Wednesday, February 28, 2024

Indigo Enchantment.... Burleighware.

As far back as I can remember, pieces of Burleighware Blue Calico have been a visual staple in family life to the point where its unmistakable deep indigo seems to be the very essence of 'home'. In fact, the Burleigh design Calico, born in 1968, is almost a contemporary of mine and despite the company undergoing a number of ups and downs from the end of the 1990s, their ware is still much sought-after. Even though I don't at present possess any Calico myself, just the mere sight of a cup, plate or dish with its characteristic floral motive in that rich inky-blue literally pulls at ties that are almost visceral in me.
Somehow the extreme contrast of that intense, rich blue with the white sprigged leaves and speckled petals ofCalico creates a depth that is unique with a certain enamel-like relief that dazzles on the tableware. Strangely however, that same depth is not carried over to the Calico wall tiles that were born from the 2021 partnership with Craven Dunnill and nor is it replicated in the Calico Burleigh X Barneby Gates wallpaper. Furthermore, even though I love all Burleighware with its unapologetic, antiquated prettiness - for example Blue Asiatic Pheasants or Blue Regal Peacock - nothing has the same aesthetic and emotional impact as the Blue Calico.
While an initial earthenware manufacturing firm was established in 1851 in the 'Mother Town' of Stoke-on-Trent, Burslem, in The Potteries region of North Staffordshire, the two men whose names gave rise to Burleigh (Messrs Burgess and Leigh) took over in 1862 and later moved the company to Middleport Pottery, where it is still based today. The company prides itself on its continued use, and unrivalled expertise in the practice of underglaze tissue transer printing in the production process, much of which can be observed during guided tours of Middleport. This is certainly one site that I would love to visit as not only can you admire intricate skills that have remained unchanged for over 250 years, it is also possible to purchase your favourite Burleigh pieces in the factory shop!

Simplicity and Authenticity...

This time last year, I had no notion of how artificial intelligence could be relevent to the everyday life of the average being. However, over the months it has become clear that these developments in AI represent less a breakthrough, albeit unprecedented, than an actual seachange in our existence, as sci-fi becomes reality. With a pace rapidly gaining momentum, we learn of some new skill acquired by this force to be reckoned with. And yet for the moment, no one seems to be wondering about the exact nature of this force and what ultimately our relationship will be with it. Nor do many appear to be alarmed by the speed of change as everything is shifting beyond our understanding and we have no time to consider what this may actually result in or when the day of reckoning will arise. Right now, we seem to be heading down a path that I do not want to take. In fact, I want to run in the other direction entirely...
Looking at simple blossom on the blackthorn, I felt a rush of gladness to have such unadulterated natural beauty in front of me; nature in all its complex simplicity. I fear we are becoming increasingly irrelevent and redundant in an environment that will be pure artifice, far from the authenticity of the natural world that we have plundered as a mere commodity. Now we seem to be treating the essence of mankind with a similar lack of regard and respect, using human intelligence and emotion as further commodities - data - to be replicated artificially until we no longer know what is authentic and what is not.

Black Magic... Cats!

Countless black cats 'find their way' to the cat shelter each year; a euphemism for finding themselves unceremoniously dumped off and subsequently rejected for adoption due to their colour. Surely associations with witchcraft and ill omens have no weight in the supposedly enlightened 21st century? And yet with alarming regularity, I have to humour visitors' expressions of disdain - and the occasional shudder of revulsion - when faced with one of these poor creatures! Having to contain and thus control my irritation at hearing the same old boring, repetitive nonsense poured out with such self-assurance and belief in originality is tiresome, to say the least. Needless to say, the cat's 'frightening' demeanour is often cited - black as the night - along with the 'fact' that such a beast of darkness will surely bring bad luck. What can you say?
When I made the acquaintances with these two black beauties over four years ago, I had certainly no plan to add to the furry clan at home. Both had been part of a group of cats taken from an animal hoarder who had housed them in poor conditions and left them in a neglected state of health. One suffered from such extreme matted fur that I actually gasped in disbelief when I first laid eyes on him; his companion was hardly better. Little by little, with the months that passed, I began to gain their trust and eventually managed to groom them and give them the attention they deserved. Of course, as black cats they received nothing but fleeting interest from the public and the months gave way to years of life in the shelter... until last summer. Witnessing their health decline, slowly but surely, from the exposure to illness from communal living and the stress that entails, I decided to bring them home, these two perfect panthers!

Sunday, January 28, 2024

Vagaries of The Weather over Time across Mount's Bay...

I came across this small painting at the Tate Britain last year; it immediately caught my attention and drew me in. Without even looking at its title or the name of the artist, I instinctively knew that it was a Cornish landscape with that distinctive but impossible-to-define light and unique atmosphere. Peering at the work, I even had the impression of familiarity so you can imagine my surprise, or perhaps lack of it, when I learnt that this was Mount’s Bay and Tolcarne, painted in c.1898 by Norman Garstin, one of Newlyn School of painters.
I even imagined I knew from which vantage point it was painted and so through it relived the invigorating feeling of looking down across the bay. Although over a century has passed since the artist captured the dramatic view stretched out before him and furthermore his position was closer to Newlyn than Madron, it did remind of being in the area in the summer... This is certainly a far cry from the work for which Garstin is perhaps best-known, in Penzance at least; The Rain It Raineth Every Day (1889). However both are equally representative of the weather in the region! The work is on display in Penlee House Gallery & Museum, Penzance.

Wednesday, January 24, 2024

Stamps of Time... Robert Nanteuil.

While I was looking at the limited edition stamps at the post office, this leaflet and indeed the postage stamp itself caught my eye. As the name of the artist commemorated was in no way familiar to me, I read the brief description in the display cabinet below. As it turned out, Robert Nanteuil (1623-1678) was in fact born here in Reims yet was to go on to become one of the leading portraitists of the Grand Siècle, renowned for his skills in etching, drawing and pastel. How strange that the name of Nanteuil appears, for the most part, to have fallen so far into the shadows of time. As I was reading over his life history, it seemed fascinating to me to realise that I must have traced some of the same steps as Nanteuil here in his birth city, at a remove of some 400 years, for what is now Sciences Po was once the Collège des Jésuites de Reims where he initially pursued classic studies.
Proving to be unable and unwilling to repress his artistic drive, Nanteuil felt himself 'persecuted' by the Jésuit teachers who disapproved of the incessant sketching which finally led to his dismissal from the establishment. Fortunately, the young Humanities student was received in a more comprehensive manner by the Bénédictines at the Abbaie de Saint-Rémi (today Musée Saint-Remi). By 1645, Nanteuil had already entered the atelier of the remois engraver Nicolas Regnesson, whose sister he went on marry, but he did not stay in Reims as the opportunities in engraving in la Cité des Sacres at that time were limited. Moving to Paris, he developed ties with engravers, publishers and print dealers and artistically was greatly influenced by the Flemish portrait painter, Philippe de Champaigne. From then on, his career took off, to the extent that his ascension was such that by 1658 he was appointed draughtsman and engraver to Louis XIV, thus establishig a position for himself in the royal court, executing numerous portraits of the greatest dignitaries of the kingdom such as Mazarin and Colbert, along with the Roi-Soleil himself, in engraved and pastel work. With an unparalled skill in engraving that somehow managed to represent less attractive features in a flattering manner, Nanteuil was in great demand. Famous writer Madeleine de Scudéry was so impressed by her portrait that she paid hommage to Nanteuil's 'divine art', with its ability to render her detested facial traits pleasing. Beyond his art, Nanteuil was a man of letters, greatly appreciated for the words and knowledge that enabled him to frequent the literary milieux with ease and yet neither his work nor his wit secured him a place of due recognition in the 21st century...
Portrait de Madeleine de Scudéry - Public domain, via Wikimedia Commons.

Sunday, January 7, 2024

Helleborus Charm...

The end of the holidays and therefore just beofore plunging back into the madness of the working day, what more fitting as an antidote to all of that, than the sight of the beautiful Helleborus? The white Hellebore flower - the 'Winter rose' - is reputed to possess healing qualities in addition to an ability to ward off negative energy. In Greek mythology, the tears shed by the bereaved Aphrodite - goddess of love - resulted in the blooms of white flowers springing up from the ground.
However, it was the red Hellebore that caught my attention, with its typically discreet flower, bent gracefully down as if in modesty or perhaps hiding its face away. Again, it was cited in Ancient Greek mythology, with its name coming from heleîn - 'to injure' - and borá for 'food', since when ingested it could either combat bouts of madness or cause them, depending on the myth in question.
Despite there being various diffent sorts of flowerhead , either relatively plain or ruffled, common to most are the delicate veins traced through the papery aspect of each petal. The fact that you have to contort yourself in order to admire each flower makes the experience all the more special as they play 'hard to get', unlike a typical rose which radiates its full glory plainly and self-assuredly for all to see...

Saturday, December 30, 2023

A Victorian Oriental Jewel... Leighton House

I learnt of Leighton House due to the commissioned work there realised by the grand ceramacist, William de Morgan and vowed to visit this Victorian'palace to art' that was home and artist's studio to the much-acclaimed Academician, the painter and sculptor Frederick Leighton (1830-1896).
Following considerable early success due to the purchase of his first major painting by Queen Victoria, and buoyed by substantial family wealth, Leighton decided to have Leighton House built specifically to his requirements by architect, George Aitchison (1825-1910) whom he had met during travel to Rome. While numerous studio-houses were constructed and concentrated around Holland Park and Kensington from the latter part of the 19th century, it is fair to say that Leighton's was unique in the genre.
As fitting for an individual of his position - much respected by fellow artists, frequented by royalty, political figures and members of the literary circles alike - Leighton's house is imposing in size and stature. From its conception, in the 1860s until his death over thirty years later, Leighton continued to extend and enhance the original design of its structure in line with aesthetic vision and his practical needs as an artist.
Although born in Yorkshire, Leighton spent much of his youth travelling around Europe due to the ill health of his mother. In this way, his education was cosmopolitan and he was receptive to the artistic and cultural influences that he was exposed to, and would continue to be so throughout his life thanks to his extensive travels. Whilst as an artist he was drawn to classical, historical and biblical themes, his aesthetic interests were widespread but as seen in Leighton House, the Middle East was of particular importance to him.
From his trips to Syria, Egypt, Morocco and more specifically visits to Damascus, Cairo, Istanbul, Granada in Andalucia and Palermo, Sicily, Leighton brought back numerous textiles, rugs and ceramic pieces and more significantly the desire to create a space that would provide him with "something beautiful to look at". To house these items and assimilate aspects of these aesthetic influences, Leighton commissioned Aitchison to create the Arab and Narcissus Halls and staircase.
Work on the two-storey Arab Hall commenced in 1877, with its design and decoration incorporating a variety of sources of inspiration but the main influence is said to have been a Sicilian palace, La Zisa. Many of the ceramic tiles used here and in other parts of the house date back to 16th and 17th century Damascus, whereas others were specifically designed on commission by William de Morgan, and the mural friezes were the work of Walter Crane. The mosaic floors were designed by Aitchison, and surround a water fountain in the centre of the hall.
On the top part of the Arab Hall is the wooden-screen window box that looks down from the upper floor Silk Room containing the picture gallery, which was created in the last years of Leighton's life. It is easy to imagine odalisques, reclining on the cushions, hidden away from sight in an imperial harem. On display is one of Lawrence Alma-Tadema's oriental paintings which seems perfectly fitting
The 'Arab' extension of the house followed the early addition of greater studio space in 1869, providing an extensive light-filled area overlooking the garden, wherein to carry out work in optimal conditions. Leighton was certainly a prodigious painter, but in fact appears to have been proficient in much of what he undertook. Not only did he become President of the Royal Academy in 1878, he was also commander in the Artists Rifles, ready to defend England from attack.
Of his private life, very little is actually known. Despite his great public persona, numerous friends and acquaitances from the privileged social circles, Leighton appears to have lived a discreet existence. Although thought to have been homosexual, that has never been confirmed and there is little personal correspondance nor any journals or diaries to throw any light onto any aspect of his life as a private being.
Of Leighton's art on display in the house, I generally preferred the simple paintings and sketches carried out during his travels to the heavy, rather sterile classical pieces he was famed for. Leighton died just one day after earning the title Lord Leighton, and after his death, the house contents were sold off at Christie's whilst the home was used to exhibit art. For many decades, Leighton House was in a somewhat sorry state, suffering from war damage in the Second World War and then general disinterest and decline over the following years. Since the turn of the century however, it has undergone extensive work due to the Closer to Home restoration project and more recently the Hidden Gem to National Treasure transformation to ensure that it is safeguarded for the future whilst meeting the requirements of the public today.