Neither of us would have made a special trip to the Royal Academy to see either one of these exhibitions on its own, but when we realised that we were due to be across the road in Fortnum & Mason for an early evening Gresham Society event that evening, the opportunity to see:
…was too good for me and Janie to miss. (Click the above links to see the RA’s excellent on-line resources for each of these shows).
First we took in the Gormley. Janie got trigger happy with her iPhone.
The signage tells you to duck and dive your way through this piece, while another sign tells you rather strictly to stick to the outside of the piece. Where’s my sat nav when I need it the most?I tried to emulate the pose.This matrix piece made us feel a bit dizzyJanie was especially taken with the sketch books aplenty,Having done various real caves and even the Củ Chi tunnels in our time, this synthetic cave held no fear for us, although the health and safety brigade warned us about the dark, head hazards and claustrophbia before we entered. It was fun.
While we were more interested to see the Freud than the Gormley, in the event the Freud was a small exhibition with only a few interesting pieces.
Lucian clearly fancied himself more when he was young……than he did when he was older.
As we had suspected, neither show would have satisfied us as a single visit show, but we were pleased to have seen both in one visit, especially so on a day when we were to be so nearby anyway.
There are more photos, in a single album with the Fortnum & Mason ones, to be seen by clicking the link below:
Janie booked us in to a late night Friday slot for the Klimt/Schiele exhibition ages ago – it seemed like a good idea for a show we wanted to see as soon after our return from Japan as possible.
The following little video explains the thinking behind the show.
What we had both forgotten, of course, is that the days of “late night Friday at the RA” being one of the best kept secrets in London are now over. Instead of it being an opportunity to see the exhibitions in a relatively relaxed and congestion-free atmosphere, late night Fridays are now “a thing” and the place is more crowded than at other times.
Before we went to Japan, I had spotted that the RA also had the Oceania exhibition on still in November and had made a mental note that it would be good to see that show on the same evening…
…but I didn’t make a pen or pencil note and had plain forgotten about it…
…until Janie, helpfully, sent me a message on the morning of our visit, suggesting that we get to the RA early enough to take in the Oceania exhibition ahead of the Klimt/Schiele.
In many ways I enjoyed the Oceania more than I enjoyed the Klimt/Schiele. I have long been fascinated by people of the South Sea Islands, not least the Melanesian archipelago. That fascination dates back at least as far as 1974:
Daisy became convinced, quite early in the visit, that I resemble some of the figures depicted in the Oceania exhibition and took several pictures in an attempt to prove it. Don’t see it, myself:
Probably the highlight for us was the panoramic, sort-of 3-D, sort of CGI film, In Pursuit of Venus – the still in the link cannot do justice to the clever effect of this filmscape.
Between Oceania and Klimt/Schiele we still had a bit of time and I was in need of a sit down after two hours on the tennis court this morning. We attempted to go to the members bar, but it was heaving with people – including my real tennis friend Bill Taylor and his entourage. Coincidentally, Bill, comfortably seated, was also still aching after two hours on the tennis court the day before.
We then tried the public bar, which was less crowded (yes there was seating) but Janie observed both servers coughing and sneezing. When they both admitted that they were poorly with flu, we thought best to forego refreshments on their patch. Ironic, given that, we learnt later at the Klimt/Schiele, that Egon Sciele and his wife both died tragically young, in 1918, of flu.
The Klimt/Schiele was a little disappointing in truth. You cannot really look at drawings easily when a gallery is that crowded – you’re almost better off looking at the best of them in the on-line gallery – click here.
Also, I think such work makes more sense when you can also see the major works that were inspired by or started their life as such drawings. This exhibition is all drawings which, especially in the case of Klimt’s work, does not make all that much sense in isolation.
Schiele’s work on paper is more complete/stark and thus makes more sense:
We had hoped to eat in The Senate Room after the Klimt/Schiele but had been misinformed about the availability of food in that space in the evening; so we had a quick drink there and returned home for some Chinese food which we took back to Noddyland.
In short, I think it was well worth a trip to the RA to see these two exhibitions on one day, but we’ll almost certainly be avoiding late night Fridays from now on.
The idea of seeing this concert was partly hatched from John Random’s desire to see some lunchtime early music with me. A couple of suitable Thursday dates were either no good for him or no good for me. But this Friday one, during the London Baroque Festival, looked bang on.
The timing was good too, as Janie had arranged to tour the new extension of the Royal Academy at 15:00 that afternoon. Janie very much liked the look of Les Kapsber’girls lunchtime programme.
As John’s availability is subject to the whims of showbiz administrators, the unreserved seating at SJSS makes it a suitable concert venue for an aproximeeting. I bought tickets for me and Janie, knowing that John would be able to get one on the day if he proved to be available.
The e-mails buzzed over the coming days. There was to be a costume fitting for John, so our gathering was off. The costume fitting had been cancelled – John was on again. The fitting was reinstated – off again.
At that juncture I tried to guilt-trip John…with my tongue rather firmly in my cheek, I might add:
John, John, John…
…I can’t handle all four of those Kapsber’girls on my own. And I’m not so keen on your two. No, no, no, two ladies is plenty:
…so I identified the instruments to John while we were waiting for the concert to start…
…but I got more instruments wrong than right. The big thing I thought was a theorbo turned out to be an archlute; the smaller thing I thought was the archlute was actually a tiorbino (a miniature theorbo), the existence of which only became known to me on the day; the small viol I took to be a treble viol was the even smaller pardessus de viole – a soprano viol which, again, was a new instrument to me on the day. Top mansplaining on my part – waxing lyrical while getting most of the facts wrong – I must have sounded like Alan Partridge to an expert observer.
The concert was absolutely charming – as were all four of the Kapsber’girls. They are very young and relatively new to performance at this level; not all of them displayed professionally-grooved stage presence throughout the hour, especially when sitting out the odd piece. But they all four play or sing beautifully and are surely all on the road to success.
The music was early 18th century French popular songs, known as “airs de cour” or “brunettes”. Two voices and two instruments. These songs were published in the early years of the 18th century by Christophe Ballard and were phenomenally popular in France during that latter part of Louis XIV’s reign.
Here is a little vid of “our girls” performing one or two of the songs we heard:
…and if all that leaves you in the mood to hear some actual Kapsberger (and believe me it’s worth it) here are Les ‘Girls playing and singing some actual Kapsberger:
Of course we didn’t hear any actual Kapsberger in our concert; the focus was entirely on the French airs de cour.
Janie snapped this during the final, lengthy applause
John, true to his word, made an approach to one of the girls after the concert – probably to try to understand the difference between the theorbo, the archlute, the chitarrone…that might have been a long, complicated conversation. Anyway, Albane Imps kindly chatted with and then posed with John:
Is that a tiorbino in your pocket, John, or are you just pleased to see me?
We took a snack lunch in the crypt after the concert (Janie’s favourite place at SJSS) where we met a couple of Kapsber’girls again – Axelle Verner chatted with us charmingly for a while – before the girls headed off, returning to France that very day.
The girls were very self-conscious about the quality of their spoken English, although John’s assessment (and he does teach English as a foreign language) is that their spoken English is actually very good. John remarked that the French accent is a very forgiving accent for spoken English – especially when the words are delivered by charming young people! So snap out of it girls – your English is just fine.
John seemed a little star-struck, so we conducted a filmic thought-experiment in which John might make a brief-encounter-like dash to St Pancras for a touching farewell scene with Les ‘Girls, but sadly John decided against.
Not all that many people composed baroque music for eight voices and two instruments, but let’s try naming my thought experiment combination of The Gesualdo Six and The Kapsber’girls “The Zieleński Ten“.
John was clearly inspired by the “baroque girl power” he had seen, so he parted company with us in search of Millicent Fawcett’s statue, at Parliament Square, while Janie and I went on to our appointment with the new extension of the Royal Academy.
In fact it isn’t really a new extension – it is the old Burlington Gardens building behind the main building, which has been conjoined with the main building to bring the whole of the Royal Academy together. This project has been donkey’s yonks in the making and Janie was very excited, as a member, to be allowed a sneak-preview before the doors opened to the public that weekend. Here is a link to a page and vid that explains it all.
Before wandering around and poking our noses into all the new bits of the Academy, we took a quick look at the first exhibition in the new space – Tacita Dean, Landscape – click here for the RA resource on that exhibition. Not especially to our taste, in truth – we were there for the opening more than for this exhibition – but I did like several of the works that fused photographs with spray-on chalk and gouache. One or two of the larger ones were truly stunning and also, strangely, the technique worked well in miniature on postcards.
Then we wandered around the Burlington Gardens extension.
Tim Marlow himself was there, available to chat with the members. We didn’t chat directly with him, but we did chat with several members of staff who were visibly excited about the whole thing. Extra exhibition space, workshop space, studio space and a soon-to-be completed lecture hall with all the modern gadgetry:
Ged is desperate to deliver the first lecture in this place…
…”this beautiful Burlington Gardens building dates from 1831…”
We then retired back to the City quarters for siesta before grabbing some Persian food and retreating to Noddyland for the weekend. We’d had a super cultural day.
In the end, it occurred to both of us that four exhibitions in one day is overdoing it at our age…actually WAS overdoing it even when we were younger and less discerning.
So, we resolved to visit the Tate galleries on our Wednesday off (I was so tempted to use the headline “Tate-à-Tate”), then to take in the two smaller exhibitions at the Royal Academy a couple of days later, by taking advantage of late Friday opening.
We enjoyed all four exhibitions, but the highlight for us was undoubtedly the first one we saw; Modigliani.
Just in case any Ogblog readers remain confused, I have embedded the trailer for the wonderful Modigliani exhibition below:
We both really loved this exhibition. Not only does it show a superb selection of Modigliani’s work, but you get some real insight into his working world, from his early days in Paris to the end of Modigliani’s relatively short and tragic life.
A tip for anyone planning to go to this exhibition; do make sure you bagsy a (free) ticket for the Modigliani virtual reality studio: The Ochre Atelier. Both Janie and I thoroughly enjoyed that experience. You feel that you are sitting in Modigliani’s studio from three different angles. You can’t quite smell the smouldering Gitanes in the ashtray, but you do sense the breeze coming in through the window.
Impressionists In London – French Artists In Exile 1870 to 1904
We had the car with us, making it a surprisingly short hop from the Tate Modern to the Tate Britain, via Lambeth Bridge.
This exhibition has been somewhat maligned by the critics, but we enjoyed enough of it to justify the visit.
Many of my old school friends, for example, will appreciate the scenes from suburban London where the French artist refugees seemed to congregate for a while; doing some interesting impressions of 1870s Upper Norwood, Sydenham, Lordship Lane and the like – Sarf London Ooh La La?
Cricket loving friends, d’autre part, should love the impressions of 1870s cricket, from Tissot (surely not an Impressionist) hanging out with the I Zingari lot in St John’s Wood to Pisarro’s wonderfully impressionistic crickety park scenes.
In fact, there were quite a lot of Pisarro works on various subjects, probably worth the visit alone. Monet’s foggy London scenes are also well worth seeing if you have never seen them before – as it happens we had seen them before but were very happy to see them again.
Jasper Johns – “Something Resembling Truth”
This was a far more interesting exhibition than I expected. I had a few key images in my head for Johns (flags, numbers…) and didn’t realise the diversity of his work when you see a full tilt retrospective, which this undoubtedly is.
It’s patchy; Janie and I both enjoyed some but not all of the works, but there was plenty to enjoy and I (for one) was very pleasantly surprised by the quality of the work and variety of styles. A lesser-known middle period in the 1980s, for example, yielded interesting work to my eyes.
Dalí / Duchamp
Janie and I both love Dalí’s better works and many of those were on show in this exhibition. Duchamp’s art, we felt, was less interesting. Marcel Duchamp was clearly a very interesting thinker, but perhaps not such an interesting artist.
Well worth a look at this exhibition, though, with a good selection of artefacts and photographs as well as art works.
Further, with the Jasper Johns and the Dalí / Duchamp exhibitions located next to each other, it really does make sense to see both in one go, unless you are very short of time and/or have an aversion to seeing two shows in one go.
We had a mixed juice (or non-alcy cocktail) in the RA members bar after the shows, served by a comedy combination of competent barman and clueless waiter.
Here are some link terms to reviews of the four exhibitions:
But don’t take the experts’ words for it – we’ve all had enough of experts after all. Janie and I thought all of the exhibitions were worth seeing, but if you can only see one of these exhibitions, for us it would have be the Modigliani.
An early end to the working week so that we could take advantage of Janie’s Royal Academy membership and see a preview of the Matisse In The Studio exhibition.
Henri Matisse Photograph by Carl Van Vechten (Public Domain)
Janie was running a wee bit late, so to ensure we got our slot we arranged to meet at the RA itself rather than the flat. Still, we did make our 16:15 slot and very much enjoyed the exhibition.
It is only a small show in the Sackler Wing, but there are many interesting, beautiful and important works on show.
The show does exactly what it says on the tin – it covers Matisse’s life and work in his studio, so you see many of Matisse’s artefacts as well as his art works that contain those artefacts.
We were only there for 45 minutes or so (we don’t tend to linger), but still felt it was well worth the effort. We are both partial to a bit of Matisse – highly recommended to anyone who shares that partiality.
We enjoyed a drink in the members bar, then a Chinese meal from Four Seasons and an early night on a Friday for a change.
Now that Daisy is a member of the Royal Academy and the Tate, it is even easier for us to take in a few exhibitions in one outing, even those in which we might only have a passing interest.
Giacometti most certainly does not fall into the “passing interest” category – he is one of my favourite sculptors – Daisy’s too (perhaps to a lesser extent). So we planned our trip around the members’ evening showing of the Giacometti exhibition.
I had fancied seeing the Wolfang Tillmans some weeks/months ago, but perhaps not to the extent of making a special trip for it. So I was really pleased when the Giacometti invite informed us that the Wolfgang Tillmans would also be showing on that members’ evening.
Thus our plan was hatched – take the afternoon off, have a bite of lunch together at the town residence, mosey along to the Royal Academy for America After The Fall, scoot down to the Tate Modern and take in the other two exhibitions, shoot back to the town residence to pick up Dumbo (my Suzuki Jimny), then escape London to the calm of the country residence (W3) with some shawarmas.
The plan worked perfectly.
I think we both enjoyed America After The Fall more than we expected to. I had forgotten how much I like Grant Wood’s work as well as Edward Hopper’s and there were several fine examples from each of them. Plenty of other interesting pieces too, along with some rather grim and ordinary work from that difficult 1930’s period.
With some time on our hands and the members’ bar and garden at our disposal, we took some juice in the garden of the bar. We were lucky to get a garden table and celebrated our good fortune with a double-selfie:
Daisy and Ged RA, RA, RA!
Then we braved the rush hour for three stops of the Jubilee to the Tate Modern, arriving pretty much spot on members’ opening time, 18:45. This precision of time keeping does not come naturally to Daisy and I must admit to a bit more luck than judgement on my part too – I don’t pay my time pieces much heed on an afternoon off.
That got me thinking about a suitable song for Giacometti. Initially I decided that Cézanne was an easier name for parody, but then I had the thought:
Hit the road, Giac,
Ometti come back no more, no more, no more, no more,
Hit the road, Giac,
Ometti come back no more…
So that was it – I had Ray Charles stuck in my head for the rest of the day:
But I digress.
The Giacometti exhibition was everything we wanted it to be. Comprehensive, interesting information about Giacometti’s life and the diversity of his work, lots of our favourite pieces to see and some new favourites to squirrel away in our minds. We particularly enjoyed the documentary film. made late in his life, showing Giacometti paint the interviewer and then talk about the meticulous way he formed his sculpture’s eyes and faces.
The Wolfgang Tillmans was a delicious dessert after the Giacometti. It is a very interesting exhibition. Mostly photographs of course, but some of the rooms were “littered” with articles and papers that interest him, many of them about the brain and how we form impressions from images and ideas. Some of his photographs are simply wonderful and awe-inspiring. He seems to be a very interesting man, too, although the scattering of papers and articles made me want to have a chat with him rather than simply look at his reading pile.
We quite liked the playback room for sound too, although Janie found it too loud (as did I to some extent) but it was interesting to hear recorded sound at studio quality. We’re used to decent quality at home these days, but often forget how much higher quality is possible in recording, which I imagine is the intention of that work.
I’m rambling again. Three exhibitions, all three well worth catching if you can, especially the Giacometti, which is really special. We had a great outing.
We had booked the evening out for Hockney members’ evening ages ago; we decided to book out the whole day once our holiday plans had been fixed.
Thus the idea of going to see Revolution before the Hockney was hatched.
Still, events conspired against us earlier in the day and it ended up a bit of a rush to get in to see Revolution before closing time.
We got to the RA about 17:15. The young lady on the door warned us that they start closing about 17:55 (five minutes before actual closing time). I explained that the revolution wouldn’t take us all that long as we are seasoned revolutionaries. That seemed to convince her – at least she let us through without further ado.
In truth, we didn’t need all that long to see that exhibition. There were a few really good works of art, but the rest was interesting from an historical point of view rather than jaw-dropping art that you want to look at for ages.
I expected to like the Chagalls and the Kandinsky. More surprising was that I liked some of the Kazimir Malevich and the Kuzma Petrov-Vodkin (in the latter case, not the one depicted on the resource link above, but I did like several others).
Janie commented that, in many ways, reading the leaflet was more interesting than much of the art itself.
We then took a welcome break at the RA bar, where a Lenin-lookalike barman took an age to serve our wine as he was busy making up cocktails for a little group of barflies who were knocking them back.
Then on to Tate Britain for the Hockney. We had seen many of the works before, not least the more recent iPad work, the colourful East Riding of Yorkshire works and (some years ago) the sixties and seventies portrait stuff around pools in California and the like.
The art critics tend to favour the earlier stuff over the later stuff, whereas Janie and I are both fans of the later work. Seeing this retrospective on his whole oeuvre, our feelings were reconfirmed.
As it was a members evening, the exhibition was actually rather busy at the start. We chose to go round it backwards, starting with the later work and ending with the earlier. This seemed to work well enough for us, as we are familiar with much of his work. Perhaps not such a good idea for an artist with whom you are less familiar.
Then home (i.e. the flat) via the Ranoush shawarma bar in Kensington High Street.
We’d both been really looking forward to seeing this exhibition, without quite getting around to seeing it; prioritising other “more urgent” things, as th Abstract Expressionism is running until January and as a member Janie can get us in any time.
We had booked out the time to see the exhibition on this day and were quite determined to see it, although with Janie feeling poorly the day before, I was half expecting us to defer the visit yet again.
But Janie woke up on this Friday feeling better and was keen to go ahead with the visit after getting some other bits and pieces out of the way.
Naturally, it was quite late by the time we set off for the Royal Academy, which actually worked out well with the late night opening. No congestion charge, no parking charges and a reasonably clear run around Mayfair/Piccadilly.
We both really liked the show, without necessarily liking all the work. Barnett Newman has always left me cold and I was not so impressed by the David Smith sculptures. This is big, “wall space” art in truth.
We thought the show worked very well as a whole. Very colourful. Also very interesting, as we were familiar with some of the works and artists but not really on the Abstract Expressionists as a school. We suspect that many non-expert visitors shared our sense of enjoyment along with the sense that we learnt something too.
Janie was convinced that Cy Twombly should have been in there, even asking one of the shop attendants to look Cy up for her and then explain why Cy was absent. It transpires that Twombly’s work is later, modern romantic symbolism, not abstract expressionism. Bad call, Janie.
While we were away, Janie got very excited about the prospect of seeing this show about gardens. Janie is a friend of the Royal Academy now, so we can go when we like. We both thought that the Friday afternoon of our return might be a good bet. Perhaps 16:00ish – between the earlier in the day Friday-offers and the after work Friday evening-istas.
But of course it didn’t work out that way. “I’ll be over around 15:00” became “15:30” and then at 15:30 came the call, “I’ll probably be another hour or so”. It enabled me to get other stuff done. In the end, Janie turned up at the flat around 18:00 so we decided to load up the car and drive in to Mayfair – so we got to the Academy at the prime time for the late crowd, especially as the free guided tour was kicking off.
At the start I saw several stylish works that all resembled the backs of peoples’ heads rather than gardens, but then Janie came up with a cunning plan to whiz through to the end of the show and work backwards-ish, avoiding the heave. This cunning plan pretty much worked, apart from the last room with three of Monet’s giant water lilies. I thought we’d seen them before in the major Monet exhibition some years ago, but Janie insists these particular three are ones that hadn’t been exhibited before. You need to be an expert/completist to tell one triptych of Monet water lilies from another IMHO.
Reviews in major papers such as the Guardian and Telegraph tell you all you need to know about what you are and aren’t getting in this exhibition. Yes, you are getting lots of Monet. No, you don’t get much Matisse, nor much Klee, Van Gogh etc. Only one Kandinsky but it is a cracker. Ditto Klimt.
Worth seeing, this exhibition, especially if you like gardens and you like Monet. It is beyond chocolate box but it is mostly easy-going eye candy.
As Kim had so kindly joined Janie up to the Tate and the V&A, I thought it was the least I could do to join her up to the RA.
This was to be our first opportunity to take advantage of that membership; so we knocked off work early that Friday and enjoyed an early evening viewing of this exhibition.
We found it very interesting. Some of the works are more challenging than enjoyable to view; others are fascinating and attractive. Ai Weiwei is an intriguing artist.
Janie and I enjoyed a drink and some nibbles in the members cafe afterwards. We are looking forward to the new improved version of same promised for next year, much as the V&A and Tate are similarly promising! We join and each of these places vastly increase their bar/cafe facilities…?
