2017: Wolfgang Tillmans

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La Palma, 2014

Photographer Wolfgang Tillmans’ debut exhibition 2017 at the Tate Modern is a week away from closing but is still attracting the attention of many visitors. Although born in Remscheid, Germany in 1968, Tillmans has spent many years in the UK and became both the first photographer and the first non-British artist to win the Turner Prize in the year 2000. Most of the works displayed at the Tate today, however, are from 2003 onwards.

Although the exhibited photographs span the past 14 years, 2017 is not a compilation of Tillmans developing style and skill, but rather a focus on the present day. Most people would define a photographer essentially as someone who takes photographs, but Tillmans takes the name to new levels. Each room has been specifically arranged by the artist to help visitors engage with themes of community, politics and society.

Rather than simply hanging photographs on walls, Tillmans has experiemented with whole-room installations, publications, videos and music. As visitors walk around the gallery, they can see snapshots laid out on tables where individual pieces can be studied in detail. The majority of the works that are on the walls are printed on papers of a considerable size, often meaning they are better viewed from a distance. With these mix of approaches, Tillmans is trying to represent how culture and technology shape the way people understand the current world.

Initially, the opening rooms may not enliven onlookers, and, without the provided guide leaflet, may not make sense or mean anything. However, with thanks to the Tate’s written explanations, it becomes clearer that method is just as important for Tillmans as the final outcomes. For instance, Tillmans likes to experiment with technology to show how advanced it has become, comparing digital methods with the outdated manual. For example, Tillmans reveals how much easier it is to photograph an urban night scene from a moving vehicle without the photograph being ruined by blurring. This is a result of the faster shutter speeds the latest cameras possess.

Each room of the exhibition contains a new theme, idea or approach, often displaying photographs from a particular project. One such undertaking is a series of photographs titled Neue Welt in which Tillmans visited the different continents taking snapshots of communal spaces, food, people and still-life, recording the differences and changes that time has had on the different cultures. Some of these are quite beautiful and are a contrast to some of his more abstract works.

Another project is titled Truth Study Center, which is focused less on a photography and more on research. It is in the room that Tillmans has made the most of the scattered tables in order to present his findings. Photographs, newspaper clippings, advertisements and so forth are laid out to express contridictory opinions and statements that have been issued by the government and politicians over the past couple of decades. This study questions what truth is and whether it is possible to trust what individuals, groups or organisations profess.

 

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Shanghai Night, 2009

It is clear from a great number of photographs that Tillmans primary topic of interest is
social life. He believes that everyone is vulnerable and is determined to prove his belief through unstaged imagery. He is particularly concerned with freedom and the interweaving spheres of personal and public life. Tillmans photographs people on the street and contrasts them with pictures of a more private nature, occassionally consisting of nudity.

 

Like many photographers, Tillmans has played around with portraiture, however his commercial outputs, and presumably his method of earning money, are a mix of posters, catalogues, magazine spreads, leaflets and books – principally items that can be mass produced. Examples of these can be found on tables in one of the exhibitions rooms. There are too many to be able to study them in detail, but the underlying theme is prominent. These lucrative formats are a means to express political opinion and contemporary interest. Although these compositions may not make his name known, Tillmans can still impress his views and beliefs over a widespread audience.

Interestingly, since he was born, lives and works in Berlin, Tellmans is passionate about the effects of Brexit, and in 2016, produced a series of posters encouraging British citizens to vote “remain”. Not many of these advertisements are amongst the selection of commercial items, however the photographs used on the designs are displayed in the final room of the exhibition. These images may look like tranquil sea-scapes, but they have an ulterior purpose. Tellmans is intrigued with the tangible lines and borders on the horizon caused by what looks like the meeting of the sea and sky, whereas, in reality, these are fluid. These photographs of the Atlantic Ocean are metaphors for opposing time zones and national frontiers, which may not be causing waves right now, but have the potential to in the future. This is why this series was suitable to illustrate the Brexit posters, because leaving the EU is a journey into the unknown. No one knows how it may affect the “tides”.

These posters were found in an article in the magazine Dezeen.

2017 is an interesting exhibition and not necessarily what you may be expecting. Seeing the processes and research that Wolfgang Tillmans undertakes makes the final outcomes far more meaningful than if viewed solely as artworks with no substantial background information. Unfortunately, as mentioned earlier, the exhibition is finishing soon, the final day being Sunday 11th June. However, there are over 200 photographs on the Tate website for those who wish to receive a basic impression of Tillmans photography, and one series of work (Concorde Grid, 1997) is on show at the Tate Britain as part of the  Walk Through British Art display. There are, of course, books such as Books for Architects, available for purchase.

Kathryn Lawes: Creative Box

Ambitious graphic designer and illustrator, Kathryn Lawes, like many young artists, dreams of having her own design company. However, it is a competitive world, and starting small is the only way to go. Having earned a degree in Graphic Design after three years of study at Portsmouth University, Kathryn has proven her desire to create by taking on the odd commission brief.

When starting up as a freelancer, it is very difficult to earn enough money to live on, therefore ex-students often end up in dead-end jobs whilst they try to get themselves known in the world of their desired profession. Kathryn, however, has been particularly lucky in landing herself a job at an architecture company, Thrive Architects. This may not involve the style of design and illustration she ultimately wants to be working on, but it provides the opportunity to develop her skills. And, at the end of the day, it is the vital experience that graphic design companies or prospective clients are on the lookout for.

D17474745_10154646198504387_67877695_nuring the limited spare time available, Kathryn also takes on freelance commissions. She has worked on branding jobs, produced children’s picture books, and has also branched out into mural painting. But, the thing she enjoys most is drawing and illustration. As a child, Kathryn was asked what she wanted to be when she grew up, and she said “an illustrator”! And, now it appears her childhood ambition could actually turn into a reality.

“I love to bring a story to life,” Kathryn explains. Using mainly watercolours and pen, Kathryn’s illustrations lend themselves towards children, the soft colours and smoothness of the final outcomes being particularly attractive to young minds. With already one in print, Kathryn is currently working on a second book based on the Six Behaviour Strands used by the client, the Primary Behaviour Service (PBS). Rather than focusing on National Curriculum subjects such as Maths, English and Science, PBS concentrates on six areas: Focus, Independence, Resilience, Respect, Boundaries and Self-Regulation.

The first book in the PBS series is titled It’s Just Too Noisy, and teaches children about how to focus. Using her favoured illustration style, Kathryn introduces Barney, a rabbit who wants to relax and read his book. However, each time Barney settles down to read, he is distracted by loud noises. Unlike traditional stories, It’s Just Too Noisy invites children to engage with the story and its conclusion by deciding what Barney should do next. A choice of two actions leads to contrasting scenarios, thus educating children about the more appropriate ways of reacting in difficult situations.

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Kathryn’s love of children’s illustration stems from her own childhood.

My biggest inspirations are my Mum and Walt Disney. When I was little, my Mum would use up old tiny pots of paint by painting on my furniture various characters from Disney films. I remember having a big white toy box with some of the puppies from 101 Dalmations on, which I loved! I have always loved the Disney hand-drawn style animation illustrations, and I guess this is what fueled my desire to draw as well.

Alongside her decorated furniture, Kathryn’s strongest art-related memory is winning a design competition whilst at Primary school. The task was to create an advert and logo to promote Walk to School week, and Kathryn’s illustration of a book bag with legs landed her with first prize. Embedded in her memory is the day the Mayor of Havering personally congratulated her on her winning entry. “… a huge car with little flags at the front pulled up … a very important man got out of the car and then he came and told me how brilliant my work was! ”

83As an illustrator, Kathryn does not only concentrate on child-targetted artwork. One of her favourite pieces of work to date is an illustration of a classic racing car. Inspired by the vehicles on display at Santa Pod Raceway, Kathryn has created a small series of vehicle illustrations, including a few as commissions. However, it is her first attempt at this new genre that Kathryn is most proud of.

Taking her illustration skills to new levels, Kathryn has recently added mural design to her repertoire, charging reasonable prices for beautiful wall art. Like any professional designer, Kathryn liaises with the client to make sure the outcome is exactly what they want but also employs her artistic eye to suggest the best method of achieving their wishes.

Thanks to her childhood fascination with Disney films, Kathryn is expert at replicating the original Disney characters and has often incorporated these into wall murals. Whilst cartoons are popular for children’s bedrooms, Kathryn is also skilled in typography, and faultlessly applies words or quotes to the layout. Details, including prices, can be found on Kathryn’s Creative Box website.

Kathryn’s dream is to have all six books in the PBS series published and to continue working in the graphic design field. As with all students and graduates, Kathryn has experienced ups and downs, competing against other designers as well as her own confidence. Yet, experience leads to knowledge, and Kathryn leaves us with some sound advice: “Keep Going. Honestly, the best advice is if you keep pursuing and persevering … you are much more likely to reach [your goals]. Never give up … you will never find out what potential you had.”

Kathryn’s portfolio can be found on Creative Box as well as her personal blog. She is also on Facebook and Tumblr.

 

Pop the American Dream

 

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Jasper Johns (b1930) Flags I

 

The past 60 years have seen significant changes in the United States of America. As the country became more industrialised, upsetting many workers and families, people began to reject the past government methods and ideals, in response to the changing times. Although sometimes resulting in adverse outcomes, for example, assassinations, citizens passionately expressed their views on the changing times, highlighting racism, homophobia, AIDS and other crises.

Although often open to interpretation, artwork can provide a more accurate representation of past events than written accounts, which may omit truths and lack evidence. The Great Depression of the 1930s prompted the beginning of a new wave of art, now known as Abstract Expressionism, which expressed the artists’ opinions far more greatly than landscapes and portraits that only depicted what the eye could see.

The development of technology meant that the tools available to artists increased, thus a new art movement exploded onto the scene. Pop Art is a term that encompasses works of many famous American artists, such as Andy Warhol, Jasper Johns and Robert Rauschenberg, who, with the help of technological advancement, experimented with printmaking and bold, vibrant colours.

The British Museum in London is currently displaying examples of Pop Art in their exhibition The American Dream: pop to the present (until 18th June 2017). Amongst the assorted works is the notable Marilyn Diptych by the aforementioned Warhol, which despite being recognised by the majority, is not usually easy to view in person.

Coined in the late 1950s by art critic Lawrence Alloway, Pop Art is the term used to describe the artwork and imagery based on consumerism and popular culture. Artists appropriated iconography from comic books, advertisements, television and film in their artworks and designs, thus appealing to the common people rather than the highbrow interests of the upper classes.

As an expansion of Abstract Expressionism, this latest movement rejected the theories and seriousness of art and welcomed the new methods and machines that allowed artists to reproduce imagery of everyday items. Examples of this new way of production can be seen in Jasper Johns paintings of flags, numbers and beer cans. Robert Rauschenberg took this one step further, employing collage to demonstrate a range of subject matter.

Eventually, even the use of painting was rejected in preference of commercial techniques, for example, screen-printing, which Warhol is famous for utilising. Video demonstrations can be viewed at the British Museum of the screen-printing process. In fact, it shows Warhol producing one of his numerous works, applying stencils and paint to produce the shapes and imagery he intended.

By using commercial techniques, Pop Art, unlike previous art movements, was quick and easy to produce, making it a suitable method of expressing the views and wants of the people of America. As food, motor vehicles and sex became commodities in the eye of the public, artists were swift to encompass these themes in their work. As a result, these contemporary methods and styles were the go to media to produce banners, posters and such forth to demonstrate views on black civil rights, homosexuality, the AIDs crisis, war in Vietnam and so forth.

Britain was also influenced by the growing popularity of Pop Art, particularly inspiring artists such as David Hockney and Richard Hamilton. Hamilton expressed the style as “popular, transient, expendable, low-cost, mass-produced, young, witty, sexy, gimmicky, glamorous and Big Business.” Despite his overindulgence of adjectives, Hamilton is certainly correct about its popularity, no doubt enhanced by the easy and lack of cost to mass-produce the artwork. Unlike other art movements, which start off small before eventually being recognised, Pop Art was a success on a material level, appealing to both the public and collectors.

Naturally, there were critics who retained an unfavourable opinion of the flamboyant movement. Harold Rosenberg, an American writer, deemed Pop Art “a joke without humour, told over and over again until it begins to sound like a threat.” Noting the use of commercial technology, Rosenberg expanded his opinion, stating that it was like “Advertising art which advertises itself as art that hates advertising.”

Despite the contrasting opinions, Pop Art certainly had its uses, as demonstrated in the British Museum’s exhibition. Examples of posters and artwork featuring the typical style are shown alongside videos and explanations of the growing unrest, boycotts and protests occurring throughout the 60s and 70s in America. However, the original intention of Pop Art remains ambiguous. Certainly, it benefitted the expression of political discord, but was the movement created with that in mind?

The initial rooms within the exhibition The American Dream appear to be more experimental than purposeful. With technological developments happening around them, artists appeared to be thinking “what happens if I do this?” rather than “I am doing this because …” Experimentation with various methods of printmaking provided artists with the opportunity to learn and discover new techniques and apply. Take, for example, Jim Dirie’s paintbrush etchings (c1970s), of which he did several. There is no message, such as with the majority of Pop Art, yet he has used one of the developing methods of the time. The fact that Dirie produced so many of the same object, implies he was searching for a style and effect he was happy with aesthetically, rather than attempting to communicate anything to the audience.

Robert Longo is another artist featured in the exhibition who appears to have used typical Pop Art techniques as a method of producing art, rather than conforming to the commercial and demonstrative scene. Famed for his hyper-realistic charcoal drawings, Longo has produced numerous illustrations of the same figures (Eric and Cindy) in various expressive dance poses. Firstly by staging photo shoots, Longo copies the figures onto paper to produce life-size representations. Although charcoal is his primary medium, the version of Eric and Cindy presented in the exhibition is created using lithography, a technique often applied in the commercial printing industry (pre the computer-age).

Lithography involves drawing (usually in wax) onto a stone slab or other suitable material. With the application of chemicals and ink, a print of the drawing can then be transferred to paper. This method provides the opportunity to create several copies of the artwork, rather than painstakingly sketching each one from scratch. Longo, an exhibiting visual artist, most likely employed this technique in order to benefit himself, rather than as a contribution to the movement.

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As the exhibition progresses, the artwork becomes more functional, particular in terms of politics. Pop Art was an expressive means of getting opinions across to a wide audience, in particular, members of the general public who may be interested in the pop culture references. Displayed in chronological order, enabling viewers to witness the progression of the movement, the artwork covers all the major events that occurred in America from the 1960s onwards.

Although visual methods of propaganda had already been used before, Pop Art was probably the first opportunity the general populace had to communicate their beliefs and attitudes. This is something that is still employed today, for example during public marches and demonstrations, or in the form of guerrilla advertising.

The Pop Art aesthetic may not appeal to all, but it reveals so much more than an artist’s skill. The movement has altered the way society can involve itself in matters where they have previously been forced into silence. It is not merely an art movement, it is a form of widespread expression. Without it, many people may not have the rights they take for granted today.

Only a month remains of the exhibition, so if you wish to view the collection of American Pop Art, you need to get yourself to the British Museum as soon as possible. As a bonus, under 16s can get in for free!

 

 

The Art of Money

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As of 13th September 2016, the Bank of England issued its first ever polymer note. The £5 note is the first to be printed on this thin, flexible material, and, although smaller in size, is considerably more durable than its paper predecessor. They are also a lot harder to counterfeit.

Until the new note was released, I had not thought about the actual appearance of our money. Apart from displaying the Queen’s head and being different colours depending on quantity, the rest of the design felt insignificant. However, there is a lot of thought put into the composition of our banknotes.

The Bank of England Museum in London currently exhibits a Banknote Gallery, containing all the note styles and designs from 1694, when paper money came into existence, right up until the latest polymer version. Following the timeline of notes throughout history reveals the development of the visual appearance and the increasing intricacy of their design.

The museum provides information about the new fiver, how it was made, and explains the reasons for the choice of design. Including the current £10, £20 and the £50 note in their display, they also interpret the varying features many people may not have noticed. Our money is a lot more interesting to look at than we think.

The New £5

As most people in the UK will know, the paper £5 note featured the portrait of Queen Elizabeth II on one side, and Elizabeth Fry, an English pioneering Quaker from the Victorian-era, on the reverse. Although the Queen’s image remains the same, the historical character has been changed. The polymer note presents the face of one of the most famous Prime Ministers of the past; Winston Churchill.

Incorporating the 1941 photograph of Sir Winston Churchill taken by Yousuf Karsh, the bank has decided to celebrate the life of the British statesman who had a significant role in the UK’s modern history. Churchill was Prime Minister during two significantly life-altering events. The first occasion (1940-1945), were also the years of the Second World War, meaning Churchill had a lot of important decisions to make, and a country relying on him to protect them from the hostile Nazis. His second term ran from 1951 until 1955 and contained a much happier event – the coronation of Queen Elizabeth II.

Knowing the historical significance of Sir Winston Churchill makes the rest of the design more meaningful. Below Churchill’s portrait is a phrase that he is famous for saying during his first term as Prime Minister: “I have nothing to offer but blood, toil, tears and sweat.” This came from his first speech in the House of Commons after taking up his new position. Of his three famous speeches, this line is one that is remembered most.

To Churchill’s right-hand side on the polymer note, is an illustration of the Houses of Parliament. The relevance is obvious since, due to his role, Churchill spent a lot of time here. But behind the building is a symbol that some may not recognise. As well as a statesman, Churchill was an artist and writer as well, and in 1953 he won the prestigious Nobel Prize for Literature. This mysterious symbol on the back of the £5 note is, in fact, a sketch of the Nobel medal.

The final design connection to Churchill, and displayed on a circular, green foil patch – another method of limiting fake copies – is the word “BLENHEIM”. Blenheim Palace in Oxfordshire was the family home and place of birth of Winston Churchill. The name today is still largely associated with the former Prime Minister.

On the other side, the side considered the front of the note, is the same portrait of the Queen that featured on the paper version. But what really differentiates the new from the old, other than the material, is the see-through window on the left-hand side of the note. This hallmark will make it a lot harder to counterfeit, especially as the window contains a finely detailed metallic image of the Elizabeth Tower. When viewed from the front, the tower appears to be gold, however, on the reverse, it shines silver.

£10, £20, and £50

The Bank of England proposes to reproduce the £10 and £20 note in the same polymer material but has yet to decide whether to manufacture the more recent £50 in this manner. This summer (2017) is the intended season to begin issuing the polymer £10, however, the polymer £20 will not come into circulation until 2020.

These new notes give the nation the opportunity to honour other historical figures. Jane Austen is set to appear on the £10 note and J.M.W. Turner will take pride of place on the £20. In the meantime, Charles Darwin and Adam Smith continue to star on the British paper notes.

Since the design change of the £5 has brought attention to the relevance of the background illustrations, it has increased the awareness of detail on the notes that have been in circulation for years. Looking closely at the £20 note, the design begins to make sense. Adam Smith’s portrait stares forward at an illustration of a pin factory. This is something Smith used to describe the benefits of the division of labour in his book An Inquiry into the Nature and Causes of the Wealth of Nations. The £10 note, on the other hand, contains a combination of images. Since Charles Darwin was a naturalist, flora, fauna and a nautilus shell are used to represent the species he discovered whilst travelling the world aboard the ship HMS Beagle (also features in the illustration). Other elements are made up of a compass and magnifying glass.

Matthew Boulton, the face of the £50 note, was a manufacturer and business partner of James Watt, a famous Scottish engineer. They were both involved with the Industrial Revolution, which had a serious impact on Britain, thus making them significant people to remember. To illustrate Boulton’s role, images of a factory, cogs and wheels, and the Whitbread Steam Engine, adorn the background of the note.

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However, the inclusion of portraits on British money is only a recent idea. When the first Bank of England notes were issued, they were handwritten, denoting the amount they were worth. This is presumably where the idea of cheques developed from. Eventually, the notes were printed by machine, but it was not until the 20th century that colour and calligraphic design began to appear.

The only monarch to feature on British paper money is the current queen, Queen Elizabeth II. Her portrait was first used in 1960, seven years after her coronation. Notes have since been gradually updated throughout the Queen’s life in order to keep the portrait up-to-date.

For a decade, Queen Elizabeth II was the only person – discounting Britannia who has been on every note from the very start – to feature on British notes. The 1970s brought about the commencement of historical character designs, beginning with William Shakespeare on the £20.

Since then, numerous famous people have been displayed on notes of all values. The £5 note has been home to the portraits of the Duke of Wellington (1971), George Stephenson (1990) and Elizabeth Fry (2002). The £10 note featured Florence Nightingale (1975), Charles Dickens (1991) and Charles Darwin (2000). The £20: Shakespeare (1970), Michael Faraday (1991), Sir Edward Elgar (1999), and, as already mentioned, Adam Smith (2007). Other people to have been used are Sir Isaac Newton (£1, 1975), Sir Christopher Wren (£50, 1981), and Sir John Houblon (£50, 1994).

The notes all have security features to determine whether they are real, for instance, the watermark of the Queen that only appears when held up to a light. What many people do not realise, the way of being sure whether the money is real or fake, is a hidden number that cannot be seen by the naked eye. To see these numbers, an ultra-violet light is needed to reveal the red and green fluorescent ink on the front (Queen side) of the note.

The Bank of England Museum has an ultra-violet light for visitors to test their own money with. The special dye has been used on all notes produced by the bank, so if no hidden number lights up, you are in trouble!

To see the changes in note design from the 1700s until the present day, the Bank of England Museum has a timeline of the changes on display for everyone to see. It is interesting to discover how different the old money looks, yet also how similar the design is too. Coins are also exhibited, which go back further than the present Queen, to feature the heads of previous monarchs.

As well as bank notes, the museum also focuses on the history of the Bank of England, for example, the early years, 1694-1800; the Rotunda, 1800-1946; and the modern economy, 1946 until the present day. There are many hands-on activities for children (and adults) to play with, from jigsaw puzzles to interactive screens. And, most importantly, do not forget to (attempt) to pick up the genuine gold bar!

The Bank of England Museum is located on Bartholomew Lane, London, EC2R 8AH, and is free entry to all visitors.

The Wallace Collection and What We Find There

Now a national museum, The Wallace Collection was once a fashionable London residence built for the 4th Duke of Manchester in the late 1700s. It was later inhabited by the first four Marquesses of Hertford – thus renamed Hertford House – until being purchased by Sir Richard Wallace, the 4th Marquess’s illegitimate son, in 1871. Richard Wallace, along with his father, are the collectors responsible for the majority of the artworks on show.

Opened as a museum in 1900, The Wallace Collection is an art gallery displayed in a domestic setting, providing insight into the lives of Sir Richard and Lady Wallace, whilst captivating visitors with hundreds of treasures. Amongst the collection are outstanding 18th century French paintings, medieval artworks, ceramics and an exceptional array of armour – the largest in Britain.

Unlike the crowded art galleries in cities throughout the world, The Wallace Collection is a peaceful, quiet building, with enough freedom to view the artworks at a leisurely pace. Yet, being so extensive, it is difficult to appreciate each and every painting, sculpture and artefact without spending hours there, or even days. Therefore, a plan of action needs to be taken. What important artworks should visitors be on the lookout for?

Hertford House is decked out with artwork in every room, regardless of its original function. Therefore, it is impossible to miss the sculpted busts on the left when entering the Entrance Hall. Sculptures are dotted around various rooms from different time periods, but those in this first room include the posthumous bust Charles I, King of England by the impressive Louis François Roubiliac.

Portraits are in abundance, whether of real people, fictional or imagined. On the ground floor, a particular one to note is the portrait of Queen Victoria painted by Thomas Sully in 1838, a year after she ascended the throne. Most have an inkling as to how Queen Victoria looked (typically the large woman shown in the photograph by Alexander Bassano, 1882), however this particular painting shows the young Queen at the height of her youth.

The other portrait to look out for on the bottom storey can be found in The Billiard Room, which overlooks the restaurant in the courtyard. Woman Looking at her Mirror by Jean Raoux, is exactly as the title suggests. Painted toward the beginning of the 18th century, it encompasses ideas from Netherlandish and Venetian art, which was becoming of interest to the French painters at that time. The anonymous woman stands out from the dark background, but what is most striking is the reflection of the mirror on her body. The viewer cannot see the glass of the mirror, however Raoux has expertly captured the effect of the light being thrown back to accentuate the model’s features.

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The Swing, Fragonard (1767)

The upper rooms of the house are where the more famous and impressive paintings can be found. Portraits are also displayed here, including Madame de Pompadour by François Boucher. Alongside Boucher’s art work are those of his pupil, Jean-Honoré Fragonard, which can be found in the Oval Drawing Room as well as the Landing at the top of the grand staircase. Amongst this collection is Fragonard’s most famous painting, The Swing (1767).

According the The Wallace Collection Guidebook, one critic expressed “the grace of it’s execution and the tact of the artist excuse the sauciness of the subject”. What is depicted is the suggestion of adultery, with the ladies husband pushing her on a swing, and her lover hiding amongst the bushes and looking up her skirt. The coquetry is intensified by the inclusion of Madame’s slipper coming loose and flying through the air. Despite the indecency of its risqué subject, The Swing is pleasing to look at as a result of its delicate colours and dreamy setting.

Another artist the original owners of Hertford House favoured was Canaletto (Antonio Canale), who has almost an entire room dedicated to him. Canaletto was an 18th century Venetian painter who specialised in detailed landscapes of his home city. The majority of Canaletto’s works were done at the request of tourists who wished to take home visual memories of their trip to Venice (naturally cameras were not around), and it was on a trip to Venice when the 1st Marquess of Hertford acquired these paintings.

Presumably, since it was the 1st Marquess that bought them, these Canaletto artworks are some the the earliest paintings the family purchased. It is not surprising that the Marquess found them so irresistible, when the attention to detail is taken into account. Canaletto excelled at depicting buildings and canals of Venice, painstakingly illustrating every brick and ripple of water.

The East and West Galleries contain an assortment of paintings and small sculptures by various artists, and are generally displayed in some sense of chronological order. Grouped together are French and British painters from the early 1800s, artwork from the Napoleonic era, and 17th century Dutch paintings, including those by Rembrandt van Rijn.

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Great Gallery

Both East and West Galleries lead visitors to the most resplendent room of the house, the Great Gallery. This room was not part of the original house, but was added during the 1870s so Sir Richard Wallace could hang the most important part of his family’s collection. Naturally, this is where the most famous paintings can be found (so if time restricted, this is a room not to be missed).

There is no logical sequence to the artwork depicted here in the Great Gallery, resulting in an amalgamation of portraits, religious scenes and mythological stories. Significant artists located here range from Rembrandt and Rubens to Velázquez and other 17th century contemporaries.

Particular highlights include The Laughing Cavalier (1624) by Frans Hals, The Persian Sybil (c.1620) by Domenichino, The Annunciation (c.1640-50) – Phillippe de Champaigne, and Bartolomé Estebán Murillo’s The Adoration of the Shepherds. It is in this gallery that the majority of the religious imagery is located, mostly focused on Jesus’ birth and childhood.

The religious paintings are somewhat ironically displayed alongside the scenes from Greek/Roman mythology. The latter are a striking contrast to the humble, peaceful biblical narratives, focusing on the more violent parts of the stories. One scene from Ovid’s Metamorphoses is shown by two different artists. Titian’s Perseus and Andromeda (1553-62) depicting the slaying of a sea dragon, is markedly different from the painting of the same name by François Lemoyne in 1723. It is interesting to note the differentiation between the two styles and observe the change in techniques and influences between the two centuries.

The Wallace Collection is not solely for those interested in art, but also for those with an enthusiasm for armour, swords and other weapons. Located on the ground floor at the back of the courtyard, are several rooms full of armour and arms ranging from Medieval and Renaissance eras to the Napoleonic era up until the end of the 19th century. Originally a coach house and stable yard, this section of the gallery has been converted in order to display one of the largest treasuries of early firearms in Britain.

Whether you are planning a lengthy visit, or are enticed by the thought of a cup of tea in the stylish restaurant, The Wallace Collection is certainly worth a visit. Although the collection does not contain the masterpieces that a larger, more well-known gallery may display, it definitely has artworks of fame and significance. The added bonus of the domestic setting makes the viewing appreciably more relaxed and enjoyable.

Not much is explained about the individual artworks around the collection, however the gift shop supplies a reasonably priced guidebook containing a concise explanation about the history of the house, as well as details about a handful of paintings, sculptures, ceramics and armour. It may be of more worth to purchase this before beginning to tour the galleries.


I recently went to The Wallace Collection and can highly recommend a visit. However, it may not be suitable for very young children. Whilst looking at a figurine (pictured below) a young boy asked “Why does he have a spare head?”

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Getting Published – Thoughtfully

Networking Thoughtfully
The 30 Minute Read That Could Change Your Life

A year ago, three friends were sat around a table when one asked “what is your dream?” The answers ranged from the farfetched – to ride a unicorn (ask me something on the spot and you will not get a sensible answer) – to the more possible, but mostly wishful thinking. The one answer that stuck out the most was “To get my book published.”

Having not known Martin had written a book, I was interested to find out more. On the understanding that I would write a review, Martin gave me a copy to read. [See review below] Naturally I did as I was asked, and produced a positive review of the manuscript, yet Martin’s dream was continually on my mind. What is the point of a review if the product or book is not available for purchase?

After a little internet research, I put forward the idea that Martin could email copies of his work to various publishing companies. The trouble was, he no longer had a digital version of his book, only a printed copy. Nevertheless, refusing to give up, I offered to retype the entire manuscript.

With digital copy now to hand, it was time to brave sending it out to publishers. Being digital phobic, Martin left that task down to me. Doubtful that I would get any response, I first emailed a few of the large, well-known companies, and was predictably proved right. Yet, this was nothing to worry about; during my research I had sourced nine self-publishing companies. So, they were my next focus.

Eventually, I received two responses from self-publishing companies interested in Martin’s book. One was a bit vague on details about the process, however the other, and incidentally the first to reply, looked really promising.

The company Martin opted for was Matador, a self-publishing service belonging to Troubador Publishing Ltd. The various staff we spoke to, either through email (me) or phone (Martin) were extremely helpful, explaining the processes, costs, and making sure the book was printed to our complete satisfaction. They even encouraged Martin when he had doubts about the quality of his work by declaring that they only publish books they deem good enough.

The next month or so consisted of emails being sent back and forth containing updated manuscripts. Firstly, a proofreader made a few corrections (some of which I pointed out as incorrect!), then digital proof copies were put together in the format that they would be printed. These I proofread thoroughly, pointing out a few errors, until satisfied with the final version.

All of this occurred at the beginning of Autumn 2016, leaving us a long wait until the publication date of February 2017. We were not forgotten however, particularly as Martin had payments to make, but were also kept up-to-date of the book’s progress. This included an Advance Information sheet, containing quotes from the review I wrote at the beginning of this journey.

Here is the review:


Networking Thoughtfully
Martin Wheadon
*****

Are you the kind of person that struggles with networking? Do you have to strain to come up with satisfactory conversation starters? Is making business deals with other people something you find challenging? Then Networking Thoughtfully is exactly what you need. This short book by Martin Wheadon is a guide for people who need to build relationships but do not know where to start. With simple points, Wheadon takes readers through a step-by-step process to help achieve positive results.

With over thirty thoughts, the reader is taken through clever ideas to boost their confidence and communication skills. The advice is written clearly, accompanied with examples to help get the most of the author’s guidance. The tone of the writing is almost conversational, resulting in the sense that the author understands your anxieties and is talking from personal experience.

Although written with business gain at the forefront, Networking Thoughtfully can also be used to aid personal development. Learning how to start conversations and come up with ways to introduce yourself is beneficial when meeting new people regardless of the circumstances.

The book itself is set out neatly making it easy to follow. It is also easy to dip in and out, reading only the parts relevant to yourself, though if you wish to read it cover to cover it will only take half an hour.

Whether you are new to networking or want to improve your skills, Networking Thoughtfully is an excellent book to read. You are guaranteed to learn something new and develop techniques that benefit both your business and yourself.


As you can tell from the review, Networking Thoughtfully has a specific target audience and needed someone to find the potential buyers. Martin, naturally, knew many contacts from his years in banking, however Matador do not leave authors to fend for themselves. One of their services is Marketing, and so we could sit back in the knowledge that someone was revealing this book to the world.

On 28th February 2017, Networking Thoughtfully was born. Martin’s dream had come true. His book had been published, our goal achieved. The book publishing journey was over … or was it only beginning?

Since February, Martin has been interviewed live on Talk Radio Europe and featured in the business section of the local newspaper. More recently, Networking Thoughtfully has been listed on Book Monthly for the month of April 2017.

In March, Martin and I got the opportunity to meet two of the Matador team, who have been particularly helpful throughout the publishing process, at The London Book Fair. It was lovely to put faces to the names I had been emailing for the past months, as well as to see Networking Thoughtfully displayed amongst all their other latest publications.

Networking Thoughtfully is now available in paperback and ebook from various online sources, including Troubador and Amazon. It is, of course, also available at all good book shops. Alternatively, why not order it from the local library?

When three friends sat around a table discussing their dreams, they did not consider any of them coming true. But now a book has been published, and who knows where this exciting venture could lead?

Now it is my turn … Where is my unicorn?!

Sherlock’s Home

221b Baker Street, London NW1 6XE

220px-sherlock_holmes_portrait_pagetIn case of any misunderstanding, let us make one thing clear: Sherlock Holmes is a FICTIONAL character. His house, however, is very real. When Sir Arthur Conan Doyle penned the famous novels, he gave the consulting detective, Mr Holmes, a London address. Baker Street, in the Marylebone district of the City of Westminster, is now famous for this classic character’s apartment.

Back in 1887, when the first Sherlock Holmes book A Study In Scarlet was published, the addresses on Baker Street only went as high as 85, therefore it was a safe, fictional location for Conan Doyle to base his hero. In 1930, the street was expanded, thus the building 221 came into existence.

1024px-221b_baker_street2c_london_-_sherlock_holmes_museum

London businesses in the Baker Street area have taken advantage of the famous connection by naming their shops, pubs and cafes after the celebrated detective. The site of Sherlock Holmes’ home however, was not brought into connection with the stories until 27th March 1990, when it was opened to the public as the Sherlock Holmes Museum.

Set out in a typical Victorian fashion, visitors can walk around the building imagining what life would have looked like for Holmes and his friend, Dr Watson. With furniture, objets d’art and miscellaneous paraphernalia, the museum curators have sourced objects from the victorian era to create an authentic experience. Sticking closely to the description in the novels and short stories, realistic scenes are displayed in each room.

As indicated by the Blue Plaque on the front of the building, Sherlock Holmes lived at 221b Baker Street between the years 1881-1904. The apartment, which begins on the first floor, was shared between Holmes and Dr John Watson, as well as their landlady, Mrs Hudson. Sherlock’s rooms can be found on the first floor, and Watson and Hudson’s on the second.

Those familiar with the BBC’s contemporary reimagining, Sherlock, may have been misled about the size of the abode. The rooms are surprisingly tiny for an area regarded as a high-class residential district, however readers will know from Dr Watson’s description, that the apartment really was quite small.

Dr John Watson’s bedroom is set out as a doctor’s study, and therefore lacks a bed or anything else to suggest it was used for sleeping. In cabinets and on the cramped desk are books and implements that physicians were likely to have had amongst their possessions during the late 1800s.

Mrs Hudson, presumably as a result of being the landlady, had the biggest room of the house. Due to her being only a minor character in the stories however, nothing is shown of what her quarters may have looked like. Instead, the room has been used as an exhibition area, containing a bronze bust of Sherlock Holmes and various wax models of characters from the more well-known tales.

The museum, unfortunately, lacks written information, therefore visitors need to know a fair bit about Sherlock Holmes to understand the relevance of the various displays and exhibits. The models, for example, come with a brief caption stating who they are, but unless the observer has read the books, they are meaningless. One scene showing a wax-woman firing a pistol at a wax-man does not make clear who is the victim – the man, surely, for he his being murdered? However, knowing the plot of The Adventure of Charles Augustus Milverton, it is actually Lady Eva Blackwell killing her blackmailer, thus avenging her husband.

Being on the small side, the Sherlock Holmes Museum only has room for a handful of visitors at a time. As a result, queues are seen down Baker Street as tourists await their turn to enter the famous building. Despite these restrictions, the house feels very claustrophobic, and guests are constantly bumping into each other. Most people want to take photographs, but how well their shots come out depends on the location of the large party of sightseers that have entered the museum in their dozens.

Sherlock Holmes – no doubt due to the BBC programme – is surprisingly popular amongst European and Asian tourists. Flicking through the guestbook, which everyone is welcome to sign, it is hard to spot another visitor from England amongst all the entries from Japan, China, Sweden and so forth. The museum caters for these foreigners by providing a brief leaflet in their own language explaining the opening of the building to the public, and a concise description of its fictional inhabitants.

The museum is not quite worth its £15 entry fee, but it is impressive to be able to say “I have been to Sherlock Holmes’ house!” The souvenir shop, despite being expensive, makes up for some of the disappointment visitors may have felt with the poky rooms above. Located on the ground floor, the shop is open to everyone regardless of whether they intend to view the museum or not. On sale are a unique selection of mementos, such as t-shirts, novelty playing cards, posters, stationery and other trinkets, as well as special editions of the novels and short stories by Sir Arthur Conan Doyle and the many books written on the subject since. Whether you intend to purchase something or not, the souvenir shop is as interesting to look around as the initial attraction.

With the TV series Sherlock still fresh in everyone’s mind, it is unlikely that the popularity or sheer number of visitors to the museum will diminish anytime soon. The Grade 2 listed building has a long future ahead of it, attracting fans from all over the world. From the Blue Plaque outside, to the authenticity of its content, it is easy to forgot that Sherlock Holmes only existed on paper, and not in flesh and blood.