The Fitzwilliam Art Collection – French impressionists etc.

Yesterday I visited the Fitzwilliam Museum. Strolling around Cambridge - especially on a lovely warm summers day - is a delight; and the Fitzwilliam is deserving of a special visit. I think such a museum demands multiple visits, so I plan to cover different aspects in the coming weeks.

For this blog, I would like to write about some of the impressionist collection.

Adjacent to Peterhouse College, it is an imposing palatial building on Trumpington Street. Founded in 1816, it is a serious museum and houses various historical collections of art and antiquities for the University of Cambridge.

Piette's House at Montfoucault by Camille Pissarro

Camille Pissarro made a number of paintings at his friend Ludovic Piette's estate. This is a beautiful one. Although the snowy matutinal white is formative, the earthly and woodland gray-verdancy melts just beneath. The limited pallete and brushwork makes for quite a forceful serenity and rustic calmness.

Poplars by Claude Monet

In the summer of 1891, Claude Monet painted Poplars along the River Epte. He wanted to capture the trees during the changing seasons. It's interesting how the trees seem to fade and melt at the background. The shifting sky-cerulean-white adds to the feeling of wind blowing the trees.

La Place Clichy by Renoir

Renoir is great at the hustle-bustle of Paris and the feminine. The careful brushstrokes create an elegant textured overcoat, her hat with a bow-knot, and hair wrapped in a bun. It seems to be the edge of a pavement, a horse-and-cart approaching, everything else is shrouded in a haze, and our attention is focused on this lady crossing the road. Lovely.

The Gust of Wind by Renoir

The painting is called 'The gust of wind' and it is clear why. The warm summery breeze pushing up through the clouds. The earthly terrene and greenery blurs - but the thick heavy brushstrokes seem to create a movement among the foliage. A warm breeze. Again, lovely.

According to my encyclopedia, it seems this painting was financial disaster for Renoir. Not only did its public exhibition - outside the official Salon - engender hostility, but he was only paid 120 francs - which was the lowest paid for any painting in the entire exhibition. oh dear.

Springtime by Monet

Monet painted his own daughter and son here. There is something sweet about these two. It looks the sister in the darker blouse turned away from her book to listen to her brother.

This is just lovely. The wonderful textures and shades of green amid the patches of sunshine breaking through the trees. I really love the stretching-bending curvature of the trees and how they almost blanket the heavens. Makes you wish you could join the conversation! 

The Forest Clearing by Cezanne

Paul Cezanne's painting was supposed to be unfinished, but the patches of incomplete work have been incorporated into the general feel of the painting. What's clear to me is how perspective can warp everything. What we focus on, and what we exclude. There is a sense of a linear delineation in the painting and broader shapes. Even the colour palette - with its subtle smudges and blotches - seem to accentuate those underlying shapes. I can understand why Cezanne is hailed as the forefather of cubism.

Undergrowth by Cezanne

An autumnal feel, barren trees, dappled light. Cezanne likes a forest clearing. This painting was originally brought by John Maynard Kaynes. 

Portrait of Heneage Lloyd and his Sister by Gainsborough

This is a lovely painting by Thomas Gainsborough. There is a distinct feel and atmosphere to the broader picturesque landscape that complements the two characters. One of calm, serenity and peace. These two are presumably siblings; and, to me, it feels like they are having a lovely day strolling together. There is a sense of sweetness and tranquility.

The Twins, Kate and Grace Hoare by Millais

I don't know much about Sir John Everett Millais; but this painting is fascinating. It seems he painted twins sisters of a wealthy manufacturer. I can't help but feel there is a vulnerability in both sisters - a quiet nervousness or anxiety. It makes me want to look closer. Great painting.

On the Brink by Elmore

This painting by Alfred Elmore is captivating. According to the gallery note, the lady lost a fortune gambling; and is now out in the darkness of the evening. The warmth, laughter, light and energy are behind her. The whispering man is offering to clear her debts ... but the price would be her virtue. The painting draws us in. Her face is heartbreaking. She seems in a daze of anxiety and worry, and drained of colour. Just wish I could offer a consoling hug.

Cubist Head: Portrait of Fernande by Picasso

This painting doesn't seem to intrigue me so much. Although the portrait's sense of depth is interesting and the landscape is curious. There is something immersive with the painting's sharpness, movements, lines, shapes etc. but I can't say I really warm to this one.

Cubist design: still-life by Georges Braque

Georges Braque with more cubism. The way I see it, a painting would normally guide the viewer. A painter would know the human eye would search for distinct details, or angles, or colours. When we look at an object, our eyes scan it. In so doing, we register certain details before moving to the next point of interest. Cubism seems to take the handrail away and I wonder whether the artist is communicating to me, or I'm communicating to myself. It feels like a mental scramble.

And, finally, a few of the Fitzwilliam itself ...

Review: A Very English Scandal by John Preston

This is a truly engrossing story of the Jeremy Thorpe scandal by John Preston.

This is obviously before my time; and I had only ever come across Jeremy Thorpe via the BBC Desert Island Discs. George Carman QC briefly discussed the Thorpe trial with Sue Lawley (more later). So, other than that, I really had no idea about his life or his intrigues.

I read the book over two days. It is amazing just how shocking I found this book. I would find something astonishing on a page only to be shocked afresh a chapter later. At times, the book is hysterical. I was chuckling quite a lot. We take it for granted just how much the world has changed since the 1970s. At the end, the book concludes with a sense of sadness and pathos towards these real-life characters who were all casualties of some kind.

Jeremy Thorpe appeared to have been a charismatic rising politician of a major party in British politics. But, he was gay and he seemed to have had a relationship with a sweet and 'cherubic' Norman Scott. It's clear from the outset, this is not a relationship of equals. Thorpe was truly gay at a time when homosexuality was illegal and such 'indiscretions' would make an MP vulnerable to blackmail. In this particular case, it resulted in a trial - at the Old Bailey - with Thorpe being charged with conspiracy to murder Scott. Scott was a troubled younger gay guy. He seemed very innocent and vulnerable and had psychological issues. This makes the latter part of the book (the trial) quite sad to read. He never really had a family, and Thorpe seems to have used him. Also, their first sexual encounter strikes me as little more than rape. He was a drifter who could rarely look after himself; and was often medicated or would ply himself with alcohol. He was a poor soul.

I really enjoyed how Preston takes us through the Parliamentary goings-on to decriminalise homosexuality, the Wolfenden Report and in particular the efforts of the Welsh MP Leo Abse. It's fascinating to read the Parliamentary concerns and worries about homosexuality. Then, Preston takes us through the economic and political issues of the day so the story feels anchored to the 1970s reality - from inflation to the strikes etc. 

Then, there is Peter Bessell. He is an important part of the trio. He was a straight colleague of Thorpe; and had very quickly morphed into a very close confidant and friend. He would go to extraordinary lengths to recover compromising letters from Norman and generally clean-up Thorpe's messes. It was never very clear to me what motivated Bessell to go to such lengths. He may have been committed to the Liberal Party and perhaps towards Thorpe's friendship personally - but it doesn't seem normal and can't get my head around it. Even at his extremity, and after Thorpe had betrayed him, he was still concerned for him. Perhaps it was Thorpe's apparent charisma and forceful personality. Thorpe strikes me as a complete narcissist and crafty manipulator. It's the only explanation for why his wife stood by him.

The highlight of Preston's book is the court case (Part 4). We are introduced to George Carman QC who is representing Thorpe; and the judge, Sir Joseph Cantley. Carman had strategically let slip that Thorpe has 'homosexual tendencies' in the trial. Thorpe would never have made such a confession - but it meant that love letters and former lovers would not testify to his past sexual indiscretions in court. Carman also seemed to have framed Scott as a predator who had taken advantage of Thorpe, as opposed to the other way around. 

The judicial summing up by Cantley was so biased as to be ridiculous. The judge described Norman Scott as 'a crook, a fraud, a sponger, a whiner and a parasite' - and then adding '... but of course, he could still be telling the truth'. The complete fouling and besmearing of Norman and Bessell in the court - regardless of their own personal failings and shortcoming - was an appalling treatment. The judge, it seems, was toadying to Thorpe's social standing and prominence etc. Preston points out that Auberon Waugh and Carman were both surprised at the 'restrained' way Peter Taylor QC had defended the case. Preston also cites a 'Dennis Meighan' whose police statement was apparently doctored to remove Thorpe's name. Another mystery concerns Norman's original early letters which were taken by the police and handed to MI5. We are never told what happened to them. All-in-all, the court proceedings leave you with a bitter aftertaste as justice was not done in court.

A fascinating fast-paced story, both hysterical and sad; and very gripping.

Review: The Pope's Exorcist by Julius Avery – potential to be a better film

Russell Crowe, with a decent Italian accent, plays the Chief Vatican Exorcist, Father Armoth. Crowe's performance is pretty good. He becomes assigned the case of a boy in Spain whose family had just relocated to their 'ancestral' abbey (from the US??). The priest discovers the Abbey hides secrets which will test his faith. 

The annoying thing about this film is its potential. It doesn't really offer much that isn't predictable or filled with the standard horror cliches. So, once again, the boy is possessed and in danger ... once again the priests have flaws which the demon exploits, their faith is tested and the priests must conquer themselves. It is the familiar ground.

However, this film has an interesting conspiratorial element which gradually unfurls. It builds on a sense of unease in navigating the Church's history; but it doesn't seem to go very far. The scenes in the catacombs with the books and the encaged skeleton were really interesting and creepy. But it's all very quick and to little effect.

Despite the idea that the legacy of the Spanish Inquisition being imputed on demonic possession is a bit silly (would it make sense for future generations to blame child sexual abuse on possession too?), it didn't seem to be explored much. The Spanish Inquisition could have been an interesting angle with some depth - but it doesn't do much more than a background for mounting jolts.

Towards the third act, the Pope's Exorcist veers towards the horror parody. For me, I don't feel very comfortable in a movie that shifts between the dramatic and the comedic. It's not a movie that's taking itself seriously. Not to mention the exploding bodies, ridiculous amount of blood, stretched faces, rough use of CGI effects etc.

This film isn't terrible, it's fun – but could have been more.