is perhaps largly overlooked today...

In fact, the Assumption is just one of two scenes represented on the large sculpted relief of the tabernacle for in the lower section of the work is the Dormition of Mary, with her demise. In the upper section, as shown here, we see the Virgin as she levitates within the oval form that is symbolic of sacred figures - the mandorla (Italian for 'almond') - which is grasped by the angels that bear her to heaven. I love the angels' expressions and postures as they busily accompany Mary in her spiritual ascent, their forms floating on the clouds that shroud their angelic feet! Well, after over 4 hours in the museum, my own feet were feeling decidedly unangelic but I felt so elated to see such incredible works that lift you no matter how you initially feel....