Skip to main content

Opening and Closing in July

A very eclectic mix of shows this month, and we're starting with an exhibition that's not art at all, but of vital interest to everyone. The Science Museum is investigating the Future of Food , looking at new advances in growing, making, cooking and eating it. On from July 24 to January 4, it's free, though you need to book. Oh, and you get to see this 3,500-year-old sourdough loaf..... At the Lowry in Salford, they're offering a double bill of Quentin Blake and Me & Modern Life: The LS Lowry Collection . The show about Blake, who's written or illustrated more than 500 books, looks aimed at a family audience, while the Lowry exhibition includes borrowed works, marking the Salford arts centre's 25th anniversary. On from July 19 to January 4, and entry is again free, though you need to book a timeslot.  Another anniversary this year is the 250th of the birth of Jane Austen; among the exhibitions around the country is one in Winchester, the city where she died ...
Post a Comment

Subscribe to updates

Charles I -- The Very Image of a King

We all know what Charles I looked like, don't we? It was just how Anthony Van Dyck painted him:
Van Dyck's triple portrait is the first image that catches your eye as you enter Charles I: King and Collector at the Royal Academy in London, a terrific exhibition that's chock-full of great works of art.

This show has at its centre two rooms of aggrandising pictures of Charles by his Flemish court painter, on horseback, with his family, in his robes of state. So it comes as somewhat of a surprise to find one or two portraits of the King by other artists that make him appear a little different. There's something slightly wrong with them, you feel, because you're so used to the Van Dyck look.

Gerrit van Honthorst's Charles seems somehow more boyish, less certain of himself, while a full-length view by Daniel Mytens captures some splendid tailoring but doesn't quite give us the self-confidence of a man who believed himself endowed with the divine right of kings and who built up one of the greatest art collections of his day. But of course Charles I was also the King who found himself fighting a civil war with Parliament and was tried and executed for treason. That art collection was broken up and sold off. 

The curators have recreated the splendour to be found in Charles's palaces, reuniting 140 works, the majority from the current Royal Collection, to which many found their way back after the monarchy was restored in 1660, but also from museums like the Prado and the Louvre. There are Titians, Holbeins and a whole room of Mantegna, but Van Dyck takes pride of place.
Here's Charles's Queen, Henrietta Maria, dressed down for a spot of hunting with servant and pet monkey in tow. It's the monumental portraits, though, that really impress, particularly the magnificent Charles I on Horseback with M. de St. Antoine, which shares the RA's Central Hall with two other giant equestrian images.

That triple portrait you see at the start was intended to be used by the sculptor Bernini to model a bust of the King. Cunningly, your view is drawn to the Van Dyck past another marble rendition of Charles, this time by Francois Dieussart. A great beginning, setting the scene along with superb self-portraits by both Van Dyck and his mentor, Peter Paul Rubens.

Charles acquired art from the Spanish court and a huge trove from the Dukes of Mantua, including this second-century Roman statue known as the Crouching Venus:
When Charles's collection was sold off after his execution, this piece went for £600. Displayed nearby, a Correggio of Venus with Mercury and Cupid was sold for £800, one of the highest prices paid for a work from the Royal Collection. It's hung next to a Veronese on a similar theme that fetched just £11....

Not every work was dispersed. The new ruler, Oliver Cromwell, hung on to Andrea Mantegna's nine-canvas series The Triumphs of Caesar, shown here to great effect.
There are more Italian masterpieces to come. Portraits by Bronzino and Franciabigio hang opposite a wall of Titians, including The Supper at Emmaus, now in the Louvre.
But Charles wasn't only interested in Italian art. There are a number of Holbein portraits, including Robert Cheseman, the chief falconer to Henry VIII, on loan from the Mauritshuis in The Hague. 

Charles liked to retire to his cabinet room to study smaller treasures -- miniatures, drawings, medals. And there are some exquisite Holbein drawings on show here that capture a flavour of his retreat, such as this one of Anne Cresacre:
The exhibition ends as it began, with Van Dyck and Rubens. The star attraction in this final room is Cupid and Psyche, the only surviving mythological painting from Van Dyck's time as court artist. If you've seen Andrew Graham-Dixon's recent BBC series on the history of the Royal Collection, you'll know it's his favourite picture among the many thousands of the Queen's artworks. It would have been more satisfying to finish up in some way with Charles himself, but that's a minor quibble.

All in all, this is a brilliant show, far outshining the companion exhibition at the Queen's Gallery on how Charles II rebuilt the Royal Collection after the Restoration. Go and see it, but be warned, you'll need a little patience to get up close to many of the pictures. It's pretty packed in there, and with good reason. 

Practicalities

Charles I: King and Collector is on at the Royal Academy on Piccadilly in central London every day until April 15 from 1000 to 1800, with late opening on Fridays until 2200. Full-price tickets are £20, including a Gift Aid donation. You can book tickets online here. The RA is a few minutes' walk from Green Park and Piccadilly Circus Tube stations.

While you're at the Royal Academy

You can't miss Physical Energy, the equestrian statue by George Frederic Watts currently in the courtyard. Watts was so highly regarded in the late Victorian era that he was dubbed England's Michelangelo. The first bronze of this work was exhibited in the RA courtyard in 1904, and this new cast is on show in London before it's installed permanently at the Watts Gallery in Compton, near Guildford in Surrey.

Images

Anthony van Dyck, Charles I, 1635-6, Royal Collection Trust/(c) Her Majesty Queen Elizabeth II 2017
Anthony van Dyck, Queen Henrietta Maria with Sir Jeffrey Hudson, 1633, National Gallery of Art, Washington. Samuel H. Kress Collection, Photo (c) courtesy National Gallery of Art
Roman, Aphrodite ('The Crouching Venus'), second century, Royal Collection Trust/(c) Her Majesty Queen Elizabeth II 2017
Andrea Mantegna, Triumph of Caesar: The Vase Bearers, c. 1484-92, Royal Collection Trust/(c) Her Majesty Queen Elizabeth II 2017
Titian, The Supper at Emmaus, c.1530, Paris, Louvre Museum, Department of Paintings, Photo (c) RMN-Grand Palais (musée du Louvre) / Stéphane Maréchalle
Hans Holbein the Younger, Anne Cresacre, c. 1527, Royal Collection Trust/(c) Her Majesty Queen Elizabeth II 2017

Labels:

Comments

Post a Comment

Popular posts from this blog

What's On in 2025

What will be the exhibition highlights of 2025 around Britain and Europe? At the end of the year, Tate Britain will be marking 250 years since the birth of JMW Turner and John Constable with a potential blockbuster. Meanwhile, the Swiss are  making a big thing  of the 100th anniversary of the death of Félix Vallotton  (a real favourite of ours). Among women artists in the spotlight will be Anna Ancher, Ithell Colquhoun, Artemisia Gentileschi and Suzanne Valadon. Here's a selection of what's coming up, in more or less chronological order; as ever, we make no claim to comprehensiveness, and our choice very much reflects our personal taste. And in our search for the most interesting shows, we're visiting Ascona, Baden-Baden, Chemnitz and Winterthur, among other places.  January  We start off in Paris, at the Pompidou Centre; the 1970s inside-out building is showing its age and it'll be shut in the summer for a renovation programme scheduled to last until 2030. Bef...
Post a Comment
Read more

Carrington: You've Met Leonora, Now Discover Dora

Carrington: She only wanted to be known by her surname, unwittingly posing a conundrum for art historians, curators and the wider world a century later.  Because it's another somewhat later Carrington, the long-lived Surrealist and totally unrelated, who's recently become Britain's most expensive woman artist. But today we're at Pallant House Gallery in Chichester to see an exhibition not about Leonora but about Dora Carrington. She hated that name Dora -- so Victorian -- but with Leonora so much in the limelight (and the subject of a  recent show at Newlands House in Petworth, just a few miles up the road), the curators at the Pallant didn't have much option, so they've had to call their retrospective  Dora Carrington: Beyond Bloomsbury .  Leonora was a bit of a rebel, as we found out in Petworth. Dora too. But we ought to respect her wish. Carrington, then, has been a bit neglected recently; this is the first show of her works in three decades. And while ther...
Post a Comment
Read more

Caillebotte: This Is Modern Paris

You won't find a single work of art by Gustave Caillebotte in a British public collection. And yet he's one of the key figures in the Impressionist movement, whose 150th anniversary we're celebrating this year. But over in Paris, he's the subject of a big, big exhibition at the Musée d'Orsay; we jumped on the Eurostar to see it, and, even though  Caillebotte: Painting Men   was the most crowded show we'd been to in quite some time, we absolutely adored it.  And let's start with perhaps the pièce de résistance. Even if you don't know Caillebotte at all, you may have seen this image before; there's something about it that encapsulates late 19th-century Paris, with its view of an intersection between the broad new streets pushed through by that radical city-planner, Baron Haussmann, lined by elegant new buildings. This was the modern city, the modern world. Paris Street; Rainy Day : a painting in which there's nothing really happening, and there...
Post a Comment
Read more