Three Centuries of British Art, Tate Britain

Location: Tate Britain, London

For the second visit to the Tate Britain, the emphasis here is on a single room of a gallery. The main entrance room to the Harry and Carol Djanogly Gallery, though unlike the National Gallery, the paintings within this room are of a range of periods.

The room is a large, rectangular gallery, with a high arched ceiling in white, covered in plaster decorations, especially the round flower shapes within square frames. The walls are of a dark grey, which comes as not dull in any regard, but focuses the visitor on the paintings themselves.

The paintings cover a range of centuries of British art, from the late 1500's Elizabethan art, to the late 1800's. The room covers three centuries of art, with some excellent examples of style and the impression of the dress at the times.

Moving to the art itself.

The starting at one of the room, and working his way round, the author made note of some paintings on the basis of how much they had caught his eye.

First was called Portrait of the artist's wife by William Dobson in 1635-40. Eye catching for an entrance, the artist had captured so much detail about his wife, and how she looked through his eyes. She does show as a beautiful woman in it.

Next, An Allebgory of Man by the British school of the 16^th century painted this in 1596. A religiously centered piece, it is regarded as a painting of excellent detail, and content, with a prayer on the bottom.

The Portrait of Mary Kytson done in 1590 by the British school again, was chosen as one very good painting of thje style of dress worn by high society.

The Portrait of Sir William Killigrew, was done in 1638 by Anthony van Dyck. Van Dyck's style was noticeably different from the others here, as he had a much softer way of painting, and an eye for setting up interesting features in his backgrounds, such as that of the trees on the side in this painting.

Next is the accurate rendition of Queen Elizabeth I, painted over 1572-5 and attributed to the work of Nicholas Hilliard. This piece is one of the very famous pieces depicting this queen, and this one in particularly was not just exquisite for the details of Elizabeth's features, but also how extravagant Elizabethan dress can truly be.

Moving on, The Dance by William Hogarth, done in 1745, was less detailed compared to many of the neighbouring paintings, but it was a highly dynamic scene of a party, with people socialising and walking around. What was also very noticeable is that it gave an overview of the styles of attire worn in high society parties during the 18^th century.

The Portrait of an Unknown Woman by Peter Lely, from 1670-5, was eye-catching on a cruder scale. It showed a beautiful woman staring at the painter, with one bare breast, and an almost inviting expression on her face.

Halfway along, the next piece worth looking at was the Pomeranian bitch and puppy by Thomas Gainsborough in 1777. It makes for a return to the Romantics the author covered at the beginning of this, and is noticeable for the focus on the dogs, with excellent detail, even down to emotive expressions. The background is less detailed, of a more flowing quality.

Next, the Lady Bate-Dudley done in 1787 by Thomas Gainsborough again, remarkable here for the exquisite and elaborate dress worn by the Lady, of white and blue, which contrasts greatly against the dark background.

Moving further, the next is a selection of paintings called Past and Present, a series of three paintings Augustus Leopold Egg in 1858. All three paintings are dark and feature scenes of melancholy and sadness in various forms.

The Lady of Shalott by John William Waterhouse in 1888, is a particularly well known painting, though considered against much of the rest of the collection, it is not that good. What is worth remarking is the expression captured of the Lady in the painting.

Here, two paintings by John Everett Millais, Ophelia (1851-2) and The Boyhood of Raleigh (1870). While in no particular way, these two pictures contrast against each other in colour, the former in green, the latter in a sand and blue colour, but what they both share are exquisitely captured central scenes, with the expressions captured, Ophelia's despair, and Raleigh's childlike curiosity.

While continuing with the next painting, the Monna Vanna, done in 1866 by Dante Gabriel Rossetti. While there has been a growing expression of passion throughout the paintings so far, in this, Rossetti shows great passion in his painting to the point it shows through, even if the painting itself does not contain anything much beyond that of a beautiful woman.

Next, introducing one by William Holman Hunt, the Awakening Conscience from 1853, strikes out as another interesting, and eye catching painting. Though the expressions are captured brilliantly in this, what was particularly noticed was certain details noticed, such as the scene reflected in the mirror.

Ellen Terry as Lady Macbeth, by John Singer Sargeant in 1889, is a large, flowing painting, but shows a great scene of an actress, with her long red hair down the front of her blue and green costume.

Marianna done in 1851 by Millais, another great example of the level of detail put in to the painting.

Now for the last stretch, starting with The Derby Day by William Powell Frith, 1856-8, is a very busy scene now the races, showing a panorama filled with punters. Excellently detailed, and a large painting.

The Rome: St. Peters and the Vatican by Richard Wilson in 1753. This is a spendid and calming scene of room at this time, from a distance. There it shows the Vatican in the distance, surrounded by the hills of Rome, in summery colours.

Last is Colonel Acland and Lord Sydney: The Archers from 1769. This piece by Joshua Reynolds is a very well-centered and dynamic painting, showing a composition the central two characters on a hunting mission. The colours are well used, with darker ones for the background to contrast the pale central figures.

This was very good room for spending a good deal of quality time in exploring a vast range of British art. Covering three centuries in a gallery containing some of the very best of British art, it contains a few famous masterpieces, and is also a very good glimpse in to painting styles and the clothes worn by people throughout this time. Following the list route here was necessary to present a careful selection of some of these paintings. However it is by no means comprehensive, and there is always so much more on offer from the Tate Britain.

Images courtesy of Travel Guide London, and the Tate Britain

London pubs: The Salisbury pub

Location: The Salisbury, London

Located deep in the heart of London, this gem of a public house is located near to Leicester Square station, in the center of London's entertainment and tourist area, a constantly bustling quarter of the city, giving it that high, charged atmosphere, highlighted by the brightly lit and neon signs for the wide variety of shops and theaters.

The pub itself is of a trend of public houses maintaining the vintage and antique designs of early pub heritage, one of the most iconic and distinctive characters that London and the UK as a whole is known around the world for.

The pub has a dark exterior, with the trademark sign hanging outside, and large patterned windows around it. There are a couple of entryways, both maintaining the exterior style, and equally giving an impression of the venue interior.

Entering through one of these, one is met with a vision of vintage style, with a large curved bar in the middle of dark wood displaying a range of beers on tap lining the inner edges. Behind the bar is the spectacular shelving of a very dark wooden frame, elaborately decorated, with curved arches framing mirrors of more etched patterned glass. On the shelves, the pub displays many of its other wares, bottles of wines, and spirits of a wide variety of well known names.

The rest of the bar is no less appreciable, with seating lining the walls, several booths of semi-circular cushioned sofas in a dark red colour tastefully lit up highly ornamental orange lighting, emphasising the dark, warm atmosphere of browns, reds, patterns and brass metal coat hangings. The windows at the entrance side, which during the day, daylight infuses the area with a gentle white ambiance, making it an ideal reading area.

Apart from the main bar area, leading through to the dining room. This medium sized room accommodates several dining tables of varying sizes, lined with chairs and green coloured cushioned benches against the walls. The walls themselves follow the style of the rest of the pub, with carved dark wood frames and patterned mirrors to reflect the light around evenly.

Even the stairway to the toilets is worth it for what greets the visitor. The walls all the way down are lined with countless overlapping posters for the various plays and acts that have graced the West-end theaters of London, going way back to times long past up to the current stage performances.

From opening, the pub sees a steady stream of customers coming in, starting with regulars, and building up to groups of both regulars and visitors, which by lunch time ensures an atmosphere of a bustling social centre, before quietening down mid-afternoon for solo drinkers and couples having late lunches. Music plays throughout the day, a variety of classic rock hits and the occasional pop tune.

Overall an excellent place to come for a drink, either on one's own, or as a group, the range of beers are generally of a good quality, from the well known lager brands, to Belgian beers, and a choice selection of both popular and guest ales. If alcohol is not an option, there is always the coffee available, as well as a range of soft drinks and fruit juices.
For those who long for a special sense of style and history, there is also an image of Marianne Faithfull reclining on one of the side sofas, as also given below.

Images courtesy of pubs.com, the BBC, and Time.

Impressionism & Post-Impressionism, National Gallery

Location: National Gallery, London

On this visit to the National Gallery, the main focus was to tour a collection of rooms that were briefly looked at on the previous visit. Now for a review of the National Gallery's collection of Impressionist and Post-Impressionist paintings.

Of the rooms concerned, they have a simple décor, with plain brown-grey painted walls, plain white ceilings with some nicely crafted decorations and some windows to give air and light. As for lighting in general, there are plenty of spot-lights dotted around, giving plenty of light to see details. All this amounts to rooms with a complete focus on the exhibits only.

The Harry and Carol Djanogly room.

This room opens out, in the middle of this series of four, with nothing short of the 'Bathers at Asniéres' surrounding by a small portfolio of smaller pieces by Georges Seurat, including his studies for the Bathers. All of these show off his calm use of colour, and particular dotted style of painting that composes the scene. The centre-piece itself gives off a particularly tranquil feeling, depicting a scene of calmness in all the people shown.

While Seurat was certainly the centre of attention here, the room has quite a number of other paintings on display of other famous painters of the period, starting with none less than Renoir, and a flurry of vivid and colourful paintings. 'Nymph by a stream' was an eye-catching example for both its use of contrasting colour, the dark green background to the pale nude model in the centre, and classical mythological aspect, followed by the wide range of soft colours in 'Dancing girl with tambourine', and 'Misia Sert', the former gives a dynamic feel of movement, while the latter shows a still model with a relaxed look.

Last notable artist in the room was Pissarro, with a selection of landscape scenes, with the exception of his 'Portait of Cézanne'. There were a few paintings of cottages and country landscapes in both France and England, one example being 'Fox hill, Upper Norwood', there was also the 'Boulevard MontMartre at night', though it lacked its day time counterpart here.

Monet, Manet, and Impressionism

The second room of this tour takes one through another selection of the famous, though by reading the introduction, one gets the impression that these artists were seen as infamous within artistic circles. After that, one then should gain a considerable appreciation of the efforts these artists expended in embarking on an artistic style that alienated them from the mainstream.

Monet was the first one on this tour, with his use of bright colours, and quick brush strokes. There were quite a number of excellent scenes, but a few really do catch the eye, such as the sombre coloured 'Thames below Westminster', the winterscape titled 'Snow scene at Argenteuil', and 'The Grand Canal, Venice'. There was also a selection of vivid garden scenes, comprising of the famous 'Water Lily pond' next to the smaller 'Water Lilies, setting sun'.

Now if one goes across the room, or will be just made aware of the rest of Monet's paintings in this room, more landscape scenes such as the sunny 'La Pointe de la Hève, St. Addresse', dark and smoky 'Gare St. Lazare', and the almost fluidly painted scene 'Bathers at La Grenouilliere'.

Moving on, there are the more subtle colours of Sisley in 'The watering place at Marley-Le-Roi', 'The small meadows in Spring' and 'The Seine at Port-Marley'. All excellent examples of another major Impressionist, despite not necessarily the first to spring to mind.

Manet's collection here was small by comparison to Monet's, and yet he still has some truly stand-out pieces for the visitor. There is 'Eva Gonzalès', 'Corner of a café-concert', not to mention the opposing centre piece to Monet's 'Water Lily pond', the reassembled 'Execution of Maximillian'. What marks out Manet distinctly then was his was of capturing people and their expressions in Impressionist style.

Van Gogh and Cézanne

Third on this visit, which if the visitor follows the route from the previous two rooms, would be greeted by the Post-Impressionist painting 'Surprised' by Rousseau. It is a fine piece however, lending expression to the stalking Tiger in the foreground, and a florid jungle scene around it. The painting style is very different too, with long, careful, deliberate strokes, and earthy colours.

This leads nicely on to Cézanne's paintings, which seem to incorporate a range of rich colouring, with long firm brush strokes, rendering his paintings the feeling of deliberation. His paintings are of a more balanced range, with the life pictures like the 'Bathers', displaying symmetry and blending of man and nature, the bright and calm 'Hillside in Provence' showing an idyllic Mediterranean scene, and other notable paintings, 'Avenue at Chantilly' and 'Landscape with Poplars', both of these are very green examples, the latter makes for a wonderful scene from Provence.

After Cézanne, Gauguin, with his earthy colours, and deliberate painting style. This room had a few of his, one particularly interesting example is 'Faa Iheihe', with it's imagery of Tahitian women and men. The other two interesting pieces of note here is 'Still life with mangoes', a plethora of exoticism, arrayed out in the form of mangoes, as it would have appeared back 1896 when the painting was finished, and 'A vase of flowers', which unlike many previous examples is not likedr any interest in the character of the subject, but purely in the details of the flowers and the colours used in their composition.

Last, but not least, Van Gogh with his rich, bright colours, and quick brush strokes, known over the entire world, and at the centre of his display, the iconic 'Sunflowers'. Admittedly still life is not particularly endeared to the author, however it is difficult not to appreciate the style of this piece, and the colours used. Surrounding this, other pieces worthy of mentioning would be the richly detailed 'Two crabs', and 'A wheatfield with Cypresses' with its impressive view.

Degas and Art around 1900

The last room on this tour centres on Degas, with an array of scenes, many with models in them, including all the eye-catching examples of note, 'After bath, woman drying herself' as the subtle use of nudity gives it its eye-catching quality, to the feat of strength captured in 'Miss La La at the Cirque Fernando'. However the very best were the dynamic paintings that feel like they had captured their movements as in photographs, 'Russian Dancers', 'Three Dancers in violet tutus', and 'Ballet Dancers'.

Apart from Degas, there was a range of paintings, one or two per artist scattered around the room, giving views of the time, as seen through their eyes, but there was the large and beautifully rendered 'Terrace at Vasouy'. Originally painted as one in 1901, and later split in to two halves, 'The Garden' and 'The Lunch', with extra people and details added to complement each singular half, in 1935.

This concludes the tour of Impressionism and Post-Impressionism as on display in the National Gallery. It was a fairly length one at that, comprising of four rooms in the gallery, each one containing dozens of fantastic paintings and some documentation of their times. As part of the permanent collection, there is no particular rush to see them, but in one's lifetime is as good a time as any.

Images here are courtesy of the National Gallery.

London in the snow

Location: Arsenal, Highbury, Islington, London Bridge, Tower Bridge, London

Warning: This post contains judicious image usage and dry humour.

This is an event that occurs fleetingly at any point during the year. Large quantities of settled snow like this are unexpected to say the least, and only up to a week in advance can forecasters predict it with even moderate accuracy.
Usually remarked as a time of intense cold, slippery pavements and infrastructure issues, the tone of this is to bring out the reason against staying inside in comfort. It is something that should be embraced for its sudden appearance, and disappearance soon afterwards, as something that brings joy to children, even childish adults, for fun games, and spectacular views.

In this case, here is a gallery of photographs taken on a trip from North to Central London.

	One of the many snow-covered streets in Arsenal.
	One view of the Unity church in Highbury
	Islington green, not so green.
	View of the incomplete Shard tower at London Bridge. Currently the top is obscured by the low cloud.
	The North-west side of the Tower of London.
	Far off view of Tower Bridge along the side of the Tower of London.
	View of one of the docks in St. Katharine's Docks
	Some of the larger boats in the St. Katharine's Docks
	A large yacht.
	View over another dock.
	A more side-view of Tower Bridge.
	A view down Tooley street. In many of the busier streets like this, there was hardly any snow left by Noon.
	A peek out from the South bank, across the Thames. The footpath along the Thames was very snow-covered.
	Looking back at Tower Bridge from the same bank as the previous image.
	While hardly snow-strewn, the Hay's Galleria always makes itself presentable for the budding photographer in London.
	Statue supposedly of Julius Caesar. This is found right by the Tower Hill tube station.

All these pictures were taken on a mobile phone camera.

London pubs: Dicken's Inn

Location: Dicken's Inn, St. Katharine's Docks, London

From the outside, this large venue stands out with a distinctive style from times not so long past. It has a history nestled in the heigh days of the Thames as a major trade route, having once been a warehouse further up the river. According to the main website, in the 1820's the building had a brick exterior built up around it, which hid the remarkable timber frame until the 1970's. During this time the building was carefully deconstructed and the timber frame was moved to its current site, where it was reconstructed to the public house that it is today. An array of framed photographs of this event hang just within the entrance, with a plaque below to commemorate its reopening in 1976.

The front of the building gives of a very welcoming vibe, standing out from many other places for the effort put in building up this appearance. Behind a small beer garden to the groundfloor terrace, the railing lined with flowerboxes which are full of bright flowers in Summer.

Above it, one can see two more floors of terraces, all spreading out across the entire front, and one can almost imagine how appropriate an image this gives of a busy drinking house in warmer evenings, with the clientele standing, leaning, all having a pleasant evening. However in Winter, the outside is much quiter and more subdued for the lack of bright colours, but hardly seems diminished in its impression to the potential visitor.

Inside, on the groundfloor, the place is fairly dimly lit, and invitingly warm despite the outside cold. The bar is immediately in front, and stretches out for a considerable length, with a brassy top, and shelving across the bricked walls, which are lit up to display their wares. The beers here are more of the standard variety of London lagers and ales, but do offer the casual drinker a wide choice to choose from.
The next noticeable aspect of this floor is the impression of a low ceiling, which is more illusory, from the large beams running over the darkwood floor for the entire length of the building, with plenty of seating available, high stools and tables in the middle, more cushioned armchairs and sofas with low tables at one end, eventually dining chairs and tables at the other end, all mark out the main bar area of the venue. There are a few television screens around showing sport, and music plays at a comprise between being a presence and background noise, never giving out an impression of quiet solitude. Timber columns here show the thickness and quality of wood used for the old frame, and run intermittently along the building, going up through every floor to the roof.

Last detail worthy of note here is written on some of the beams, a selection of quotes, mostly drink related, and from a variety of sources, with an example below:

“Did you ever taste beer?” “I had a sip of it once” said the small servant. “Here's a state of things,” cried Mr Swivvler, “she never tasted it – It can't be tasted in a sip.”
from the Old Curiosity Shop.

The first and second floors are the main dining areas of the pub, each displaying the style of food they serve and as such giving off distinct impressions to relate to the diner.
The first floor is the pizzeria, with lighter coloured furniture and décor, to bring out a lighter vibe to go with the pizzas they serve. The second floor is the grill, with dark wood furniture, and the smell of grilled meat in the air. This floor also has a feeling of greater space, with the roof stretching out high over the top, white panelling between the numerous beams, smaller beams between the larger ones, giving an almost barn-like appearance, revealing the upper structure of this historic place.
Again, with both floors, they shared another feature with the open front kitchens, showing the food being prepared and served in full view of the waiting customers and new customers waiting to be seated.

This concludes a review of the Dicken's Inn. A remarkable place to go for a drink, with a warm atmosphere, and with plenty of space to relax in. It is recommended for anyone who wishes to go, including solo drinkers, but it stands out for groups of people, and parties. The location itself is excellent, having the surrounding docks with a plethora of boats of the rich and famous, lines of shops and some restaurants dotted around in tasteful brick buildings, and not least, the docks' proximity to Tower Bridge and the Tower of London.

Pictures from the author and the Dicken's Inn website.