Just released this week. Available from Amazon stores around the world.
For UK the link is as follows:
https://amazon.co.uk/dp/B0C9SPDV2W
Available iin Kindle Book format as well.
Latest Publication – Elsie’s War and other poems
Impressionism in the context of the writings of Charles Baudelaire
Impressionism in art and the writings of Charles Baudelaire share a connection in the context of 19th-century France, but they represent different forms of artistic expression. Baudelaire was a poet and critic, known for his writings on art and his role in shaping the perception of contemporary art in his time.
Baudelaire’s essay “The Painter of Modern Life” is often associated with the Impressionist movement. In this essay, he praised the work of artists like Constantin Guys, who captured the fleeting moments and modern urban life in their paintings. Baudelaire’s emphasis on capturing the essence of contemporary life, the transitory nature of existence, and the sensory experience of the city resonates with some of the core ideas of Impressionism.
Impressionism, on the other hand, was primarily an art movement that emerged in the mid-19th century, characterized by its focus on capturing fleeting moments, changing light, and atmosphere in paintings. Artists like Claude Monet, Pierre-Auguste Renoir, and Edgar Degas are notable Impressionists who sought to depict the sensory and emotional aspects of a scene rather than precise details.
Constantin Guys Title: The Loge at the Opera
While Baudelaire’s writings and Impressionist art both sought to break away from traditional academic norms, they did so in different ways. Baudelaire’s words provided a theoretical framework for appreciating the innovative spirit of Impressionism, emphasizing the importance of capturing the essence of modern life. In contrast, Impressionist painters used their brushwork and color palettes to directly convey the sensory experiences and fleeting impressions of the world around them.
In summary, Baudelaire’s writings, particularly “The Painter of Modern Life,” played a significant role in shaping the intellectual environment that influenced Impressionist artists. Both movements shared an interest in capturing the transient and modern aspects of life, but they did so through different artistic mediums and techniques.
Marcel Duchamp and the contribution to Conceptual Art
Marcel Duchamp’s “Fountain” is one of the most iconic and controversial works in modern art history. Created in 1917, it consists of a urinal turned on its back and signed with the pseudonym “R. Mutt.” Duchamp submitted “Fountain” to the Society of Independent Artists’ exhibition in New York, which he was part of. However, the piece was rejected by the committee, sparking debates about the nature of art and challenging traditional notions of artistic value.
“Fountain” marked a turning point in the concept of art, as Duchamp questioned the role of the artist’s hand in creation and the importance of aesthetics. By presenting a mass-produced, everyday object as art, he challenged the idea that artistic skill and craftsmanship were the primary criteria for defining art. Instead, he emphasized the intellectual and conceptual aspects of art-making.
The history of “Fountain” is intertwined with the birth of the Dada movement, a precursor to Surrealism, which rejected societal norms, often using absurdity and anti-art as its tools. Duchamp’s piece became a symbol of Dada’s iconoclastic stance and its critique of bourgeois values.
While “Fountain” initially caused controversy and was met with mixed reactions, it has since become an influential and enduring work, fundamentally changing how art is understood. Duchamp’s concept of the “ready-made” directly impacted the trajectory of modern art, paving the way for conceptual art and challenging the very depfinition of artistic creation.
Painters to the Royal Court of England
The painters to the Royal Court in London have played a significant role in creating and preserving the visual history of the British monarchy. These painters were appointed to capture important events, portraits of monarchs, and other members of the royal family. Some notable painters to the Royal Court include:
Charles I with M. de St Antoine, Oil on canvas, Royal Collection, Buckingham Palace, London
- Sir Anthony van Dyck: A Flemish Baroque painter, van Dyck was a prominent portraitist during the 17th century. He was the leading court painter to King Charles I of England and is known for his elegant and expressive portraits of the royal family.
The Two Sons of the Earl of Talbot, 1793, Neue Pinakothek
Sir Thomas Lawrence: Active in the late 18th and early 19th centuries, Lawrence was appointed as the official portraitist to King George III. He painted numerous portraits of the British royal family, including King George IV and Queen Victoria.
A Favourite Greyhound of Prince Albert, 1841
Sir Edwin Landseer: An English painter, Landseer was known for his animal paintings. He often depicted animals in human-like poses and settings, and he gained royal favor during the 19th century for his ability to capture the personalities of pets belonging to Queen Victoria.
Lady Agnew of Lochnaw, National Galleries of Scotland
John Singer Sargent: Although an American artist, Sargent was a renowned portrait painter who had strong ties to the British aristocracy. He painted portraits of various members of the British royal family, including Edward VII and George V.
These painters have left behind a visual legacy that provides insights into the lives, appearances, and personalities of British monarchs and their families throughout different historical periods.
The Girl with a Pearl Earring by Vermeer
| Artist | Johannes Vermeer |
|---|---|
| Year | c. 1665 |
| Type | Tronie |
| Medium | Oil on canvas |
| Movement | Dutch Golden Age painting |
| Dimensions | 44.5 cm × 39 cm (17.5 in × 15 in) |
| Location | Mauritshuis, The Hague, Netherlands |
“The Girl with a Pearl Earring” is one of Johannes Vermeer’s most iconic paintings. Created around 1665, it’s a prime example of his mastery in capturing light and intricate details. The painting features a young woman turned slightly toward the viewer, wearing a turban and a large pearl earring. The vibrant contrast between the dark background and the girl’s face, along with the subtle play of light on her features, is a hallmark of Vermeer’s style.
The subject’s identity remains a mystery, adding to the painting’s allure. Some speculate she might have been a fictional character, while others suggest she could have been a model or someone close to Vermeer. The girl’s enigmatic expression and the intimate atmosphere of the painting contribute to the viewer’s sense of curiosity.
“Girl with a Pearl Earring” showcases Vermeer’s meticulous attention to detail, particularly evident in the rendering of the pearl earring and the fabric of the turban. The pearly luminosity of the earring is a testament to Vermeer’s skill in capturing the play of light on different textures.
The painting’s enduring appeal lies in its ability to evoke a sense of wonder and curiosity about the subject, as well as its masterful use of light and composition to create a captivating and intimate portrayal.
Awards for services to the restitution of Nazi looted art
On 17 June 2023 David Lewis and Anne Webber, the co-founders and co-chairs of the Commission for Looted Art in Europe, were each awarded a CBE in King Charles’s first Birthday Honours List for ‘services to the Return of Looted Art’. In a short statement, they said how much they appreciated the great honour and recognition of their work, and in particular the acknowledgement of the importance of restitution. One of the United Kingdom’s highest honours, the CBE – Commander of the Order of the British Empire – is awarded to individuals with a prominent role who have made a distinguished and innovative contribution.
Note:
I had the privilege to work alongside the recipients for about 12 months. I appreciate more than most, how painstakingly difficult it is to return looted artworks. Many are in full view of the public in museums and art galleries. It takes great patience and determination to deal with current owners, public officials and the descendents of former owners of stolen artworks. Congratulations to the recipients of these prestigious awards.
Constable’s The Haywain in terms of Geogics Philosophy
The Haywain, John Constable, Oil on canvas, 1821, National Gallery, London
Constable’s “The Hay Wain” is a renowned landscape painting that reflects elements of Georgics philosophy, an ancient Roman literary work by Virgil that focuses on agricultural life and the harmony between humans and nature.
In the painting, Constable depicts a rural scene with a hay wain (a horse-drawn cart) crossing a river. The composition highlights the beauty and tranquility of the countryside, emphasizing the importance of agrarian life and the connection between humans and the land they cultivate.
Georgics philosophy celebrates the virtues of rural life, promoting a deep appreciation for the natural world and its cycles. Constable’s painting captures this sentiment through the idyllic depiction of the landscape and the working-class farmers tending to their land. The careful attention to detail and the serene atmosphere evoke a sense of harmony with nature, reminiscent of the Georgics’ emphasis on the unity between humanity and the environment.
By portraying the hay wain as a central motif, Constable symbolizes the cycle of agricultural activities and the timeless relationship between humans and the land. This aligns with the Georgics’ themes of agricultural labor, the rhythms of the seasons, and the importance of respecting and working in harmony with nature.
Overall, Constable’s “The Hay Wain” aligns with Georgics philosophy by celebrating the beauty of rural life, emphasizing the significance of agriculture, and conveying the idea of humans as coexisting with and respecting the natural world.
The Bar at the Folies-Bergere by Édouard Manet
Un bar aux Folies Bergère, Oil on canvas, 1882, Courtauld Gallery, London
“Un bar aux Folies Bergère” by Édouard Manet, painted in 1882, is a remarkable piece that still resonates with modern life. The painting captures the essence of urban leisure and the complexities of modernity during the 19th century, showcasing a glimpse of Parisian nightlife.
The focal point of the painting is the barmaid, who appears detached and distant despite being surrounded by lively patrons. This sense of detachment can be seen as a reflection of the alienation that can occur in modern life, where individuals may feel isolated or disconnected in the midst of bustling social settings.
The mirrors behind the barmaid present a fascinating aspect of the artwork. They create an intriguing spatial ambiguity, blurring the lines between reality and illusion, symbolizing the fragmentation of identity in the face of urban life’s rapid changes and the emergence of a consumer-driven society.
Moreover, the painting subtly explores themes of gender and societal expectations. The barmaid’s stoic expression contrasts with her role as an object of desire for the male patrons, raising questions about the objectification of women in modern society.
Manet’s use of light and shadow in the painting adds depth and realism, illustrating the interplay between artificial and natural light in the urban environment. This play of light can also be interpreted metaphorically, symbolizing the dichotomy of public appearances and private emotions in modern life.
In conclusion, “Un bar aux Folies Bergère” remains relevant in the context of modern life due to its exploration of themes such as alienation, consumerism, gender roles, and the complexities of urban existence. The painting serves as a timeless reminder of the multifaceted nature of contemporary society and the human experience.
Sandra Botticelli’s The Birth of Venus
Sandro Botticelli, The Birth of Venus (c. 1484–1486). Tempera on canvas. 172.5 cm × 278.9 cm (67.9 in × 109.6 in). Uffizi, Florence
“The Birth of Venus” is one of the most iconic and celebrated works of art from the Early Renaissance period. It was created around 1484-1486 and is currently housed in the Uffizi Gallery in Florence, Italy.
Subject and Interpretation: The painting depicts the birth of the goddess Venus (Aphrodite in Greek mythology) as she emerges fully grown from the sea foam, symbolizing her birth as the embodiment of love, beauty, and desire. The mythological scene is inspired by ancient texts, particularly the poem “Theogony” by the ancient Greek poet Hesiod.
Composition: Botticelli masterfully employs a combination of classical and contemporary artistic elements in this work. The central figure of Venus stands tall and elegant, with her body modestly covered by her flowing golden hair and a diaphanous cloth. She is shown in a contrapposto pose, a technique that adds dynamism and naturalism to her figure. On her left, a gentle breeze blows, personified by Zephyr, the god of the west wind, while his lover, Chloris (Flora), awaits Venus with a flower-strewn robe.
The figures’ poses and gestures contribute to the painting’s grace and beauty, which aligns with the Renaissance focus on reviving classical aesthetics and ideals.
Colors and Symbolism: Botticelli’s use of colors is exquisite and adds to the painting’s allure. Soft pastel shades, particularly blues and pinks, dominate the scene, creating a dreamlike ambiance. The painting’s colors, along with the delicate treatment of light and shadow, enhance the ethereal and mythical quality of the subject matter.
Symbolism plays a significant role in “The Birth of Venus.” Besides the symbolism of Venus herself as the goddess of love and beauty, the sea and its foam represent the eternal cycle of creation and transformation. The presence of Zephyr and Chloris symbolizes the winds and the season of spring, connecting the birth of Venus with the rejuvenation of nature and fertility.
Meaning and Influence: Botticelli’s “The Birth of Venus” reflects the renewed interest in classical mythology and culture during the Renaissance. The portrayal of mythological subjects became a popular theme among Renaissance artists, who sought to revive the elegance and beauty of ancient Greek and Roman art.
The painting’s enduring popularity lies in its timeless appeal and the way it captures the essence of classical beauty. “The Birth of Venus” has influenced numerous artists throughout history, becoming an essential piece in the understanding of Renaissance art and its cultural significance.
Overall, “The Birth of Venus” is an enchanting masterpiece that embodies the Renaissance spirit, celebrating beauty, grace, and the enduring power of mythological narratives. Its enduring legacy continues to captivate art enthusiasts and remains an integral part of art history to this day.
The Battle of Passchendaele, WW1
The Battle of Passchendaele, also known as the Third Battle of Ypres, was a major World War I battle fought between July 31 and November 10, 1917. It took place near the Belgian town of Passchendaele, and it was part of the larger British offensive on the Western Front. The battle is infamous for its extreme conditions, high casualties, and relatively limited gains made by the Allies.
Australian gunners on a duckboard track in Château Wood, near Hooge, 29 October 1917. Photo by Frank Hurley.
Context: By 1917, the Western Front had become a stalemate with neither side gaining significant advantage. The British High Command, led by General Douglas Haig, planned a series of offensives to break the deadlock. The Battle of Passchendaele was one of these offensives, aimed at capturing the ridges south and east of Ypres to gain strategic advantage and threaten German submarine bases on the Belgian coast.
The Battle: The battle began on July 31, 1917, with a massive British and Commonwealth artillery bombardment targeting German positions. Following the barrage, British and ANZAC (Australian and New Zealand Army Corps) troops launched attacks on the German lines. However, the prolonged and heavy rain that fell throughout the campaign turned the battlefield into a quagmire of mud, making movement difficult and impeding the effectiveness of the artillery.
The fighting was brutal and characterized by some of the bloodiest and most futile assaults of the war. The soldiers had to contend not only with enemy fire but also with the treacherous terrain. Tanks, which were relatively new at that time, were used in the battle but faced numerous challenges navigating the muddy landscape.
One of the most notable episodes during the battle was the capture of the village of Passchendaele by Canadian forces on November 6, 1917. Despite their success in taking the village, the overall gains were minimal, and the offensive was called off a few days later, officially ending on November 10, 1917.
Outcomes and Impact: The Battle of Passchendaele resulted in heavy casualties on both sides. Estimates vary, but it is believed that the Allies suffered around 275,000 casualties, while the Germans had approximately 220,000. The gains made by the Allies were meager and did not significantly alter the strategic situation on the Western Front.
The battle’s legacy has been controversial, with many considering it a costly and unnecessary campaign that achieved little in terms of military objectives. The massive loss of life and the appalling conditions faced by the soldiers have made Passchendaele a symbol of the futility and horrors of trench warfare during World War I.
In summary, the Battle of Passchendaele was a protracted and deadly struggle on the Western Front, characterized by terrible conditions and heavy casualties, with limited territorial gains for the Allied forces.
The Candian Army during WW1
During World War I, the Canadian forces had a significant and close interaction with British forces, as Canada was part of the British Empire at that time. When Britain declared war on Germany on August 4, 1914, Canada, as a self-governing dominion within the British Empire, was automatically at war as well.
Here’s how the Canadian forces interacted with British forces during WWI:
- Command Structure: The Canadian Expeditionary Force (CEF) was formed and placed under the command of the British Army. Canadian soldiers were ultimately under the overall direction of British High Command, but Canada was given some degree of autonomy in organizing and directing its forces.
- Training: Canadian troops underwent initial training in Canada and later in Britain before being deployed to the Western Front. British training facilities were often used for this purpose.
- Western Front: The majority of Canadian forces were deployed to the Western Front in France and Belgium. They fought alongside British troops and other Allied forces in major battles like the Battle of Ypres, the Battle of the Somme, and the Battle of Vimy Ridge.
- Corps Formation: By 1915, the Canadian Corps was established as an independent formation within the British Army. The Corps was made up of four infantry divisions and various supporting units, all under Canadian command.
- Battle of Vimy Ridge: One of the most notable instances of Canadian and British cooperation was during the Battle of Vimy Ridge in April 1917. The Canadian Corps, with considerable planning and coordination, managed to capture Vimy Ridge, a heavily fortified German position, which had eluded both British and French forces earlier.
- Later Stages of the War: As the war progressed, the Canadian Corps was employed in various major offensives, and it gained a reputation for being a formidable and reliable force on the Western Front.
- Tensions and Autonomy: While Canadian forces worked closely with British forces, there were some tensions and disagreements between Canadian and British leadership. The Canadian government sought to maintain its forces’ autonomy and have Canadian soldiers led by Canadian officers as much as possible.
Canadian Corps Summer 1916
Overall, the Canadian forces’ interaction with British forces during World War I was marked by collaboration, but it also reflected Canada’s evolving sense of national identity and desire for greater independence on the world stage. The experiences and sacrifices of Canadian soldiers during the war played a significant role in shaping Canada’s future as an independent nation.