Leighton House Museum London

Dear Art Lover,

    Thanks to painter Vicki Sullivan in Australia, I was told about the Lord Leighton House/Studio and Museum in London.  Frederick (Lord) Leighton lived from 1830 to 1896.  He is probably most famous for his painting Flaming June, which consists of a sleeping curled-up young woman in a flowing semi-transparent orange gown.  I would include the image here, but I already have one image for each letter of the alphabet in this post!  Perhaps you know the work already: https://en.wikipedia.org/wiki/Flaming_June

     As logistics would have it, I ended up exiting the tube (subway/metro) at Holland Park and thought that I would walk south to the museum.  I do not know much about London and it was a lovely day for taking a walk anyway.  Holland Park is a charming little getaway when one needs a Nature fix.  And they have a pretty good public sculpture collection started that enhanced my stroll.
    

     I must say that I found it difficult to locate street signs in London.  However, sometimes I missed “the obvious” because the signs were large and low, so it very well could just have been my training to look up.  However, on this pair of signs shown, I must ask you, which side is the actual Abbotsbury Road?
    

     I have also decided that the Lord Leighton House just might be one of London’s best kept secrets.  It was a little difficult to find (my map was too simplified and I do not own a smart phone with GPS or online access).  More than half of the locals I asked for directions as I neared had no idea of what I was asking about.  The two who did told me that it was worth the search.

     Allora, as you enter the ground floor (after paying a seven British Pound fee, there are five rooms, one being a square sort of corridor that houses the wide staircase and shows off a stuffed male peacock.  Beyond that is a “red room” that appeared to be a possible dining room [no photo here].  A large and fairly empty room with an out-jutting area for sitting.  I actually do not remember seeing a kitchen.



     The main attraction on that floor is the chapel.  Or Turkish bath?  Anyway, you can tell where the artist’s taste lies.  It is pretty impressive and I wondered what it was like to live with such a space…fancier than any place that I have ever lived.

      To the left of that gorgeous room is a more English-looking study.  I love sketches and was thrilled that this image turned out.  [No photos are permitted at all in the home.]  You may see the figure for the Flaming June on the back left.  I love sketches.. in fact, I often like the preparatory sketches better than the final painting.  I have yet to pin down exactly why, but in general, the sketches seem more touchable.

     Once up the stairs, this exotic sitting space overlooking the Turkish room is the first one you see. And having lived in Florence, Italy, so long, it is impossible not to know who is the monk Savonarola.  However, I had no idea that he has a chair named after him!

    To the left is another sitting room with a fireplace (and peacock feathers sit in front of it).  I especially enjoy this circular composition by Frederic Leighton, Boy Saving a Baby from the Clutches of an Eagle, c. 1850-1852.  I found his slightly odd play of shadows over the figures interesting and I enjoy how the boy and the eagle fill the space with sort of parallel diagonals.

     The bedroom is sparsely furnished, but I am not sure if it is because this is not the original furniture and they kept things minimal or if the artist truly lived this simply.  The Web site says that Lord Leighton lived alone in that huge house, so that may explain the single bed as well.  No need for clutter in a space that large for only one man.

     Looking back into the stairway, one sees some truly lovely paintings.  I was especially enchanted with the one of the old bearded man (father, doctor?) hovering over a reclining boy.

     And finally we move into the studio.. how grande!  And I love the warm colors.  Most of Lord Leighton’s art is NOT in this house anymore.  I guess that is one of the perks of being famous.  However, I still enjoyed my visit. 

     I was intrigued by the ceiling window.  It looks as if there are various configurations possible up there for having or not having a certain light enter the room.  I wanted to know more . . .  Note also at the end I show you two snapshots of the large lawn in the back of the house.  I do not know much about London, but I suspect that is some costly real estate!  When I left, I walked along the Kensington area and took a bus down to Trafalgar Square… but likely I will write about my visit to the National Gallery in my next art newsletter (go to my site http://BorsheimArts.com to sign up for THAT subscription).

To read more about the Leighton House and Studio, as well as connected museums, check out:
https://www.rbkc.gov.uk/subsites/museums/leightonhousemuseum/aboutthehouse.aspx

 

     I am not above taking a donation.  Even five bucks is a help, if you enjoy what you read about and see in my images here on this blog.  Thank you.  [You may make a donation via the PayPal links on the side bar on the blog site:  http://artbyborsheim.blogspot.com ]

Peace,

Kelly

~ Kelly Borsheim, sculptor, painter, writer, teacher

http://BorsheimArts.com

Paintings The Wallace Collection London

Dear Art Lover,
     I wanted to take a closer look at some of the paintings in The Wallace Collection in London, which I wrote about in the last blog post.  I did not have much time in this place, but that just means that the works that stood out merit a closer look, no?

     This first painting Sheep by Marie-Rosa Bonheur (1822-1899) was my favorite of the bunch that I saw.  I am not sure if it is because I have been spending so much time with farmers in Italy, Croatia, and Serbia, or something else, but like hay bales, I find sheep somehow comforting to see.  However, this particular painting is luscious.  It has an interesting arrangement of light and dark shapes, each animal doing his own thing, while obviously still part of his social club.  I love the way the light in the foreground contrasts with the dark clouds, the bright green landscape contrasting with the distant mountains.  The texture was brilliantly rendered.  The only thing that I did not like about this painting is that the lighting creates a shadow from the frame over the top section of the painting.  For a smaller painting, this seems a tremendous loss and unnecessary distraction.


     This long narrow vertical painting made me laugh.  It is of a man who has pulled down one of his thigh-high stockings to reveal a cut on his upper and inner thigh… showing us his “fundies” in the process.  It turns out that I am a bit immature. [Who knew?]  The cut is supposed to be a sore from the “plague,” which back in the 1300s was a term used generally to describe any number of serious ailments that spread quickly.  Saint Roch [San Rocco in Italian] was a Frenchman who died in Italy after having ministered to many people with the plague.  He contracted it himself and was exiled, and later imprisoned.  I am surprised that I had never heard of Saint Roch, the subject (and title) of this painting by Carlo Crivelli (1430/35-1495), two years before the artist’s death.  Roch is apparently the patron saint of dogs and people falsely accused.  “Plague saints” became popular as people chose to take control of their lives instead of simply accepting the spread of disease.  San Rocco has many churches in his name throughout Italia (and Europe) and I had better start paying attention!
For more information on this saint and the plague in art, visit:  https://en.wikipedia.org/wiki/Saint_Roch

     The painting above right is titled, The Hired Assassins and was painted by J.L.E. Meissonier (1815-1891).  I love the quiet urgency in the body language and how the viewer knows that “something mischievous is about to happen.”

     Edward V and the Duke of York in the Tower by P. Delaroche (1797-1856) is a good composition.  And I like the emotions shown by the different glances of the boys while the dog’s attention appears to be on an impending intrusion.  I hope that you are not only noticing the elaborate frames on these paintings, but also the colors of the walls upon which they hang.  I have noticed over the years how much I truly enjoy muted rich colorful walls as backdrops for art.  In these large rooms, at least, the color brings a coziness and intimacy to viewing the art.

Pure fun, this vase of marble!

     I started this blog post with an animal painting with contrasting light in the sky and thought I would end it the same way…. But make no mistake:  These are not sheep!  Hahahah.  This painting by C. Troyon (1810-1865) has the very clever and catchy title, Cattle in Stormy Weather.

     I am not above taking a donation or five if you enjoy what you read about and see in my images here on this blog. Your support and sharing really helps.  Thank you.  [You may make a donation via the PayPal links on the side bar on the blog site:  http://artbyborsheim.blogspot.com ]

Peace,
Kelly

~ Kelly Borsheim, sculptor, painter, writer, teacher

http://BorsheimArts.com

The Wallace Collection London

Dear Art Lover,

     A friend drove to London to meet up with me while I was there recently.  Since we had limited time to visit, she walked me over to The Wallace Collection.  It is free, which is so amazing, really!  After our brief walk-through we ate lunch there, even with an Italian waiter… what fun!

     Really, such elegance!  It makes me a bit sad to see such places, actually.  I feel that our generation has lost so much, with our relative impatience and fast-moving society.  We do not seem to create things to last or to engage longer than for a momentary entertainment.  I hope that I am wrong and that people still appreciate feeling actual awe.

     I think this first image of the docent would make a cool painting.  Do you?  

      These next two images fill me with frustration.  I LOVE this painting of the horses.  However, the unfortunate placement of the chandelier in the entrance hall virtually guarantees that one may not view, much less photograph, this incredible painting without glare.  I walked all around the floor, and even up the central staircase looking for a good vantage point… nothing!  One can hardly see that second grouping of animals on the right.  Peccato!

       Across from this painting is a stunning work in marble.  I am not much of a portrait fan, but if one catches my attention, it deserves it.  I mean, seriously, can you look at this and not appreciate the quality and workmanship, as well as the design?  I love seeing chains and delicate features carved into such a one-shot material. 



    













     My friend and I did not have much time to look too long at anything, but I got enough of a taste to know that I would go there again on my future visits to London.  That is one nice thing about free entrance:  One does not feel the need to study each and every work on exhibit and can have a better quality experience as time and desire dictate.

 

     I love this scene of the children's classroom visiting the museum.  I do not like to badmouth the land of my birth, but it has been hurtful and confusing as an artist who paints and sculpts nude human figures to be told that I could not show my work since it corrupts children!  And, as I have told many other artists and friends, one cannot use “The European Argument” (that is:  In Europe, families even play together in parks with nude sculptures and grow up with nude paintings in their everyday lives) because those in America who would silence the nude in art also believe that Europeans are decadent.  As with any touchy subject, my belief is that it is better to amicably discuss than to shut down the topic entirely.

     I am not above taking a donation or five if you enjoy what you read about and see in my images here on this blog. Your support and sharing really helps.  Thank you.  [You may make a donation via the PayPal links on the side bar on the blog site:  http://artbyborsheim.blogspot.com ]



Peace,

Kelly

~ Kelly Borsheim, sculptor, painter, writer, teacher

http://BorsheimArts.com

London ART NOW Bargehouse OXO Tower

Dear Art Lover,

     One has to learn to roll with the punches, especially when doing art events in another country.  I always seem to manage, but have not quite gotten a handle on it yet.
    I am speaking now about the surprises of my latest art venture:  The Bargehouse [or actually ART NOW, the event organizers] in London, a 4-day weekend event that starts tomorrow (Thursday) dished up a few today.  I reserved my space, a small one since I am unsure of this kind of situation, not having many contacts or clients in London.  We artists were told to bring our own hammers, nails, screws, whatever we needed to attach our art to the walls.  

      So, what were my main surprises?  I received WAY more space than I imagined!  I thought that I would only have about three feet, so sadly, did not have enough hanging supplies with me.  However, I had brought more art with me, in case I sold something or just wanted to change out featured artworks during the event.

     The other surprise was that the walls we had to hang our art upon were not the usual show walls or even ones seen in any images on the site.  We were supposed to put nails into BRICK WALLS!  Some of the local artists knew this and had brought electric screwdrivers and such.  However, I got lucky again because my walls had enough holes in it from previous art events that I was able to use my Italian nails pretty well.  Also, one of my colleagues offered some of her screws and her screwdriver.  The arrangements are not perfect, but it fits the atmosphere.   

     However, I would like to learn how to pack for these sorts of surprises, good and possibly frantic.  Another lesson:  Do not do an exhibition when your belongings are all in storage, especially distant from where you are currently living.  I forgot the labels for my artworks, sticky stuff for helping things look straight, and other little things that I have in my “show collection box” that help make my work look professional in display.  As you know, life moves on and I am here in London and thus far, it has been a good time.

     And, I would like to introduce you to two of my colleagues.  We went out for a coffee on this rainy afternoon that we all hung our exhibits.  They are both British, and oddly both are of Greek origin.  Here are Despina Kyriacov, who creates abstract photographs, and George Antoni, a contemporary abstract painter.

And I hope that you can be in London for this event.  I am surprised always by international shows.  The visions of so many different souls are astounding.  And the location in London is great… so much eye candy around! 
++++++++++++++

Let us meet in London!

Art NOW - London!

The Artists Fair - London [Yes, in the UK!]
WHEN: OPENING Preview > Thursday October 22, from 4 - 8 p.m.

Exhibition Hours > Friday & Saturday, October 23 & 24, from 10 a.m. - 8 p.m.

Sunday October 25, from 10 a.m. to 7 p.m.

WHERE: BARGEHOUSE, OXO Tower Wharf, South Bank, London SE1 9PH
WHY? Featuring Kelly's pastels and charcoal drawings from Morocco

The Artists Fair London 2015 presents 50 emerging and recently established artists from 30 countries (random order): Japan, France, Denmark, Australia, Bulgaria, Italy, Germany, Israel, United Kingdom, Martinique, South Africa, USA, Kosovo, Netherlands, Catalonia, Spain, Poland, Belgium, Sweden, Turkey, Norway, India, Lithuania, Russia, Canada, Taiwan, Finland, Switzerland, Romania, Estonia.

Free entry for visitors.

The great location, steps from both the Hayward Gallery and Tate Modern, and the perfect time, following the Frieze Week, can find yourself, ideally, in the heart of an international, fresh and vibrant art scene.

Receive Priority FREE ticket(s) ... no waiting: http://www.art-now.net/pdf/ART%20NOW%20priority%20ticket.pdf

Feel free to contact us for any information by info@art-now.net
ART NOW The Artists Fair London: www.art-now.net

Thank you for reading and making it all possible.
Peace,
Kelly

~ Kelly Borsheim, sculptor, painter, writer, teacher

http://BorsheimArts.com