='data:blog.isMobile ? "width=device-width,initial-scale=1.0,minimum-scale=1.0,maximum-scale=1.0" : "width=1100"' name='viewport'/> The Crawford Arts Review

Monday, 18 February 2019

Understanding Rembrandt 350 years after his death


As fellow art journos take the Eurostar to Amsterdam to stare, no doubt in wonder, at All the Rembrandts at the Rijksmuseum, I feel the pang of not being there, my press pass as yet unused. All the Rembrandts runs until 10 June so I will be trying to get there later in the year, hopefully before the Eurostar gates clang shut (well, 'if' they do, that is).

In the meantime, knowing these paintings, if not the drawings and prints, since student days, I have been reading some of the reviews published since the opening. There is, for instance, a particularly jolly and perceptive piece on "The Night Watch" (and incidentally on the Dutch for whom it was painted), by Jonathan Jones in the Guardian.


And there's the question "might Rembrandt have been a narcissist" posited by one distinguished critic.  

Rembrandt van Rijn, Self-portrait in a cap,
with eyes wide open, 1630












"Who, me?" (Wie, ik?), I can almost hear him respond



Rembrandt created over 80 self-portraits if you count in the drawings and prints. He had a declared purpose. They were studies for many of his later portrait paintings – of individuals, couples and groups. Many of the self-portraits are hardly flattering. The fact is that it's extremely difficult to draw or paint someone with mouth agape, eyes widened or hair standing on end. 
 
Rembrandt van Rijn, Self-portrait
in a black cap, 1637
In all of the self-portraits you'll see Rembrandt's masterly grasp of how to handle chiaroscuro, light and shade. Here's a second self-portrait, this time from the Wallace Collection here in London. It is "Self-portrait in a black cap" dating from 1637. The artist here accomplishes that most difficult of tasks – the foreshortening of the head as it tilts back. Only someone with the most superb skills of draughtmanship can do this convincingly. And, of course, as a subtext, in presenting himself in these various poses and guises, the artist is saying: look what I can do with paint.

Then there are comments that the self-portraits may have more than a passing relationship to today's selfies. Well, more a relationship to the brilliance of Dutch marketing skills in bringing the 17th century bang up to date. Amsterdam is also paying its respects to the brilliant Emilie Gordenker, joint director of the Mauritshuis in The Hague, who organized an exhibition of Dutch Self-Portraits in 2015/16 which she called Selfies of the Golden Age.

A final thought here. It might be fun as well as instructive to match the poses of some of these self-portraits to the finished portraits in Rembrandt's other works. 

There are further Rembrandt exhibitions throughout the fair cities of the Netherlands: Rembrandt's family and social network in the house he bought in Amsterdam (now the Rembrandt House Museum), in Leeuwarden where his wife Saskia was born, and in Leiden, his own birthplace, until the end of the year (see link for further details).

Eurostar Direct





Wednesday, 6 February 2019

A shot from Staining Lane EC1, with, in the background, the Barbican's Shakespeare Tower.
For me, the Shakespeare Tower is kind of a one-off type of building for this area of London. Completed in 1976, it is of its time. It is so 'unrelieved'. But look what has happened in the middle distance: someone renovating a row of these charming EC1 houses has chosen what at first sight looks like Pantone's colour of 2019, Living coral. It wouldn't work if every architect did this - but every so often a punch of punctuating 


colour works beautifully against all the concrete. Here's a close-up.

Monday, 4 February 2019

Dear Friends of the Built Environment, herewith my personal 'Architecture as Art' London pick, the remodelling of a derelict chapel, by Craftworks, Winners of Don't Move, Improve 2019




















Picture courtesy of Dezeen (click on the site for more inspiring pics)
The annual Don't Move, Improve! architectural competition is run by New London Architecture

Wednesday, 23 January 2019

Bonnard brings the Shimmering Light of the French South to Bankside



Winter London is beautiful with its black, white and grey, its filmic dark and light. But a trip to Tate Modern to see the colours of summer, irradiated with southern European light, may be just what London and Londoners need at the moment. Some 90 works are on show. 

Buy yourself a members' card (£76 if paid by direct debit) and you can visit exhibitions at all the Tate galleries as often as you like - an art staycation that should certainly lift the mood.

Saturday, 1 December 2018

Art diaries out

UK (London)

Pierre Bonnard             Tate Modern       23 Jan to 06 May
Dorothea Tanning         Tate Modern       27 Feb to 09 Jun

Vincent van Gogh         Tate Britain         27 Mar to 11 Aug



Netherlands (Amsterdam)

All the Rembrandts         Rijksmuseum   15 Feb to 10 Jun
350th anniversary
of the artist's death





Sunday, 25 November 2018

Until Wednesday 28 November

A detail from the small ante-chapel.
The Fitzrovia Chapel was once part of the Middlesex Hospital in Central London (a hospital now incorporated into University College Hospital). The chapel was built for hospital staff, patients and visitors and formally opened in 1929.
       The exterior is of a comely red brick. The interior almost defies description - or at least brief description (but do not fear, someone is cataloguing in detail every building stone used and hopefully a book will result). The architect, John Loughborough Pearson (1817-1897), one of the Victorian era's most celebrated, is
now commemorated by the naming of this relatively new West End square, opened in 2015, after him. 
       Just as Sir Christopher Wren showed us in St Paul's Cathedral and St Stephen Walbrook what happens when an architect uses clear glass to let in natural light to bathe the heavy building stones of his interiors, John Loughborough Pearson creates a delicate and uplifting lightness by covering his interior with a layer of coloured building stones and light-reflecting mosaic. No Ancient Roman villa was ever so sumptiously decorated.

The chapel is open daily from 11am to 4pm until 28 November for the exhibition Dwelling, 'an exhibition of beauty and attachment in Fitzrovia residencies'. Please note: after the exhibition closes Fitzrovia Chapel will return to its usual weekly opening: Wednesdays between 11:00 and 16:00.

Fitzrovia Chapel 
2 Pearson Square
(off Mortimer Street)
London W1