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Art

From Monet to Matisse- Painting the Modern Garden – The Royal Academy

We were lucky enough to be invited to the preview on 26th January 2016 of the ‘Painting the Modern Garden: Monet to Matisse’ exhibition at the Royal Academy. It is showing works of artists in that period of time painting gardens.

We arrived on time and did the clever thing. We walked straight through the exhibition to the end where the huge triptych of Monet’s that have never been hung together since first painted were situated. We walked in and for a few minutes we were the only two people there.

No guards.

No crowds.

Nobody.

Bliss to be surrounded by the paintings in silence.

Monet at Giverny

Monet at Giverny and us alone in the room to take this photo !

Then we walked back through the show. Many of the Monet’s look great from a distance and quite ugly close up. I like that. I like that something ugly transforms to something beautiful depending on where it is seen.

There was a lovely Matisse, Palm Leaf, Tangier 1912. There were extraordinary Kandiinskys. There were three Paul Klee’s we really fancied having on our walls!  There was a modest and lovely Pissaro of a vegetable garden. And there was an intriguing Maurice Denis of nuns in a garden, a little like a Paradise Garden of Persia. Very unusually in colour and form. Lovely.

There were some extraordinary paintings that I did not like of the foreground, but the effect of the light, as if it was from a backlit theatrical set, was wonderful. But I am not a great fan of most impressionism anymore and I never did like Renoir.

For the most part though it is pretty, but a bit sentimental. Also, it was bereft of female artists. Now surely females were allowed to paint flowers and gardens even if not allowed to paint a (fe/male) nude?  But I am sure that even in the time period of Monet females made and painted gardens. So a lack of female artists does annoy.

The whole felt a bit overwhelming, a bit of a large bouquet with a few rare and precious blooms.

For the Monet it will be a sell out show, so I am very grateful to have seen it in peace. A moment of serenity in a place of beauty. That was his intention after all the bloodshed of the First World War and that is his achievement.

 

Categories
Art

Ai WeiWei at the RA

The blockbuster that is the artist Ai Wei Wei is in London at the Royal Academy on Piccadilly. The show opened a while ago, but due to Frieze London being on, there was a chance to see it without the crowds one evening, so I took that chance.

I had liked the ceramic sunflower seeds at Tate Modern a few years back so I was interested to see this show.

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Tate Modern Ai WeiWei

Ai Wei Wei’s work is monumental. There are a few small pieces, but I think the scale of each of the pieces in this show is, generally, too big. I am not a monumental art fan. It has connotations I don’t like. Most of these pieces I thought would be better smaller, quieter. Then we could see the art because when work is on the monumental scale it can become documentary, memorial and historical centrepiece.

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A lot of it is quite literal.

The carpet of metal representing maps of China I found lovely, but I am not sure that is the intention, to be lovely, as the work is made from the rods retrieved after the earthquake where 20 schools capsized in 2008 and thousands of children died. The names of the children are on the wall in a long placard of remembrance; lives, potentials erased. But the work is quite brutalist. I thought about the studio workers having to collect the metal and straighten it, and wondered how they felt.

The bicycle chandelier was very literal and rather kitsch. The wall papers I thought were a bit childish. I could not find a lot to love. I found the fact that many temples had been destroyed and he had rescued the wood and reused it good. I liked the first room of wooden structures and some of the cubes, but in the end, monumental as it was, political as it was,  I found the show quite thin.