The brilliant sunshine of the last couple of days has been replaced by cold rain, and I went to the V&A simply because I was deterred by the long queue outside the Natural History Museum. It wasn’t second best however: it’s always good to get lost in the V&A for an hour or two. This time it was mostly amongst the ceramics. My goodness, but the museum has so much stuff! And not all of it what one would care to keep. As I looked at the tall glass cabinets of china ornaments I almost expected to see a replica of my parents’ souvenir of Helensburgh or a novelty ashtray.
Inevitably I drifted towards what was familiar and ended up in front of tableware designed by Eric Ravilious. There were also designs by Vanessa Bell – looking unstructured beside Ravilious’s neat delicacy. En route I was waylaid by monochrome Chinese pottery (which brought back the Burrell Collection) the composition of different types of earthenware (having forgotten what I picked at the Bowes Museum a couple of years ago) and a pile of misfired Delft plates. I am sure I first learned about these in the Delft museum, but I took no photographs and can’t rely on my memory.
To the Vanessa Bell exhibition in Milton Keynes to see if I could feel more positive about her work. Well, not really – but the journey to that decision was quite interesting.
I’d been to the same gallery to see Laura Knight (1877-1970; Bell 1879-1961) and it was instructive to compare the two exhibitions and artists. Knight’s work (as curated for the exhibition) followed a path from early experimentation to a recognisable style and regular themes; she had to earn her living from an early age and she was sometimes hard up. She accepted commissions, she worked as a war artist, she designed decorative work. She was married to the same man for decades and had no children. In short – at least outwardly – a fairly tidy story of a groundbreaking woman artist and her body of work.
Bell, in contrast, seemed all over the place. She was more experimental (personally and professionally) and her focus was on the “language” of form and colour – but I really couldn’t find a single piece that stopped me in my tracks or pleased me entirely. I had thought of her colour palette as rather murky and muddy, but here there were brighter colours that I hadn’t expected. Nevertheless much seemed slightly unfinished or unthought-through. Her portrait of her sister, Virginia Woolf, was up there with Cassandra Austen’s of Jane: affection but not execution. Whenever something caught my eye, I found myself thinking that someone else had done it better. A painting of the Etchell siblings with featureless faces, for example: it paled beside Gabriele Münter or Roger Fry and looked slightly inept.
I went with a companion, who got quite irritated with a pair of still lifes. The lack of focus: was it form or colour in the wildflowers? Why did one think of felt-tip pens running out of colour? Why the silly cross-hatching on the vase in the more accomplished lilies?
One answer is that Bell did what she liked. For all her involvement with the Omega Workshops, Bell didn’t have to earn her living by her work, and she had help in bringing up her three children. She also ditched conventional morality. And I think this was the one really great thing about her – she had the chance of freedom and she really went for it. The decorations in their Charleston home, the foregrounding of women’s lives, the collaboration with others, the refusal to be confined by one style or theme, the unconventional way of life – that was what was interesting.
I returned to London and a much more conventional and masculine – even macho – experience. I just had time to get to the Charles Dickens Museum to see the copy of David Copperfield that had gone to Antarctica on the Terra Nova expedition. I had to see it. Edward Wilson, Apsley Cherry-Garrard, Herbert Ponting . . . the fascination I experienced when I first read Wilson’s diaries briefly returned as I looked at the blackened, dog-eared pages. And it was a lovely sky as I walked back through St George’s Gardens: perhaps I can compare this afternoon’s moon with Cassini’s map!
I’m not sure I’ve ever been in the Science Museum before; if I have, I would have been a child. (I’ve definitely been in the Natural History Museum, but not for over 50 years. Maybe it’s time for another visit.)
This exhibition was about science and bling – what you can do if you are an absolute ruler with vast resources at your disposal. Thanks to Jean Plaidy, I already had a general idea of the generation-hopping longevity of the last three Louis – Louis XIV (1643-1715), his great-grandson Louis XV (1715-1774) and his grandson, Louis XVI (1774-1792). They were great promoters of science and technology as well as the arts. Their reigns cover the Enlightenment and the publication of the Encyclopédie (1751-1772), and I came away with the impression that everybody at that time was discussing Newton’s Principia (1687), looking through gilded telescopes (1750) and ticking off what they could see from Cassini’s map of the moon (1679).
I don’t mean to be facetious. With their immense wealth and power, they were like the pharaohs of Egypt; instead of pyramids, Louis XIV constructed Versailles and its far-stretching gardens – all of which required accurate measurements and engineering. How else could you ensure that the two octagonal pools, 1.7km apart, would appear to be the same size to the king when he looked out of his palace window? Entirely frivolous – but knowledge and skill combined with human labour to make it work. Channels were constructed in the Seine to feed the monstrous Marly Machine to take water uphill to the Versailles fountains: ditto. Horology was crucial – not just for timepieces but to calculate latitude and longitude on the long sea voyages that kept the French empire close. Cassini was enticed from Italy to become the director of the Paris Observatory; he spent eight years observing the moon and to produce his map. He and his descendants also produced a map of France, and it was fascinating to see the triangles stretched across the land to ensure its accuracy. Thinking of Cassini, though, reminded me how knowledge is often in flux and needs constant checking: he began his work at a time when the heliocentric theory was still debatable, and, for all his brilliance in his other discoveries, he was the originator of the suggestion that Venus might have a moon.
Botany and zoology flourished at Versailles. Louis XV was presented with an Indian rhinoceros in 1769 – and here it was (stuffed; another victim of the French Revolution). There were fashions for plants, with Madame de Pompadour popularising Turkish hyacinths, but there was also scientific analysis and recording. Surgery was progressing: there was a display of the slender scalpel that Louis XIV’s surgeon developed to treat an anal fistula along with the small device that looked like an instrument of torture to ensure . . . no, really too much information. But it does bring home to you the uncomfortable reality of how advances are made. (The surgeon “practised” on a few dozen unfortunates with the same condition. Presumably most of his later patients at least must have survived for him to have the confidence to go ahead and tackle the king.) There was a life-sized hand-sewn model of a womb and foetus for the training of midwives: it looked like the kind of doll that a mother might sew for her daughter – which, under the circumstances, seemed appropriate.
Yesterday’s visit to the British Museum altered my focus today. I’d intended to see the exhibition on medieval women at the British Library, but now I was bursting to see a separate exhibition of some of the artefacts taken from the Library Cave at Dunhuang. I managed half an hour before a school group arrived and it was utterly fascinating.
How come I’ve never heard of Dunhuang?! But in a way I find my ignorance inspirational: there may be heaps of other wonderful serendipitous discoveries still to come my way.
So: Dunhuang is an oasis town, once a garrison on the edge of the empire controlled by the Han dynasty. It has several Buddhist cave sites around, including the Mogao Caves (first caves dug out around 366 and more over the next thousand years), which look utterly amazing. The only – comparatively puny – comparison I could pull out from my own experience was Mystras or the monasteries of the Meteora.
The Library Cave (cave number 17 of more than 700 caves) was discovered by a Taoist priest, Wang Yuanlu, in 1900. It contained some 50,000 documents of all kinds, both religious and secular, dating between 406 and 1002. Marc Aurel Stein, a Hungarian-British archaeologist (whose life story sounds fascinating), acquired many of them and brought them to Britain. This included – deep breath to take it in – the Diamond Sutra, the oldest complete printed book with a date in the world.
Which I took a photo of.
There were phrase books (crucial at this multi-lingual crossroads), Tibetan sutras copied out by local scribes (which gave an impression of what work was to be had), artists’ designs, letters between merchants and families, woodblock prints, almanacs, etc etc. Unable to understand a word, I focussed on the charm of the pieces: the holes in the much-folded letter from a merchant, the concertina-ing of a bilingual manuscript which could be read horizontally or vertically depending on the language.
The exhibition underlined what I had grasped yesterday: that goods are not the only things to travel along trade routes. Religions, ideas and practices are just as significant.
After this, the exhibition on medieval women in their own words seemed dull and predictable. My only amusement at the time was in discovering that a charm made from weasel testicles was considered a contraceptive. I appreciate the scholarship that goes into all this, but, really, Jane Austen put the words into Anne Elliot’s mouth over 200 years ago:
Men have had every advantage of us in telling their own story. Education has been theirs in so much higher a degree; the pen has been in their hands.
On reflection, that is a very unfair and sweeping judgement, for it did contain some astounding items: a letter dictated by Joan of Arc and signed by her, for example. And the thread of religious mysticism kept me wondering: was Margery Kempe unusually pious, a charlatan, or had she found her own way to escape the bonds of a medieval woman’s life?
My geography failed me completely here. I doubt I could pin Japan on a map, let alone Korea or Uzbekistan. I realised how completely flummoxed I was at having no Eurocentric compass to orient myself at the start of the exhibition as it began with China and dynasties I had never heard of. I encountered lots of new information, which is still sinking in; it may be a while before the dust settles to reveal coherent thoughts.
Λοιπόν. This exhibition at the British Museum focused on trade routes between Asia, Europe and Africa between 500 and 1000 along which silks, spices, luxury and everyday goods, and ideas passed. It began with a bronze figure of the Buddha – made in Pakistan in the late 500s and excavated in Sweden amongst buildings dating from the 800s.
First: the developing links between China (Chang’an), Korea (Unified Silla) and Japan; in the Nara period (700s), rulers in Japan adopted elements of the Tang dynasty and adapted the Chinese writing system for their own language. Buddhism spread eastwards from India at this time to become the dominant religion. Silk was used as currency in China, and it was one of the luxury items in demand along the trade routes.
I found out about Dunhuang, a garrison town, where in 1900 a sealed “library cave” was discovered, containing manuscripts, textiles, paintings and other objects. Empires and peoples I had never heard of were represented by wonderful objects: the Sogdians, for example, and a mural from Samarkand showing a Sogdian ruler and his entourage, or one of an elephant from the Bukhara region.
The Belitung shipwreck was fascinating and mind-boggling. In 1998 a shipwreck was discovered off Belitung Island in Indonesia; a vessel from the early 800s en route from China to perhaps the Arabian peninsula, containing over 60,000 items – mostly Chinese ceramics. (The photographs of crockery on the sea bed reminded me of the Titanic last month.) I could happily find a home for the pretty blue and white dish – which makes clear how the very human pleasure of acquiring attractive objects as well as the essential stuff like salt drove so much global trade.
Ideas, religions, technological knowledge and languages travelled along the routes. There was a concertina of a Buddhist sutra in both Chinese and Sanskrit and a fragment of New Persian text written in Hebrew script; I had to think hard about those. Religions that travelled along the route: not just the dominant Buddhism of this time but also Hinduism, Manichaeism and Zoroastrianism, meeting up with local deities and religious practices, and, later, Islam through conquest.
Such a sense of human activity over so many centuries! Some of it illustrated our worst tendencies: the never-ending desire for more and more luxurious goods and the trading of people as well as commodities.
By the time the silk routes reached the shores of Europe, my sense of wonder diminished: it was all rather familiar. On reflection, I realised how thoroughly and unusually immersed I had been in an exhibition that barely touched on Europe or parts of the world colonised by Europeans. It doesn’t often happen, and it did make me very aware of my ignorance and lack of a compass as I venture into new territory.
After lunch I returned to more familiar territory: a small exhibition of prints and drawings that Max Beckmann had given to Marie-Louise von Motesiczky.
My mistake: I went to the museum hoping to see the copy of David Copperfield that accompanied Scott and his men on the Terra Nova expedition, but that’s not until February.
No matter: I was able to photograph some of the coal hole covers I’d noticed before in Doughty Street.
The museum was quite interesting. Dickens and his wife lived there from 1837-39; they arrived with one child and left with three. It’s an early-Victorian middle-class house with a few items of furniture that came from Dickens’s final home in Gads Hill. I confess that what really grabbed me was a portrait of Catherine Dickens with an overmantel in her lap. In a display case below her was an overmantel that she embroidered some years later – which sent me back to Tirzah Garwood and her endless creations. The difference was that Garwood made her own designs and sold her work, but the image of two women across a century with hands forever at work remained with me.
Catherine Dickens (1815–1879) by Daniel Maclise, 1847, oil on canvas
To Dulwich Picture Gallery for a delightful exhibition. Everything made me smile, despite the sadness of Garwood’s early death. Basic facts: her dates are 1908-51; she was married to Eric Ravilious, had three children and was widowed in 1942; she was treated for breast cancer in 1942, which later recurred and killed her shortly after her second marriage.
I liked everything: the early woodcuts, the marbled papers she made and sold to publishers and upmarket shops, the embroideries (reminiscent of Marian Stoll), the Camberwick Green shops and houses, and the later Max-Ernst-meets-Douanier-Rousseau oils. There were also some works by Ravilious – including a large watercolour of chalk land which, ironically, would have been my steal from the exhibition – which brought out Garwood’s focus on people and the traditional female spheres of home, children and neighbourhood. She made things for people – a quilt for a friend, items for sale, illustrations in letters – and, from her work, I came away with a very positive impression of the woman: generous, fun, kind, endlessly creative. In contrast, I have no particular sense of the personality of Ravilious (or Gerrit Dou or Rembrandt or any other of the male artists in the gallery). That says something about the curating of the exhibition – and rather more about making art when you are also tied to your roles of a wife, mother and housewife.
(Yes, I do realise that on the plus side the confines of her life meant that she didn’t have the freedom to become a war artist and to die on a mission over Iceland.)
Old Shoe Box 