Archive for February, 2018

Blackpaint 616 – Peevish Charles, Resentful Leavers and the Platypus

February 21, 2018

RA- Charles I Exhibition

Obviously the Holbeins and Van Dycks are the stars of this show – that Van Dyck family portrait with the kids and dog and baby  is noticeably informal, compared to earlier group portraits.  The hunting portrait of Charles, borrowed from the Louvre, is great; I think it’s the satin-clad elbow poking out at you.  On TV, some pundit said the horse in the picture “stole the show”; I say the elbow does.  The triple portrait of Charles on the poster captures a sort of querulous obstinacy; weak-eyed, peevish but with clear indications of an inflexible wilfulness.

Fantastic Mantegna series of the Roman Triumph; tapestries based on Raphael cartoons, especially The Miraculous Draft of Fishes; I’m not keen on that Titian of the man in furs with the big dog jumping up at him.

Leavers and Remainers  (Trauma, Requiem)

Maybe because I’ve just read David Goodhart’s The Road to Somewhere, I keep seeing the two sides in the Brexit vote represented in TV drama.  The John Sims character in “Trauma”, bitter, obsessive, smouldering with self-righteous anger at the doctor who failed to save the life of Sims’ son after he was stabbed.  He’s the Brexiter, of course, hating and pursuing Adrian Lester’s smooth, rich, elite surgeon.

There is also “Requiem”, with the Remainers being the young cellist and her devoted accompanist, the Brexiters being the hostile, defensive Welsh villagers, burning with resentment towards these invaders from London with their nosy questions.  More to both these series of course; probably just my obsession.

The Post, dir. Spielberg (2017)

Very old-fashioned Spielberg film – stirring music at strategic moments, Hanks and Streep doing the Right Thing in defiance of the US government, an admiring group of young women gazing up at Streep as she leaves the courtroom…   I did reflect, though, that the Washington Post’s publishing of the Pentagon Papers would never have happened in the UK, with the various restrictions on the media that can be brought into play here and, indeed, the willingness of the British media to cave in to the government.

Loveless, dir, Zvyagintsev (2017)

The poster said “mesmerising” and “riveting”; can be code for very, very slow…  But, happily, the film is both (mesmerising and riveting, that is).  After “Leviathan”, Zvyagintsev has shifted his focus from politics and the new gangster elites in Russia to the personal; furious, bitter fighting between his divorcing parents lead a Russian teenager to go missing in a forest near Moscow.  Much of the film concerns the campaign by a volunteer group to trace the youngster, setting about the search in a determined and disciplined way, going to considerable lengths to do what the police might be expected to do, or at least, attempt.

Brett Whiteley

I’ve been looking at Whiteley’s work again, and I have to say, he takes collage to stunning lengths; among the objects affixed to various works are the following: teeth, brain (actually a slice on a slide, by the looks of it in the photo), eggs, birds – and a platypus.

To Yirrawalla (1972)

 

Little Van Gogh

I’ve got some pictures with this group, which rents paintings out to offices, moving them around every few months.  Examples below – they’re all mine.

 

Blackpaint

21.2.18

 

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