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Rigg's Cabinet of Curiosities

curated by Thornton Rigg

Month

January 2018

A Christmas Carol : RSC

… sparkling classic woven with biographical context …

rsc christmas scrooge

What another version of Christmas Carol!? Yes, I thought that too. Except David Edgar‘s adaptation playfully weaves Dickens’ personal story and his drive for social reform between the familiar scenes. This adds a thoughtful depth and texture to this feelgood Christmas musical.

As the Evening Standard‘s reviewer wrote : ‘David Edgar’s politically charged new version, feels both plausibly Victorian and sharply relevant.’

With an excellent performance from Phil Davis as Ebenezer Scrooge and some great supporting actors including as John Hodgkinson as a most generous Mr Fezziwig and Brigid Zengeni as the bountiful Christmas Present, the production is a great success.

christmas fezziwig theatre

For more information, visit the theatre’s website here.

 

 

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Berthe Morisot : Édouard Manet

… sassy, confident and alive …

berthe_morisot_by_manet

How I love this portrait of Berthe Morisot! She looks sassy, confident and alive. It was painted by her friend, colleague and perhaps lover, Edouard Manet, in 1873 when she was 32 years old.

In 1868, the year they met, Edouard was eight years old than the 27 year old Berthe and he was already married. He joked in a letter to Fantin-Latour: “The young Morisot girls are charming. It’s annoying that they are not men…they could serve the cause of painting by each marrying a member of the French Academy & sowing discord in the camp of those dotards, though that would be asking for considerable self-sacrifice.”” * She married his brother, Eugene, in 1874 .

Berthe Morisot (January 14, 1841 – March 2, 1895) was a leading pioneer of Impressionism though her work and her influence lacks the attention of her peers because of the social context of her time and also the prejudices of later art criticism. She chose to use her maiden name and exhibited regularly alongside her more famous colleagues.  In 1890, Berthe Morisot confided in a notebook: “I don’t think there has ever been a man who treated a woman as an equal, and that’s all I would have asked, for I know I’m worth as much as they.” **

morisotphoto

In fact her story is so intriguing, Berthe has taken over this post – which I thought was going to be about the painter, Manet. (Photo, c. 1870)

Portrait of Berthe Morisot1882, (Marmottan Monet museum) by Édouard Manet (23 January 1832 – 30 April 1883)

There is a very interesting and detailed blog about Berthe and her relationship with Manet at Julie Schauer’s Artventures.

The Marmottan Monet museum’s website is http://www.marmottan.fr/

* Jeffrey Meyers: The Impresionist Quartet: The Intimate genius of Manet and Morisot, Degas and Cassat.

** Review by: Therese Dolan in Woman’s Art Journal, Vol. 15, No. 2 (Autumn, 1994 – Winter, 1995), pp. 40-43 – Perspectives on Morisot by Teri J. Edelstein; Berthe Morisot by Anne Higonnet; Berthe Morisot’s Images of Women by Anne Higonnet.

 

 

Quince, cabbage, melon & cucumber: Juan Sanchez Cotan

… intriguing still life … 

still life bodegón melon quince cucumber

Quince, Cabbage, Melon and Cucumber, 1602, (San Diego Museum of Art) by Juan Sánchez Cotán (June 25, 1560 – September 8, 1627) was a Spanish painter, now famous for being a pioneer of a Spanish form of still life painting which is also called bodegón.

The Spanish term bodega is a pretty movable term and can mean pantry, grocery, or cellar. In Spanish art, a bodegón is a still life of food often arranged on a simple stone slab or sometimes in a kitchen. The quince and cabbage here show how food was often suspended to prolong its freshness rather than, as I first wondered, some sort of curious presentation technique. The simple images in Cotan’s work are often contrasted with the more opulent Northern European paintings of silverware and fresh flowers.

Soon after this was painted Cotán entered a Carthusian monastery and many historians have linked this spare representation to his later monastic and vegetarian life. However he painted bodegónes with dead animals including this one which is exactly the same arrangement with added dead birds: Still Life with Game Fowl, 1600/03, (the Art Institute of Chicago). Admittedly, the crowded alcove is not such a pleasing image.

spanish baroque still life

Talking about the first painting, Norman Bryson writes: “Absent from Cotán’s work is any conception of nourishment …”*  I agree that the clear light and the precise almost hyper realism of the food makes it less an appetising food stuff and more, perhaps to Cotán’s eyes, a wonder of God’s creation to be scientifically examined and recorded

Bryson also suggests: “What replaces their interest as sustenance is their interest as mathematical form.”* This seemed rather far fetched to me until, on rooting around a little, I found that the gradual curve has been compared to Archimedes’ hyperbola, suggesting that this painting could perhaps be understood as a geometric meditation for an educated class. Archimedes was first translated and published by the Italian Federico Commandino in 1565. This was followed by Luca Valerio’s De Centro Gravitatis in 1604 confirming a strong contemporary interest in spherical bodies that might be related to Cotán’s still-life experiments.**

Musing on spherical mathematics certainly isn’t my idea of fun, however it did remind me of another image, an intriguing miniature painted at the slightly earlier date of c1590-5 by Nicholas Hilliard of Henry Percy, 9th Earl of Northumberland, (Rijksmuseum Amsterdam).

Henry_percy_hi

Nicknamed “The Wizard Earl” because of his interest in scientific experiments and his library, here Northumberland is seen in a garden with a serious book at his side and a mathematical puzzle of a sphere and feather behind him. So perhaps fancy maths was a thing at the turn of C17th?

* Bryson, Norman (2012). Looking at the Overlooked: Four Essays on Still Life Painting. London: Reaktion Books.

** Taken from Juan Sanchez de Cotán, Quince, Melon and Cucumber. Essay by Dr. Sally Hickson.

 

Norman Nicholson : “unique & unjustly overlooked Cumbrian”

… a peck of poems …

lake district Lakes poetry

When the BBC marked the 100th anniversary of Norman Nicholson‘s birth in January 2014 with a radio programme,  their press release described him as “the unique and unjustly overlooked Cumbrian” and I guess the short radio documentary may have helped to raise his profile a little – though calling the programme “Provincial Pleasures” was, I feel, damning the man with faint praise.

Norman was championed by TS Eliot, Ted Hughes and Seamus Heaney though he remains little known because he chose to stay in the little town of Millom, Cumbria, on the western edges of the Lake District rather than move south to London.

Norman wrote a lovely meditative poem about his craft and about his middle name (which was also his mother’s maiden name) “Cornthwaite”. It comes from the Olde English “cweorn” meaning corn, and the Norse Viking “tveit” meaning a meadow or clearing.

“… I lop, / Chop and bill-hook at thickets and rankness of speech, / Straining to let light in, make space for a word, / To hack out once again my inherited thwaite / And sow my peck of poems, not much of a crop.”*

Norman Cornthwaite Nicholson, 8 January 1914 – 30 May 1987.

To learn more about him, you can visit the Norman Nicholson Society‘s website. The link is here.

*This poem was first published in his collection, Sea to the West,  Faber & Faber, 1981 and can be found in Collected Poems, Faber & Faber, 1994, pp.354 © The Trustees of the Estate of Norman Nicholson, by permission of David Higham Associates Limited

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