Sunday, September 11, 2022

Review: BBC documentary – Elizabeth: The Unseen Queen

On Friday, on BBC One, I watched Elizabeth: The Unseen Queen.

It’s a montage narrated by the late Queen that meanders through her personal film and photo archive about her life. It’s a beautiful, moving and intimate documentary. It explores her life as Queen through her own eyes and the personal snaps of her family. She seems quite 'normal' - but also very elegant and beautiful.

The background score is exquisite. The composer is David Schweitze.

I have uploaded a few stills from the documentary.





Prince Charles.



Saturday, September 10, 2022

King Charles III – the new monarch

Accession council at St James’s Palace.
I enjoyed watching the fascinating ceremony in the Privy Council on the proclamation of the new King. It harks back to the Stuarts; a piece of living history. A functioning Royal Family is part of the rich tapestry of historic ceremonies and events.

The King’s first address to the nation was eloquent and moving (BBC News). Particularly admirable given that he’d delivered it after having lost both his parents in a relatively short period of time. The special mention of Harry and Megan was sweet and conciliatory. 

He has inherited an awesome responsibility as his reign, particularly in light of the challenges our nation is facing.

Long Live King Charles III.

Friday, September 9, 2022

On the passing of Queen Elizabeth II

Queen Elizabeth II by Pietro Annigoni.
What a sad day.

An icon of world history has just died. I must admit that the news of her passing did make me tear up a little – despite ofc not knowing her. She was a remarkable lady who had a profound impact on our nation and the world.

It’s a mark of how well she reigned – despite an age of monarchies being uprooted and republics replacing them – that her passing has touched so many people with many beautiful gestures and tributes from across the world. 

The Eiffel Tower had gone dark, Rio de Janeiro’s Christ the Redeemer has been lit up in the colours of the Union Jack, the Sydney Opera House, American flags were lowered at half-mast at all American embassies.

I have known of no other passing which has had such a marked worldwide effect.

Our late Queen embodied the true essence of the Crown. The incarnation of Walter Bagehot’s characterisation of the “dignified”. Despite her personal life and family matters being covered and heavily scrutinised by the media, she maintained her air of dignity and respect. The Queen tied the nation to its heritage, values, and history. Thus, as a beacon of stability and continuity, she united it.

It was fitting that Her Majesty greeted her new Premier a day before her passing. Her sense of duty undiminished even towards her final hours. As ever, she put the public first and simply got on with her duty. I have read that she was the most photographed person of all time.

An amazing lady.

Wednesday, September 7, 2022

Mikhail Gorbachev – an overblown legacy

On Tuesday August 31, 2022, Mikhail Gorbachev died aged 91.

I was born the year before the fall of the Berlin wall. For me, the death of Gorbachev attests to the freshness of the Soviet Union’s disintegration (and the subsequent birth of the modern Russian Federation).

Putin paying tribute to Gorbachev.

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Contrary to popular belief, the Soviet Union was not a communist state. It was a socialist state. As per Marxist-Leninism, the official ideology of the Soviet Union was that communism would emerge after socialism. The Soviet Union was in the process of strengthening socialism to establish communism. By the late 80s, the erstwhile approach was yielding nothing. Democracy and glasnost were tools that the last General Secretary hoped would strengthen the USSR, the Communist Party and “socialism” – as opposed to confronting them.

Much of Gorbachev’s legacy – as the unlucky warden – has the ring of Prometheus to it. But Prometheus acted deliberately, consciously; and was subsequently punished for his actions. 

Gorbachev’s reforms did not intentionally collapse the USSR. Gorbachev was always intent on bolstering the Union in some “reformed” shape under some commensurate socialist economic system. It became a comedy of errors. 

Gorbachev started the glasnost and perestroika as a genuine breakthrough but which utterly backfired. Like a decaying prison’s new chief warden setting up a system of democratic management and enfranchising prisoners to choose their own guards and alarm system. The failure was the dearth of required administrative skills to “westernise” the soviet state. The reforms began to pick apart the centralised economy without creating some alternative ‘institution’. Also, we shouldn’t forget socialism’s enduring systemic bug: it cannot cope with the complexity of dispersed knowledge in a developed nation. 

Nevertheless, the reforms unleashed political movements beyond Gorbachev’s control (which antagonised hard-line members of the nomenklatura), and the Union collapsed.

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On international relations, Gorbachev was promised that NATO would respect Russian security concerns. Instead, NATO expanded and installed military bases in Eastern Europe (the Union’s ex satellite states) and those military bases have thereafter been pointing at Russia. Russia was rebuffed from joining NATO when the Clinton administration harboured a more anti-Russian disposition than President Reagan. 

Today, the West celebrates Gorbachev as a hero. In some cases, that may be justified. He was responsible for the peaceful end of the Cold War. Nevertheless, if one adopts a more expansive purview, beyond the West, the breakup of the Soviet Union led to many deaths in the Warsaw Pact countries. Notably, Russia-Chechnya, Armenia-Azerbaijan, Russia-Georgia, Russia-Ukraine, Russia-Moldova. The Yugoslav conflicts arose mostly as a consequence of rising nationalism in Serbia and ethno-religious tensions; but it’s worth asking whether the lack of Soviet influence meant there was no power to keep them in check.

The post-Gorbachev crumbling state of poverty and crime was dire. The destruction and mendicancy of Russia was probably felt by Russians to have been met with celebration in the West. It probably ushered a strong FSB to take some charge of the state, fashioning an oligarchy, with the appointment of figures like Putin. 

Max Hastings writes that “Gorbachev failed, and a prominent legacy of his failure is the 21st-century tsardom created by Vladimir Putin.” To the extent that that is true, I suspect that the West has some blame in the rise of Putin in the humiliation of the post-cold war Russia when they could have been assisted and helped (and invited to be part of the NATO’s security aegis).

Nevertheless, he evinced considerable restraint in the use of violence in the implosion of the Soviet Union, particularly vis-à-vis Eastern Europe.

It’s striking that the USSR went from Stalin to Gorbachev in 32 years.

He deserved a legacy in the hands of someone better than Yeltsin as a successor.

Sunday, September 4, 2022

Turner at Tate Britain – Turner's Europe

This post is continuation of: Turner at Tate Britain – Turner's Britain

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Venice - Sunset, a Fisher (1845)

Venetian sunset.

What is really interesting about this painting is that it pins Venice onto a background where – as with the first light of dawn – the distinction between the sky (and clouds) and the river water – from the right perspective – can meld and interfuse. Sunsets – when viewed from a certain level – can create such a beautiful illusion. Hauntingly so.

I think Turner’s sunsets have a dreamlike ethereality. Diaphanous and abstract.

Through the mist Turner foments in his painting, the intensity of the brown-rusty hue alludes to the solid structures of life. The brushstrokes of stoney-grey create tenuous forms: as the wind in its diffusive speed, or as some splotch in the water. 

I think the sun can be just about be perceived on the right-hand side of the canvas from the epicentre of stillness. One can make out the Santa Maria della Salute against the blue skyline.

Beautiful.

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Venice - Noon (1845)

This painting forms a pair with the above Venice – Sunset, a Fisher. They both have similar tones, themes and colour palettes.

Both beautiful paintings of Venice.

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Riva degli Schiavone, Venice: Water Fête (1845)

Riva degli Schiavone.

According to the Tate, Turner’s painting had the following lines from Byron’s poem:

… and now, fair Italy!
Thou are the garden of the world…
Thy wreck a glory, and thy ruin graced
With an immaculate charm which cannot be defaced.

This painting is interesting. It doesn’t feel like Britain at all. It certainly has a Mediterranean quality. We don’t have trees quite like that in England.

In this painting, Turner’s sun illuminates from the right and the warmth of colours dissipate outwards. There’s a profusion of orange-marigold colours. Since this is a tribute to Roman architecture and elegance, the crumbling bridge as well as the mossed over hovels (at the right) attest to the classicism and elegance of ancient Rome.

And, as usual, Turner includes children and families that speak to a quality of innocence, purity, and arcadian charm.

It really is a lovely vista.

A closer examination

Nonchalantly sitting and chatting on a meadow overlooking a dilapidated breaking-up bridge. People seem oblivious to their surrounding beauty. The river slowly winding. Flowers surrounding the girls.

I was trying to determine whether that’s a cave of some kind and whether there is a faint outline of a person in a purple overcoat with a pointy hat on. It feels like that apparent individual is watching the group.

Music instruments on the floor, the boy dancing and his friend is playing a guitar or a lute. The larger group of ladies with their baskets of food, a loaf of bread, I think? This is a lovely scene that’s only amplified by the tranquillity of the river and surrounding forestry and vegetation.

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Heidelberg (1844)

Heidelberg

This painting is a marriage between Princess Elizabeth Stuart (eldest daughter of King James I) and Friedrich V. (Elector Palatine of the Rhine in the Holy Roman Empire). Heidelberg castle is behind them on the hill. According to the Tate, “their court was briefly famous for its extravagant entertainments.”

The royal couple are seated in the left-hand corner of the painting.

Beautiful radiant sun whose sunshine commingles with the surrounding clouds, snowy mountain peaks, a valley from which jubilant crowds are coming forth. It’s a lovely painting.

Details:

A man bowing before the royal court. Military paraphernalia at the side.

Castle that shimmers in the background.

Musical instruments and smiles all round.

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Caligula’s Palace and Bridge (1831)

I have to admit this was really breath-taking in the gallery. This is my favourite among the Europe gallery.

Although this painting is meant to invoke the decay of the glorious ancient Roman civilisation and Emperor Caligula, it captures a timeless beauty: the elegant columns that once held up a dome, the residual towers and fortification attest to a long-forgotten elegance, opulence and strength. 

The former palace seems to meld into the canopy and trees as though it was part of the natural world. The sun seems to originate from behind the Roman structures and radiates outwards. The illumination creates a marvellous shimmering line on the lake and spotlights the two children sitting on the rock.

There is a sense of nostalgia and wistfulness about the painting. The people of the painting don’t seem to notice the wondrous pensive beauty surrounding them.

Plus, I quite like Caligula.

Details:

Two children. One with an arm around the other. Two sweet goats approaching with a herd behind them. Sea and ships in the distant.

Four ladies dawdling in the lake. They seem to have two dogs near them. They’re at a leisurely pace. One of the girls is glancing at her leg. Perhaps she noticed something in the water. The scene makes you feel you can hear the giggles and laughter. 

Looks like a shepherd is herding a few straggling goats away from the lake and towards the field. He’s looking at the two boys as they chase a pair of goats.

The light gleams through the apertures and floods the environment. The Roman fortified buildings almost become one with the skyline otherwise they meld with surrounding vegetation. One with nature.

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Rouen: A View from the Left Bank in the Faubourg St-Sever (1827)


According to the Tate: “Turner based this view of Rouen on a sketch he made while travelling in France several years earlier.”

This is quite different to the rest. Turner’s characters in the painting are overshadowed and we don’t seem to have as much energy. 

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Dieppe: The Port from the Quai Henri IV (1827)

As with the above painting at Faubourg St-Sever, Turner doesn’t give us the warmth and opulence of the sun, so it feels a bit darker. But, it has the bustle of life and people going about their day. It’s hard to make out details but I don’t think we’re supposed to.

The structure of the bridge is beautiful. I think Turner likes bridges in his paintings too with a river flowing beneath it.

Saturday, September 3, 2022

Review: The Madness of Crowds by Douglas Murray

Douglas Murray’s The Madness of Crowds explores the contemporary thread of identity politics which permeates our culture and has come to really dominate it today. The book’s structure explores each aspect in turn; gay, women, race, and trans.

Is this a madness? I think Murray is right. Not in the sense of derangement. But in the sense which he means it, namely with reference to Charles Mackay’s Extraordinary Popular Delusions and the Madness of Crowds.

In Murray’s interlude on forgiveness, he suggests that the contemporary culture of apologising, repentance, and witch-hunts – which he seems to attribute to social media and a loss of our foundational grand narratives – may have something to do with this mania. 

The tone of this book is calm, reflective, and accommodating. Often, quite thought provoking. I find Murray’s literary style a bit run-of-the-mill. There is wit, butt a note of pessimism throughout (which may be justified). This is a battle that feels has been lost.

Below, as part of this review, I focus on a few elements of the book.

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Intersectionality

At the heart of the postmodern progressive outlook is the concept of intersectionality. The term is reputed to have originated with Crenshaw. She contended that one can examine the multiple ways in which “oppression” can manifest itself through an “intersection” of identities through various strata. That way, society would be more able to weigh the “privilege” against the “disadvantage.”

I think, in a vague way, this feels intuitive (particularly, as an example, in the context of Crenshaw’s court case in which she appeared as counsel). However, I don’t think it makes a lot of sense once the broader implications of the doctrine are carefully examined.

As already mentioned, intersectionality impresses either the “privileged” or the “discriminated against” stamp wholesale to certain groups. The problem is that, by implication, also to all members of that group. Such a framework is intended to account for the perceived discrepancies of the real world, and so it naturally lends itself, in that regard, to a victim-oppressor dynamic. The inherent assumption – through the telescope of intersectionality – is that perceived discrepancies are the causal effect of oppression. That’s a mistake. Oppression may be one explanation, but life tends to offer multi-causal explanations; and it is not clear that broad generalisation really account for individual justice.

One of its most bizarre affectations is the way people are often categorised into an ostensible monolith – such as BAME or LGBTQI+. The reality is that people aren’t nearly as monolithic as we expect (or, rather, would like them to be). Once we start sheepherding people into pens, we assumed that they think the same, and can be treated the same. The lumping together of hundreds of culturally diverse and geographically divergent ethnicities that have nothing in common is absurd and even, perhaps, insulting. They don’t have comparable experiences of racism etc.

The flaw in the use of abbreviations is surely evident in LGBTQI+. Apart from some degree of some overlap in some things – they are probably more different than they are alike. And, as Douglas Murray points out, its fundamentally unclear whether the experiences are sufficiently analogous to warrant such a unit block. 

In America, it has becoming “LGBTQIAPPK” with the other letters signifying queer, intersex, asexual, pansexual, polyamorous and kink. Indeed, the very use of the “+” (plus) shows how clumsy and unmanageable it is. The overarching question is what does it mean to be “LGBTQI+”? As Douglas Murray noted:

LGBT is now one of the groupings which mainstream politicians routinely speak about – and to – as if they actually exist like a racial over ledges community. It is a form of absurdity. Even on its own terms this composition is widely unsustainable and contradictory. Gay men and gay women have almost nothing in common … Neither have very much use for each other, and almost none meet in any communal spaces. 

As everyday common-sense will bear out, nobody actually uses the word “BAME”. Nobody says: “I’ve made a new friend today … he’s BAME”! How ridiculous would that sound? Nobody says: “Arh, yes … our new housemate John is LGBTQI+”. We say “our new housemate John is gay” or trans or whatever. So, we must ask; to whom does this categorisation render most utility? To lump people together and puree them into a soup? As Murray argued, the implicit shortcomings in the framework of intersectionality renders it a fundamental misapprehension of reality. 

There are four arguments that I would also add:

Firstly, there are an infinite number of ways in which a person can be defined as possessing either a “privilege” or “discrimination”. See the ‘Matrix of domination’ graph below. The end point is a competition for the most ways a person can be labelled a “victim”, if only to abnegate the “oppressor” tag. It’s this competition that is driving identity politics. (For example, Asians have sometimes been categorised as “white adjacent”!). So, because of this endless varieties of oppression, it says more about our meta psychology than reflecting reality. And, to the extent that it does reflect reality, I think it succeeds but only at a great deal of oversimplification.

Secondly, as the epithet “white straight male” denotes, our society frames intersectionality against that prism. And yet, the most conspicuous unevenness in our world is probably class. It’s a fuzzy amorphous concept which isn’t liable to a simplified blueprint; and yet I think it exists. Indeed, what about one’s locality and circumstances? In many instances, the poor white straight male is probably worse off than the rich black female lesbian. Also, consider the incongruities of life for a person living in London as opposed to Kabul?

Thirdly, it assumes that oppression (or, even, privilege) advances generally in one direction. But, in actuality, context matters tremendously. So, for example, if you want to go into teaching, the statistics show that it’s better to be a woman. On the other hand, the construction industry is tilted towards men. Assuming such discrepancies are a result of oppression, it would point in different directions. 

Fourthly, while some generalisations of disadvantage may be true, most people don’t fit into such sweeping stereotypes. In fact, to my mind, sweeping generalisations tend to give voice to a prejudice. Much more relevant are the individual’s innate characteristics and experiences which have informed the struggle more than general assumptions. As David Foster Wallace taught us, in his speech This is Water, the essence of education is being able to perceive and appreciate things from a different perspective.

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Additionally, Murray traces the broader intersectionality framework within a traditional Marxist substructure of the bourgeois-proletariat dynamic. The forces of revolutionary proletarianism had rebuffed and forsaken Marxists (except among the third world countries and former colonial states in contrast to the booming developed capitalist economies). Instead, that antagonism is instead wrought through an alternative hierarchy of oppression. This struggle for ‘social justice’ replaces the former proletarian analysis but remains subtlety underlaid by the usual anti-capitalist credo. (In Murray's book, it’s well worth reading the bits about Eurocommunism, Palmiro Togliatti, and Gramaci’s critique of culture as a hegemonic force.)

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Gay

Murray begins this section of the book by recalling his experience when he attended an exhibition of a small viewing of a film called the Voices of the Silenced. Apparently, this film documented the case for gay-to-straight conversion therapy. Murray points out how PinkNews concerted to pressurise the relevant cinema chain to ban its small screening, among the small clutch of guests that actually turned out to view it.

Why would this be important? According to Murray, it illustrates two inherent contradictions in the LGBT movement. Firstly, it’s the evolution of a movement away from the John Stuart Mill line (which it once affirmed). To quote Murray, “it is no business of anyone else what consenting adults get up to in private”; but now, it has morphed into something quite opposite. And, secondly, it illustrates the shift from a Voltaire-ian ‘free speech’ position (at the movement’s infancy) to a stance of aggressive orthodoxy (in its relative ascendancy). 

I think Douglas Murray is essentially correct on both of these contentions. Over time, political groups end up chomping their erstwhile colleagues who aren’t willing to imbibe the new orthodoxy. The net effect is that - as the contrarians are purged from the group - it ends up becoming more-and-more uncompromising and singular.

With reference to Mill’s harm principle, people are now aware that offensiveness - without more - is an insufficient justification for the curtailment of speech. But, if the same concept could be repackaged and reframed as “delegitimising” this-or-that group, then reasoning dictates that some “harm” must indeed have been inflicted. If some statement can be pivoted as ‘hateful’, then it can be rejected on the basis that it may be argued to encourage violence. That seems to be the logic.

Murray cites the Tom Daley and the surrogate baby story, as an example. Some article criticised it (title: ‘who and where is the woman? Is it ideological or make believe?’) and a campaign “Stop Funding Hate” started to pressurise advertisers to change the newspaper’s policy. By annexing that term “Hate” to their campaign, it implied positions to the contrary weren't just bigotry but harmful. The problem here is that journalists ought to be entitled to debate and discuss the complex issues arising in the balancing of the rights of all involved (including the surrogate mother). However, the culture around debating these points means less discussion is possible nowadays.

Furthermore, it’s critical to any healthy debate that two contrasting sides clash freely. Defining the expression of an unwelcoming or irritating opinion as being the condemnation of people is the attempt to control what can be said in the public domain. Free speech becomes not a right, but a privilege; dependent on whether the subject under discussion can lay moral claim to ideas whose negation is purported to “hurt” them. Of course, it’s ridiculous to suggest that ideas “hurt” us. Ideas do not assault, bruise, or injure us. Ideas are either right or wrong, and they should be debated and discussed. Free speech becomes a battle of the regnant cultural cordon sanitaire of approved opinions. But, as Orwell taught us; “if liberty means anything at all, it means the right to tell people what they do not want to hear.”

Returning to Voices of the Silenced, Murray’s other point relates to a more subtle and broader feeling in society in recent years. This relates to a creeping consensus on LGBTQI+ rights which have ossified into being uncompromising and hard-line. It is also backed by heresy hunts. Namely, scorn and outrage is poured on those who trespass some orthodoxy. People aren’t merely wrong or mistaken; but instead they are evil and morally bankrupt. A culture of fear (and self-censorship) is instilled by having figures in industry and media lose their careers over some peccadillo whose breach impugns one of our orthodoxies.

Another problem that Murray identifies is how being gay has become so politicised; that is has morphed into something different now: 

It suggests that you are only a member of a recognized minority group so long as you accept the specific grievances, political grievances and resulting electoral platforms that other people have worked out for you. Step outside of these lines and you are not a person with the same characteristics you had before but who happens to think differently from some prescribed norm. You have the characteristics taken away from you. So Thiel is no longer gay once he endorses Trump. And Kanye West is no longer black when he does the same thing. This suggests that ‘black’ isn’t a skin colour, or a race – or at least not those things alone. It suggests that ‘black’ – like gay – is in fact a political ideology.

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Women

There are various things that Murray discusses in this section. 

He discusses the rising language of “privilege” at the workplace, and the importance of intersectionality in the “hierarchy” in employment. Murray seems to regard the hopeless attempts at “unconscious bias training” as being based on the fundamental notion that people can be ‘corrected’. I disagree. These training packages are rolled out by big companies to counter the company’s liability should the employee do something discriminatory. At any rate, Murray remarks how such frameworks often conceal a deeper philosophy that people are oblivious to:

Discussion centred on the presumption that almost all relationships in the workplace and elsewhere are centred around the exercise of power. Knowingly or otherwise these women have all imbibed the Foucauldian world view in which power is the most significant prism for understanding human relationships.

There is a fascinating discussion about the ostensible awkwardness that the subject of motherhood has in feminism. If women are equal to men, then how does feminism confront the fact that women bear (and often raise) children? Children exhaust a huge amount of a mother’s energy, time, and emotion. Murray quotes CNBC and The Economist to the effect that having children is a penalty of sorts in our culture. Camille Paglia is quoted as saying the modern career woman involves a denigration of motherhood. I’m not sure I have an opinion, but I found this fascinating.

I would definitely recommend this book.

Friday, September 2, 2022

Turner at Tate Britain – “Turner’s Britain”

Edit: This post is part of a series to exploring my visit to the Turner’s gallery at the Tate Britain. I like to write about the paintings, jot down my thoughts in this blog, and explore some background reading.

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I’ve been to the Tate Gallery exhibition on Joseph Mallord William Turner. See self-portrait below. He gave himself some penetrating features, the eyes, ruffled hair etc.

Turner’s self-portrait.

This blog will focus on a handful of paintings concerning Britain.

Turner is really amazing. It is easy to get lost in his work. What’s striking about his exhibition are the sheer number of paintings on display. He must have been a juggernaut of an artist. He completely dominates a wing of the Tate Gallery. 

From what I’ve read, he was a romanticist. From my modest readings of English literature, I’m aware of romanticism as an early 19th century artistic movement in reaction to realism and the Enlightenment. Romanticism pivoted away from the scientific explanations of the world, the methodical and technological (as, presumably, inert and remote) and focused on exalting nature, spirituality, and that sense of wonder. I’m curious to uncover the difference between romanticism and classicism.

For me, what is incredible is the sheer detail and delicacy that animate his paintings. They are are full of the bustling energy life. Sometimes, they evoke a sense of the awe or foreboding – either in their turmoil or serenity – by harnessing the elements of nature which tower over the viewer.

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Crossing the Brook (1805)

Crossing the Brook.

There is an idyllic warmth and charm to this painting. 

The dayshine illuminates the edge of a calm lake and brings into focus the easy-going pace of life with a sweet schnauzer being playfully beckoned. If you look closely, you can descry a flipflop suspended in the canine’s mouth as it gives chase (see detailed image below). 

It’s these sorts of details that enliven the painting. As I hope you’ll notice, Turner really loves to embellish paintings with little subtle details and minutia that reflect the charm of everyday life.

In this painting, a lass gazes nonchalantly into the lake with a sack of shopping resting to her side. In the background, the radiant sun enlivens an arcadian vista. 

There are faint mills and windmills, an elegant classical bridge on which someone saunters, the outline of the uppermost of a sailboat as it meanders a river, and of course lush verdure and forestry over yonder.

According to the Tate:

The painting was exhibited in the year of the battle of Waterloo. Viewers at the time would have been alert to the patriotic subtext of such an imposing depiction of the British landscape.

Very sweet. Click the photo for larger dimensions.

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The Quiet Ruin, Cattle in Water (1809)

The Quiet Ruin, Cattle in Water.

It’s hard not to smile or feel uplifted at such a sight, especially the calf following, and caressing, its mother as they approach the lagoon.  

The overall scheme of colours and luminance is balanced and harmonious. The background is abstracted and indistinct. The viewer is focused into the middle: a herd of cows.

I think this sort of scene is beautiful because of what it represents to us. Cows are part of folklore and children’s stories. They aren’t merely a staple of farm life but represent human wellbeing as beef or dairy cattle. 

The source of fresh and clean water to drink with the attendant grassy patches in the landscape suggests food crops and nourishment. 

The open spread-out area attests to the lack of danger, and the mountains which form a protective wall. 

It’s instructive that this was painted – as with so many others – during the Napoleonic Wars (1803–1815).

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St Mawes at the Pilchard Season (1812)

St Mawes at the Pilchard Season.

The village of St Mawes was (and is) a small fishing town in Cornwall. According to the Tate:

Napoleon’s Continental Blockade meant countries allied with France could not trade with the British. It prevented excess fish caught in British waters being exported to mainland Europe.

The striking thing about this painting is the sheer hustle bustle of the community. The centre is dominated by shovelling, carrying and lifting etc. And yet, the romantic elements contrast with the pathos and realism that underlies the painting. In this case, namely, the effect of an economic blockade on a town dependent on that industry. 

This painting shows – not despair and gloominess – but a community rolling-their-sleeves and getting on with life. There’s no weeping or any acts of despondency. It’s a painting of some defiance as opposed to resignation and defeat. 

In the direction of the sea, Turner’s clouds bedarken the atmosphere and obnubilate the way. But, in the opposite direction, Cornwall’s shoreline is commanded by an English castle perched on a steep rocky headland. Indeed, the clouds begin to part in the skies above the castle to expose the azure heavens on the English coast.

Turner is a virtuoso in the power of light and illumination. The artful use of light and shadow (and the penumbra) creates a candescence and liveliness to the scene.

A family.

The details are fascinating here. Firstly, there is the posture of the fisherman (in the black apparel). The way his back leans forward from the weight of the basket. He even looks like he’s balancing the basket on his knees momentarily as he releases his foot off the boat’s gunwale. 

Then, there are the two children on the floor by the bow. I think their coats are laid on the container just behind them, and the boy (with a black knife in hand) is about to gut a fish. His sister is leaning forward watching him do it. I wonder if Turner made the kneeling lady adjacent to them their mother (and, if so, is that fisherman their father?). It’s a charming little detail.

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Harvest Home (1809)

Harvest Home

This is an unfinished painting. According to the Tate: 

It probably depicts a harvest meal on the Earl of Essex’s Hertfordshire estate, Cassiobury Park. The smartly dressed black man standing on the left of the composition is George Edward Doney, the Earl’s butler.

Once again, the hustle bustle of life. People waving, talking, sauntering in with a bottle in hand, etc. There’s someone in a straw hat sitting aloft. To the left, a table with a few men around. A woman leading a child away. A few dogs. Bottles and glasses around. It’s an obvious celebration of sorts. It’s a shame this painting wasn’t finished as the foreground is barren.

The Earl, his butler, and the vampire.

Some curious details. The Earl’s butler (the black man) with a bottle in hand and something rolled up under his arm. The Butler (presumably) looks like he’s paying for something. Then, there are the two girls. It is either a vampire sucking the girl’s blood, or another girl whispering a secret. There’s something sinister about that face and the arm lifted to push him/her away. So, it might be a vampire? Don’t forget the pile of cutlery, plates and empty bottles. 

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View of Richmond Hill and Bridge (1808)

Turner bathes the bridge in aureate light. It’s clear and distinct whereas the environment is a bit vague and murky. The ladies – with a baby being lifted and held closely – are the only part of the nebulous earthy foreground that’s radiating. The river’s motion is so smooth and undisturbed that it adds to that sense of calm and idyllic peace.

I think I’ve actually seen this bridge in Richmond which is exciting. 

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Cliveden on Thames (1807)

Once again, Turner loves his clouds, moving waterways with reflections, farm animals, a charming abode and forestry and greenery. 

The Tate refers to the painting’s “imprecise, atmospheric style”. It seems that the lake has receded. The cows are ambling through, and their legs are exposed. The canal boat seems to be heading to shore (the large home probably).

This painting has an autumnal feel, but it does feel a bit warm and muggy. There is a lack of grass on the shore by the lake.