Archive for the ‘Art’ Category

New tatties and Van Gogh in Arles

September 10, 2019

Last year’s dry summer in Dunbar meant that the potato crop in the small plot in my garden only produced tatties the size of golf balls. They had the requisite thin skins and were tasty, but we soon got through them. This year, the rains came – often fortunately at night – and this, combined with some warm weather has meant a bumper crop. The photo below shows the potatoes which have just been dug out of the ground with the fork. This was from two of the smaller shaws at the front of the plot. They tasted delicious and I enjoyed eating the first, gently boiled potato with some butter. I’m sure that there is some psychological effect of tasting a vegetable that you have planted in the Spring, watched as the shaws developed and the flowers came and went, and then saw the slight yellowing of the shaws, and then dug them up to eat an hour or two later. They are still tasting as good as on that first day. Add some creme fraiche to the chunks of potato on your plate to enhance the flavour.

Newly dug potatoes in my garden (Click on all photos to enlarge – recommended)

This being my blog, regular readers will know that I cannot mention digging without referring to Seamus Heaney’s wonderful poem about watching his father in the garden. This is one of Heaney’s best known poems but it is always rewarding to read it or hear Heaney himself reading it, as in the video below. The poet hears ” a clean rasping sound/ When the spade sinks into gravelly ground” and he remembers his father digging potatoes twenty years before. The father knows how to dig properly i.e. ” The coarse boot nestled on the lug, the shaft/ Against the inside knee was levered firmly”. Every year when I dig up the new tatties, I remember Heaney’s line “Loving their cool hardness in our hands” as I pick up the still dirt stained, solid potatoes. It is a joyful moment.

Back to France. Arles is rightly famous for its Roman heritage (last week’s blog) but it is also known for its Van Gogh connection. The first venue was the Espace Van Gogh in the centre of town. This is the site of what was Arles’ main hospital and it was here that the demented painter came when he cut off his earlobe in a depressive state. The photo below is of the well manicured gardens and you can still see part of the cloistered walkway which was part of the hospital. Despite it being a scene of horror for Van Gogh, this is a very tranquil area today. The artist painted the gardens (see below) and there has been an attempt to recreate what he saw during his time at the hospital.

Espace Van Gogh in Arles
Le Jardin de L’Hotel de Dieu by Vincent Van Gogh

Our next stop was the Vincent Van Gogh Foundation (good photos) in Arles. This is a modern building housing extensive exhibition space, plus workrooms and a library. We saw the exhibition of Niko Pirosmani (good photos) paintings, which were impressive. There was also a smaller – but still fascinating – exhibition of some of Van Gogh’s own work. The highlight was his different versions of The Sower or Le Semeur in French. The photo below shows the version entitled The Sower 1888. What is interesting about this painting is that while the fields below the sower are depicted in impressionist styles, the tree, the sun and Le Semeur himself are quite clearly shown, and this was deliberate on Van Gogh’s part. It is a stunning painting to look at – so much colour and light and detail in the figure, the tree and the sky. You need some time to study this work of art and take in all its different components to really appreciate it. Every time you come back to the painting, something different catches your eye.

Van Gogh’s The Sower

The next photo shows a close-up of part of the painting and if you enlarge this, you will see the swirling lines in the sower’s coat and hat, as well as the range of colours in the field being sown. I thought that this gave me a fuller sense of the construction of the painting and its constituent parts. It’s a real privilege to see these paintings as actual works by Van Gogh and looking at them again, I’m still in awe of his talent.

Close up of part of Van Gogh’s Le Semeur

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Kittie Jones and Jane Smith exhibition: Gannets, Kittiwakes, Dunlin and Fieldfares

May 21, 2019

The current exhibition at SOC in Aberlady which ends on 22 May, so unfortunately not much time left to see it, features 2 artists well worth seeking out in future exhibitions around the country. The prints below were donated to SOC by the artists and permission for their use here was given via SOC’s exhibition coordinator. According to the SOC handout, Kittie Jones is ” a painter and printmaker, producing small edition screen prints, unique multi-layered monotypes, charcoal and ink drawings and mixed media paintings on paper”. The first example of Kittie Jones’ work is entitled Gannet colony Bass Rock and is a depiction of the impressive gannets both close up and circling round the volcanic mass that forms the Bass Rock (good photos). What is interesting about this work is the way in which the gannets are outlined in some detail but we see them not as we usually do, with elegantly smooth white feathers and bright silvery beak, but as a series of interconnecting lines. The birds on view at the front of the picture are almost transparent. In a reflection on this work (scroll down to Kittie Jones), the artist writes ” Out of my scribbled, silvery lines began to emerge the soft ovular heads and heavy geometric bodies of these enigmatic sea-geese”. It is a stunning portrayal of the two birds, deep in concentration.

Kittie Jones’ gannets on the Bass Rock

The second example shows nesting kittiwakes just along the road from us at Dunbar harbour. Again, this is not a fully naturalistic portrayal of the birds, although their shape and the patterns on their plumage are expertly outlined. The background of the untidy nests, the white guano on the rocks and the jagged rocks themselves are eye-catching, with artist’s use of a graphite pencil as well as other tools. You also get a sense of the vertiginous cliffs upon which the kittiwakes nest. Unfortunately, the kittiwake population in Dunbar and other places is in decline. You can see some of my photos of the kittiwakes in this previous blog post.

Kittiwakes by Kittie Jones

The second artist featured is Jane Smith and the handout tells us that she “started her career as a wildlife film maker for the BBC Natural History Unit and National Geographic, winning an Emmy for her work”. Jane Smith’s work is different from that of Kittie Jones but the two artists do complement each other in the exhibition. The first example of Smith’s work is a brightly coloured depiction of dunlin, and they are small wading birds which we used to see in some numbers along the shore at Dunbar, but are very seldom spotted these days. Dunlin have the attractive sounding scientific name of calidris aplina and Jane Smith’s print is also joyful, with a display by a male bird, trying to entice a female into courtship. You can see a live depiction of the display here. This print is a series of patches of colour – on the birds and on the flowers in the background. I like the sharpness of the lines and shapes in the birds’ beaks, tail feathers and legs. It is an imagined, almost cartoonish depiction of the birds, so there is a slightly surreal quality to the print. It certainly is very impressive when seen in full size at the exhibition.

Displaying dunlin by Jane Smith

The second example of Janes Smith’s work below shows fieldfares , which have the unfortunate scientific name of turdus pilaris, feeding on berries. This print attracts you immediately because of the contrast in the colours – the bright red berries, the delicate blue of the birds’ head and the sharp black of the birds’ markings and the tree branches. It is also a very active print, with the top bird hanging on to the branch while clutching the red berry in its mouth, and the bird at the bottom flying off with its food. Again, this is not a literal depiction of the fieldfares but the artist’s impression of the birds. It is no less effective for that and this is a print which bears looking at closely to see, for example, the determined look of the birds for whom feeding is a serious business.

Fieldfares by Jane Smith

The next exhibition at SOC – Over land and sea features both artists and sculptors i.e. artists Tim Wootton, Darren Rees and Daniel Cole, and a sculptor, Simon Griffiths. It will be well worth visiting if you are in the area from 26 May to 3 July 2019.

Rembrandt TV series: group and self-portraits

May 6, 2019

I’ve been watching a fascinating series on BBC4 (unfortunately probably not available outside the UK) about the painter Rembrandt, featuring not only his work but his life. While the artist earned sizeable fees for his many paintings, but especially the portraits of wealthy individuals or groups and from fees made by his pupils, Rembrandt was not financially astute. He bought a large house in 1639, which came with a sizeable mortgage and Rembrandt could not keep this up and was declared bankrupt in 1656. He also spent money which he did not have at auctions. There is an excellent overview of the artist provided by the Het Rembrandthuis museum.

The best part of the programmes is about Rembrandt’s many paintings and self-portraits. One of the artist’s specialities was group paintings and the first painting below is The Sampling Officials of the Amsterdam Drapers’ Guild and is also known as The Syndics. What Rembrandt did, unlike many other artists of his time, was to present the officials as individuals with different facial expressions. There appears to be a discussion going on between the men, with a servant observing from behind, as the man third from the left holds his hand in a way which might suggest him saying “What about these figures in the book” or “Do you not see what these figures imply”? We do not know and neither do we know what the men might be looking at. Is Rembrandt painting the figures to look at us, the viewers or have they seen someone approaching? It is a fascinating work of art and like all great works, the more you look at it, the more you see.

The Syndics by Rembrandt van Rijn 1662 (Click on all photos to enlarge)

Rembrandt’s most famous group painting and one which is studied in detail in one of the programmes is The Nightwatch, and this large group portrait is one of the most famous Dutch paintings. The painting shown below, like the one above , is downloaded with permission from the Rijksmuseum in Amsterdam. It is a stunning and detailed work of art, with a host of characters, mainly of militia men who were to protect the city from outsiders. The focus is on the captain who is giving orders to his lieutenant to his left, to lead the militia men out. This is a very active painting, with people talking and gesturing, a man preparing his rifle, a drummer on the right and a girl in a dress with a chicken hanging from the dress’ belt. Some of the detail is symbolic, like the chicken, and Rembrandt was commissioned to paint a group of men. some of whom were very wealthy. What distinguishes this work from other contemporary group portraits is the variety of characters and expressions which the artist captures, as well as the detail shown in the clothing worn by the militia men. The title of the painting was changed to Nightwatch at a later date and it is inaccurate as Rembrandt use of a dark interior was misinterpreted.

The Nightwatch by Rembrandt van Rijn 1642

Throughout his painting career, Rembrandt completed a series of self-portraits, so we have a record of what he looked like or certainly a record of his interpretation of what he looked like. The first portrait below is an etching and shows a wide-eyed and open-mouthed young man who looks surprised or maybe frightened. Rembrandt did these drawings in front of a mirror and it was part of his learning to be a portrait painter. The unruly hair fits the expression on the face and one of Rembrandt’s great skill as an artist in many paintings, including those above, was to depict a range of human emotions.

Self portrait in a cap by Rembrandt van Rijn 1630

A later example – seen below – shows the artist at the age of 63 and was downloaded with permission of the National Gallery. This was one of Rembrandt’s last paintings and shows him in a stoical mood, perhaps accepting what his life has brought him. There was no attempt by Rembrandt to enhance his looks and this makes the portrayal of the artist as more likely to be true to life. The broad forehead and the prominent (and once broken looking) nose plus the wispy hair, plain hat and comfortable, but probably not fashionable coat, give the impression of a man of some status in life, but not wealth in Rembrandt’s case. The hands are clasped and there is a definite air of contentment in this painting. Rembrandt is relaxing, looking straight at us and commanding our attention and admiration, which he would enjoy were he still alive.

Self Portrait at the Age of 63

So a very enjoyable and informative TV series on this great artist – watch it if you can. This reminds me that I must go back and see Rembrandt’s Self Portrait Aged 51 (below) at the National Gallery of Scotland, when I’m next in the capital city.

Self Portrait Aged 51 by Rembrandt van Rijn 1657

Tulips and pansies come to the fore

April 29, 2019

We had the snowdrops first, then the crocuses, then the daffodils, but now it is time for the annual tulip and pansy bonanza, and static parade. Tulips are flowers which range from the small and delicately shaded red/white or maroon/yellow, but these are the mere handmaidens and male attendants to the big, bold (and some might think brash) dominant leaders (male and female – who can tell?) in the garden. Look at the photo below, from one of the pots at the back of our house and you see both kinds of tulip – small but beautifully shaded and tall and imposing. The tall flowers have that look-at-me-and-wonder posture – see my height, my elegant stem and powerful colouring.

Large and smaller tulip in my garden pots. (click on all photos to enlarge)

I always advise people not just to admire the tulip flower, but to look inside the tulip head. Here we find something very attractive to pollinators but quite malevolent looking. The next photo shows a very elegant yellow tulip with an intriguing middle section. The yellow pistil is the focal point of attraction for bees but the background, which is feather-like or maybe made out of cat’s fur (see enlarged version), provides a stunningly delicate background.

Inside a tulip head

When you go closer up, you can also see the dark anthers which stretch out like antennae, maybe sensing the air for undesirable visitors. If you take this photo on its own, it could come out of a horror movie and represent an alien structure ready to entice unsuspecting humans – a much inferior species – into its deathly folds. Or it could be a superb piece of surrealist art representing, well… whatever you want it to.

Surreal inside of a tulip

Pansies may be further down the pecking order in terms of height and presence in the garden but they have now come into their own, waiting for a bit of heat to expand their size and colour range. The more modest pansies sit below the tall, elegant tulips but they are waiting their time, knowing that the tulips will age quickly and that even a strongish wind will shatter the tulip heads.

In my garden, I have a variety of colours of pansies. Firstly, the purple and white version. You might think that this flower is made up of butterfly wings, given the shape and delicate colours in the mainly white parts, and the bolder, deeply-veined purple sections. Then see the bright yellow centre, which attracts insects for pollination. For a detailed description of the female and male parts of a pansy, see here.

Strikingly coloured pansy flower

In this photo of a pot of pansies, the bright colours of the pansies are offset with the perhaps duller green of the foliage, but nature needs contrast as the flowers stand out more against the green. I like the variety of colours in this one pot – blue, purple, white and yellow – all artistically gathered together.

Pansies in a clay pot

The final photo shows the yellow pansy with the very dark centre, perhaps reminiscent of the dark inside of the tulip head. The sun is on the flower and the shadow of one petal against another gives an extra dimension to picture. All the petals are neatly folded against each other and there is an elegant flow to the flower head, although this flow goes in different directions. Looking at tulips and pansies close up is very rewarding and it is something we should do more often.

Fever by Don Meyer and two SOC artists

April 1, 2019

My first experience of the South African writer Deon Meyer was his novel Icarus (blog review here) and I was very impressed. I have just finished reading his dystopian book Fever (review). The story is set in South Africa after a deadly virus – the Fever of the title – has destroyed the world, with only a few people surviving in each country. Willem Storm and his son Nico are the main protagonists of this well written and well plotted novel. Willem Storm takes his son to set up a new town called Amanzi in rural South Africa and they are joined by a variety of fellow survivors. There are some very tense scenes as the town is attacked by motor cycle gangs whose only aim is to plunder. There is also the story of Nico’s teenage years as a member of the Amanzi “army”, led by a powerful presence in the book called Domingo. The town expands and prospers but has to be constantly vigilant. Philosophical and religious differences emerge amongst the community and Willem Storm’s presidency comes under threat. It is an intriguing and often exciting tale of survival and progress. Like other reviewers, I found the ending unconvincing but not everyone will take this view. It’s a long book – over 500 pages – and very well worth reading as Meyer is a consummate story teller, who brings his characters to life extremely well. Buy it and see what you think.

Meyer’s post-apocalyptic novel (Click on all photos to enlarge)

The latest exhibition at the Scottish Ornithologists’ Club in Aberlady features 4 artists, two of which I feature here. The exhibition finishes on 10 April and a visit is highly recommended because of the quality of the art and the spread of styles. The first work below is by Carry Akroyd who is a painter and printmaker and the show includes some of her stunning work. The piece below is a clever depiction of terns in flight as well as wind turbines in motion. The terns are displayed in full colour but also in white (like the turbines) with a small dab of black. There is a superb feeling of movement in this work and the streamlined birds look elegant and effortless in their flight – maybe in contrast to the more laboured motion of the concrete turbines. The variety of colours is also attractive in what is predominantly a happy picture. There is another version of this print which is a postcard entitled “Big Turns and Little Terns”.

Arctic Terns by Carry Akroyd

The second artist is Babs Pease, who is an artist, illustrator and printmaker. This print is simply entitled Swans and it is a very impressive piece of art when you see it in the exhibition in full-size. What intrigued me about this piece was the artist’s decision to show the swans not in their natural white but mainly in various shades of delicate blue. I liked the way in which the swans are taking up different postures and are facing different ways, as are the reeds in the background. The rivers of colour in the birds’ plumage take your eye across the birds and down to their solid dark grey feet. You then notice the splash of orange in their beaks. The curves and patterns in the birds and the reeds give it a hint of surrealism – like swans in a dream. The poet Yeats saw his swans ” All suddenly mount / And scatter wheeling in great broken rings / Upon their clamorous wings”. In the poem The Wild Swans at Coole, Yeats describes the swans as “Mysterious, beautiful” and Pease’s swans meet those criteria. We often see and hear swans as they fly past the house – Yeats ” The bell-beat of their wings above my head” – or, as yesterday, float serenely on the nearby sea.

Swans by Babs Pease

There is much pleasure to be had by visiting this exhibition if you can or by watching our for these artists in the future.

Spring tide in Dunbar and Caroline Jackman’s prints

March 24, 2019

Two days before the full moon this week, we had a huge tide in Dunbar, with the waves ripping along the coast and smashing into the rocks nearby. From my house, I could see that the waves were performing Fosbury Flops over the harbour wall, so I went along to try to capture the biggest of them. When I got to the harbour, the water was almost to the top of the main harbour, with the occasional splash along the walkway. I was standing opposite the large harbour wall which protects it from the worst of the elements. It is quite a long wall and the waves were coming over at various points, so I had to be quick – or lucky – to capture the action. In the photo below, the sun caught the wave as it leapt up into the sky above the wall and the wave looks as if it has merged with the clouds behind it. There was quite a severe undulation in the water in the harbour and at times the water rose to nearly the top of the stairs that you can see below the harbour wall.

Pink wave over the harbour wall in Dunbar (Click on all photos to enlarge)

The next photo captures a double over-the-wall splash – synchronised wave leaping. There is still a hint of pink in the waves and I like the variety of blues in the clouds above. What these photos do not show is the noise of the waves hitting the wall and pouring down the other side, on to the steps of the wall, then on to the walkway and then into the harbour itself.

Double action waves at Dunbar harbour

Looking back at earlier blog posts and identifying previous photos of spectacular tide events at Dunbar harbour, I found the photo below – from 2010. This was taken in the summer or early autumn, as the dinghies and yachts are still in the harbour. It is impressive how the waves completely dominate the scene and make the yachts look smaller. Meanwhile, in this photo you can see a group of male and female eider duck, who swam nonchalantly up and down the harbour, ignoring the action above them. The ducks have the splendid scientific name of Somateria Mollissima, which sounds as if it could be an Italian opera.

2 huge masses of seawater over the harbour wall

As a Xmas present, my wife’s sister and partner gave us a Caroline Jackman print as a present. It now hangs on the wall in the room where I write. The print – photo below – has very striking lines on the bird itself and on the foliage surrounding it. There is also an abstract quality to some of the print e.g. in the patterns on the leaves and on the bird’s back. The use of colour here – in clearly defined blocks – gives the image an unusual effect. I also think that there is a wonderful flow to the print which takes your eye both down the bird and down its subtle green environment. The more you look at this print – as I do daily – the more patterns you see. It is a very impressive piece of art and a very welcome present.

Caroline Jackman print

Caroline Jackman sent me some of her other work, one of which is featured below. I admired this work because of the delicacy of the colours and the vibrancy in the painting, both in the strutting?dancing? cockerel and in the streamer-like lines in the background. This is a vivacious, multi-coloured cockerel, with flamboyant tail feathers perhaps being used to entice females of the species to mate with him. There’s also a surreal quality to the background, as if this cockerel is so smart that he is walking above the clouds. This is a very stylish painting which demonstrates the range of this consummate artist’s vision, skills and talent.

Painting by Caroline Jackman

Lucy Newton exhibition and back to Wagga Wagga

January 8, 2019

We recently visited Lucy Newton‘s superb exhibition of wildlife paintings at Waterston House, Aberlady. The exhibition runs until 16 January and it really is worth a visit. I last reviewed Lucy Newton’s work on the blog in 2017 and I did wonder if this new exhibition could be a as good as the previous one. The new exhibition is not just as good but better than the previous one, with the artist’s intelligence, skills and brilliant technique on show to even greater effect. Lucy Newton kindly sent me examples of her work.

The first portrait below is an exquisite depiction of a curlew – my favourite bird – which I regularly watch through my scope on the rocks near our house. The actual painting is much more effective in terms of the quality of the bird’s features and background, but I do like the way the artist has portrayed the elegance of the curlew with its long beak, strong upright stance and delicate colours in its plumage. There is a slight haughtiness but not arrogance in the curlew – it knows that it is bigger than other birds and can delve further under the rocks than the others also. I recently watched a curlew twist its head and push its beak under a rock. The beak emerged with a good sized crab wriggling in it. The curlew nonchalantly tossed the crab in the air, opened its beak and swallowed the crab whole.

Curlew by Lucy Newton (Click on all photos to enlarge)

The second painting below is of a grey wagtail and again, this reproduction of the work does not do it full justice. The colours of the wagtail immediately catch your eye, the delicate greys and the striking yellow contrasting very well with the more Impressionist depiction of the rocks behind. The detail in the bird’s feathers is very impressive and Lucy Newton captures the tense awareness of the bird – ever alert to what might be happening in its environment. The artist catches the softer elements of the wagtail’s plumage, but also the sharp lines of its beak, legs and tail to very good effect. I looked at this painting for quite a while, forever noticing some new detail.

Grey wagtail by Lucy Newton

The third example from the exhibition is of a red squirrel and here Lucy Newton’s artistry shines out. Look at the bristling tail of the squirrel, its soft ears and nose and very keen eye. Again the sharp portrait of the animal contrasts with the softer background of the tree trunk, with its gnarled features and lichens, which are so softly painted that you feel that if you reached out, they would be delicate to your touch. Few artists have the ability to draw and paint the squirrel’s fur in such beautiful detail, but Lucy Newton has the imagination, skill and remarkable technique to produce such an outstanding piece of art. Get to see this exhibition if you possibly can. Unsurprisingly, many of the paintings had been sold.

Red squirrel by Lucy Newton

In the 2000s, we lived in the New South Wales town of Wagga Wagga for 3 years, when I worked at Charles Sturt University. I then taught from my home in Dunbar for another 6 years, going back to Wagga (as the locals call it) for 6 weeks every year. We returned to see many friends at Wagga Wagga Road Runners on our recent visit to Australia and stayed with our very good friends Paul and Sonya – superb hosts. The Murrumbidgee River (good photos) flows through Wagga Wagga – designated as an inland city – and there are some lovely walks along the river close to the centre of town. The photo below shows some of the beautiful gum trees along the riverside. The gum trees of course shed their bark, not their leaves and then they reveal smooth trunks. I like the reflections in this photo – of the trees, the riverbank and the cow on the far side.

Gum trees on the Murrumbidgee in Wagga Wagga

One of the remarkable features of the river at dusk is the arrival of very excited and very loud sulphur crested cockatoos – photo below. If you check the link and scroll down to Calls, you will hear the screeching noise these birds make. Imagine the racket you will hear if you go down to the river at dusk and maybe 200 birds arrive to roost, but not before they produce a deafening cacophony. They are attractive looking birds with their distinctive yellow crest and white plumage and will land quite close to you.

Sulphur crested cockatoo

We also made a nostalgic visit to the Pomingalarna Reserve (good photos) to walk around one of the many tracks. When we arrived in Australia we quickly discovered that you cannot run (my wife) nor cycle (me) in most country areas as you can in Scotland, so you need to go to designated areas. The reserve is well known as the home of two mobs of kangaroos and it is unusual for a visitor to the park – runner, cyclist or walker – not to see a kangaroo. We only saw some of these amazing animals from a distance, as the photo below shows, but we did see a large group bounding across the grass and into the forest – a fascinating sight. The second photo is from 2011 and shows the kangaroos on the golf course at the entrance to Pomingalarna. When conditions are very dry, the kangaroos will venture on to the course to find water. Note the flag on the green in the background.

Pomingalarna is a very interesting and attractive part of Wagga Wagga as it features a wide variety of trees, animals and birds, so it is well worth a visit if you are in the vicinity.

 

Kangaroos at Pomingalarna

Tiles on the Cafe Royal Oyster Bar and the Tauranga beekeeper

December 24, 2018

My cycling pal John gave me his copy of Pints of View (cover below) which is the magazine of the Edinburgh and South East Scotland branch of CAMRA (Campaign for Real Ale). The magazine has news on new real ales and on pubs in the area which sell real ale.

Pints of View – the real ale magazine (Click on all PHOTOS to enlarge)

My attention was drawn to an article in PoV by Michael Slaughter and Geoff Brandwood entitled “Tiled paintings in Edinburgh pubs. Part 2: The Cafe Royal Oyster Bar”. The Cafe Royal is a very well known pub just off the eastern end of Prices Street in Edinburgh. The main bar itself is highly decorated and you can walk around the bar, with its beautiful wood, before choosing what to drink and perhaps eat. On the walls are large tiled depictions. The Oyster Bar is the restaurant next to the main bar. The photo below shows the lavishly decorated room – the exquisite ceiling tiles, the eye-catching tiled pictures on the walls, the impressively marbled bar and the inviting tables with traditional chairs and sparkling white table cloths. The article notes that behind the marble topped bar, ” The windows of this room have eight large stained glass depictions of British sportsmen, designed by Ballantine and Gardiner of Edinburgh” and the sports include fishing and rugby. When you are in the Oyster Bar, these windows are a magnificent backdrop to those dining at the tables.

The Oyster Bar in Edinburgh’s Cafe Royal
(Photo by Michael Slaughter LRPS)

One of the most striking of the tiled panels is one showing two of the leading lights in the earliest photography in Europe. This panel (see below) shows Nicephore Niepce and Louis Daguerre .  There is no agreed inventor of photography but Niepce was certainly the earliest to experiment into what was to be become photography. Daguerre’s work took the process further and the two men became partners in 1829, after which they made further experiments and were able to produce more sophisticated images.

Louis Daguerre (left) and Nicephore Niepce who pioneered photography
(Photo by Michael Slaugher LRPS)

The 3rd photo (below) sent to me by co-author Michael Slaughter shows a cherub playing the Pan Pipes and while the 4 cherub tiled panels are not examples of high art, they are nevertheless quite singular and joyful additions to the varied panels around the Oyster Bar. The Cafe Royal main bar is always busy and it is often difficult to get a seat. You need to book a table in the Oyster Bar but it is a rewarding experience – especially if you like oysters.

Cherub tile from the Oyster Bar
(Photo by Michael Slaughter LRPS)

On our visit to Tauranga in the north island of New Zealand, we stayed at my sister and brother-in-law’s house. It has a large garden and next to the well-filled woodshed, there is a beehive. The bees are looked after by another Scottish emigrant to New Zealand – Heath, who was a renowned ships’ captain before retirement. This beekeeper hails from the bonnie wee village of Echt (good photos) in the north of Scotland. The first photo shows Heath taking out one of the internal boards in the hive and inspecting it. As you can see, he is very well protected and your photographer was keeping his distance from distracted bees who had been disturbed from their hive activities. This is the equivalent of a giant lifting up a whole village or town and shaking people out of their houses, so it’s unlikely that the bees welcomed this intrusion. You can see the structure of a hive here.

Echt beekeeper in Turanga NZ

In the second photo below, you can see how the bees have filled holes in the mesh structure and formed combs. The beekeeper will inspect the combs from time to time to ensure that the bees still have room to expand their food store. It looks a very complicated life that these bees lead but hives are highly structured in terms of hierarchy and what work is done by the different bees. In terms of logistics, bees can teach much about organisation of production and management of the workforce.

Close up of bees on hive board

I took a video of Heath checking various boards in the hive and you can hear his commentary on the healthy state of this hive. For those not accustomed to Scottish accents, you will hear phrases such as “drones – useless brutes o’ things”, and “they’ll run out of space and say that ‘we’re oota (out of ) here”. So, it’s probably worth viewing twice. It was a fascinating visit from this expert on bees and a real learning experience for me, who had never seen the inside of beehive before. Click on full screen to get the best effect from the video.

Seville: Archivos des Indias and Esplanada d’Espana

October 30, 2018

In the centre of Seville, just along from the cathedral is the Archivos des Indias or General Archive of the Indies. The huge archival collection, which covers 300 years of Spanish colonisation in the Americas, is housed in a strikingly attractive building (see below) which has superbly crafted ironwork on it many balconies and eye-catching tiles around its upper sections.

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Archivos des Indias, Seville (Click on all photos to enlarge)

While many scholars visit the archives for research, most people go to see the interesting interior of the building. In the building’s many rooms, there are displays of examples of the archival material held there, such as Columbus’ letters to his son or a catalogue of fabric samples. What is most remarkable is the design of the interior with its delicately crafted wood and sculpted ceilings, which are worth taking time to look at closely. As you see in the photo below, there is a variety of symbols carved into the wood and these may represent the trades of the merchants who first used the building to carry out their trading.

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Carved wooden surrounds in the Archivos des Indias, Seville

As you walk down the marble stairs, there is an impressive array of carvings around the sign for the archives. In the photo below, above the name, there is a crown and carved crests and on either side of the sign, and there are beautiful marble pillars and star-shaped carvings. This symmetrical design – at once simple and complex – makes you stop on the staircase and look at the carvings. This is clearly the work of expert craftsmen.

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Part of the staircase in the Archivo des Indias, Seville

I took a wee video of the inside of the main room in the archive – see below. There was also a 15 minute video – in English and Spanish – which tells the history of the building. What is intriguing about this video is that the narrator is the building itself, telling how “I” began as a merchants’ building , fell into ruin and eventually became the archive we visit today.

On the trip to Seville, we made the fatal mistake of not booking online for fabulous Alcazar Gardens and were faced by a huge queue in 30 degrees of sunshine, so we moved on. We were rewarded not far away with the spectacular Esplanada de Espana (good photos), a magnificent crescent of connected buildings, with 2 huge towers at either end. This splendid edifice was built in 1929 but it looks much older. The photo below shows one of the towers which rises above the canal, which goes round part of the square. Looking at the towers, it makes you think that this might be a tribute to traditional Spanish architecture and design, with the layers to towers rising to a peak, suggesting a Moorish influence at the top.

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One of the towers bookending the Esplanada de Espana, Seville

An outstanding feature of the area is the ceramics, starting with the array of pillars which go around the perimeter of the entrance and around the canal. As you see in the photo below, there are ceramic figures on the pillar and tiles at the top and bottom of the ceramic pillars. The tiles are known as azulejos and have been made since the Romans were in Spain. The coloured tiles are thought to have been introduced by the Moors and there are definite signs of Moorish/Islamic influence in  all parts of this building.

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A pillar/lamppost at the entrance to the Esplanada de Espana, Seville

On the walkway above the canal, there are large areas of mosaic tiling and at regular intervals, there are large tiles depicting all the different regions of Spain. The example below celebrates the province of Huelva, which lies to the west of Seville and stretches to the Portuguese border. The colours in each of the squares are vibrant and it is interesting to see the different coat of arms for each region. The Esposicion Ibero Americana noted in the tiling was a world fair in 1929 to enhance trade particularly between Spain and South America.

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Coat of Arms of Huelva province in the Esplanada de Espana, Seville

There is so much to see in the Esplanada that you can easily spend an hour or more looking at the building from different perspectives e.g. there are balconies on to which you can climb to look down on the square and the canal and across to the two towers. You must not miss this out in a visit to Seville.

I took a video of the Esplanada de Espana and I hope that this gives you a flavour of the uniqueness of this very joyful building and square.

The late poet Matthew Sweeney and Seville Cathedral

October 23, 2018

A delayed blog due to your blogger’s significant birthday celebrations. I was shocked to read an obituary in the Guardian about the death of the poet Matthew Sweeney, who was only 65 years old. He died of motor neurone disease, a terribly debilitating illness of which one of my school friends died. I looked in my collection of Poetry Book Society choices on my bookshelves and found Sweeney’s 1989 collection Blue Shoes. Sweeney was an imaginative and often humorous poet . The Lighthouse Keeper’s Son from Blue Shoes, reads after the title “got arrested/ as he wobbled home on a lightless bicycle, after a late drink/ and he asked the cop/ if the pockmarked moon/ wasn’t light enough/ not to mention the Plough’s/ seven stars/ and his dad’s beam/ lighting the road/ twice a minute/ then searching the sea/ the umpteenth time/ for nothing”. While this is a humorous poem, maybe set in the Irish countryside, about a drunk man, a bike and a policeman, it is also one that contains intriguing imagery. The moon is “pockmarked” and the lighthouse “searches” the sea for “nothing”. The last word is ambiguous – does it mean that the light normally does not reveal anything in the sea, or is the light doing it for free? It is of course, not the light that searches but maybe the keeper. You can hear Sweeney reading his poems here and they are certainly worth listening to.

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Matthew Sweeney’s 1989 collection of poems (Click on all photos to enlarge)

On a recent trip to trip to the beautiful city of Seville with my pal, the main impetus of the visit was to see the football (aka soccer) match between Sevilla and Celta Vigo on a warm October evening. Those not interested should skip the next bit and go to the next paragraph. Here is the inside of the stadium just before kick-off.

We were there of course to also enjoy the city and its magnificent architecture, excellent restaurants and its culture. To say that Seville Cathedral is massive is a gross understatement. Some of its chapels are the size of cathedrals in other parts of the world. It was built on the site of a 12th century mosque and it took over 100 years to build, so both religions wanted something impressive to represent their faith. The outside of the cathedral is so extensive that you cannot photograph it all at once. The first photo shows the magnificent bell tower and the 2nd photo shows the exquisitely ornate main entrance to the cathedral.

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Seville Cathedral’s bell tower

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Entrance to Seville Cathedral

Inside the cathedral, the high vaulted ceilings and the perfect stonework of the pillars lead you into different areas and altars, such as the beautifully crafted and imposing silver altar. This video which I took in the main part of the cathedral, gives you an idea of the cathedral’s grandeur, including the superb sculpture of the tomb of Christopher Columbus, although there is some doubt as to whether it is Columbus or his brother that is in the sepulchre.

The cathedral is always busy with tourists, religious people and humanists, and each person will take their own view of this utterly stunning building and its variety of interior decoration, which displays an amazing range of craft skills and artistry. It is certainly a must visit to this enchanting city.