Photo: Staircase

Photo: Under the Dome of the National Gallery

“The Family of Darius before Alexander” by Paolo Veronese

This painting is an incredible masterpiece.

It depicts the mother of Darius - the Persian King - pleading with their conqueror Alexander the Great for mercy.

After the death of Titian, Tintoretto and “Paolo Caliari” succeeded him as the preeminent painters of Venice. Paolo was known as “Veronese” as he was born in the city of Verona. I have been to Venice and their works adorn the churches, palaces, villas. But Veronese’s vast frescos and canvas really engraved on the European imagination a vision of Venice shimmering with pearls and precious stuffs.

Firstly, it is huge. Expansive.

Secondly, Veronese weaves such rich & saturated hues against some rather ghostly shadows. It’s so dramatic and engrossing. We are almost implicated in the Queen Mother’s desperate beseeching.

The dresses and capes (à la Venetian doges), and operatic Roman dress illustrate the brilliance and sheer magnanimity of Alexander the Great.

Alexander the Great spared the Queen Mother, wife and children.

Alexander’s gesture towards the fellow near him (“Hephaestion”) arises from the Queen Mother, Sisygambis, prostrating herself in front of Hephaestion mistaking him for Alexander. Alexander’s negligent gesture betokens a humility 

Details:

 

The Roman dress of Alexander the Great, and his curly hair.

The earnest look on the Queen Mother's face.

 

As ever, Veronese includes a charming canine against a little boy.

Ghostly horses against Roman pillars.

 

Love the primate as an exotic oriental detail.

Those little dogs seem terrified, as the boy himself being consoled.

Paolo Veronese masterpieces at the National Gallery

Veronese is a personal favourite of the High Renaissance. He doesn’t get the praise I think he deserves, and I think he’s totally arresting and compelling.

His highly stylised compositions with captivating use of colours and decorative details & qualities make for a glorious feast on the eyes. Also, his compositions are enormous. They can feel a little disarming.

He can capture a dramatic historical/classical moment, or make the painting move us beyond the mere “story” it reflects.

His illusionistic tricks wonderfully play with space, architectural detail, and light.

To do justice to Veronese, I have decided to split his works among a number of blog posts.

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The Adoration of the Magi

Oh my gosh... Really love it.

There’s just so much going on here..., but the eye is drawn towards a shaft of light illuminating the baby Christ. The three Magi (in such startlingly resplendent & opulent robes and garments) kneeling in supplication & in adoration.

The stable in, and over, Roman ruins. A nod to the Christian triumph over the pagan.

I am struck by the sheer sumptuousness of the garments (including the Madonna).

Gorgeous, rich ... angelic.

Angel heads, with bird-like wings, flying past a pagan ram’s 

head (which has shrubs growing out of it).

An observant dog at the corner is a recurring theme.

The roman numerals MDLXXIII refers to the year of the painting.

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The Consecration of Saint Nicholas

This is an old copy from an earlier post. This version wasn’t very good. I will update it.

As I wrote before:

This depicts the election of a new Bishop. One received a vision of a young-man called Nicholas kneeling. The figures interact in a vista which is completely unrealistic; curtains on one side and an elegant classic column on the other. A young Veronese in the background by the Bishop? And a strange twisted figure - almost falling - in the angel bearing the mitre and crosier.

Overall, I like the surreal claustrophobia of the scene, the expression of horror and shock carved on the body of the Bishop as he seems to recoil and advance at the same.

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The Conversion of Mary Magdalene

The colours and lighting/shadows against the architectural background is incredible. 

Mary Magdalene is shown here - fallen to her knees - overcome at the vision/words of Christ.

So beautiful, and the flooring is terrific.

The symmetry in the colours of Christ & Mary Magdalene is contrasted by their expressions.

Stoicism against “overwroughtness” ... I am not sure what Mary’s face and posture indicate,

but she seems distraught.

Note: her jewellery broken and slipping of her neck.

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The Dream of Saint Helena

Love it.

St Helena is the mother of Christian emperor Constantine. She is said to have the vision of the Cross on which Christ was crucified. 

From my old note:

St Helena is painted in such opulent colours of Venetian golds, oranges and rouges; and in soft delicate fineness. The green shoulder wrap, and the subtle red brushstrokes towards the bottom of her dress. The brushwork creates such incredible folds in her garments. Her lovely hair, dainty hands, beautiful face and carefree expression make this quite an intimate sensual painting. St Helena is glamorous and irresistible.

I think I like what I wrote.

I also notice how St Helena’s foot is resting against some furniture or projection of the wall. It feels rather like a “modern” depiction of a woman.

What a beautiful face, slightly bewitching ...

and there’s something engaging in the way she rests her head in her hand.

Also, the brushstrokes of luminescent whites and yellows create such

luxurious and regal garments.

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Portrait of a Gentleman of the Soranzo Family

Tremendous painting which was recently acquired by the gallery (2022).

This, it seems, is a rare example of Veronese’s full length head-to-toe portraits.

According to the NG:

Dressed in sumptuous black satin trimmed with ermine and poised against a backdrop of classical column and shimmering green drapery, this full-length portrait conveys the status of the sitter. He is thought to be a member of the Soranzo, one of Venice’s leading noble families, for whom Veronese worked throughout his career.

For me, I love the combination of the elegant and sumptuous - but dolorous use of colours, rather austere deportment, and his impassive and distant gaze to convey an aloof reserve and dignity. An “inherent” nobility and worth.

Terrific.

Smile 2 (2024) - horror film review

Wow!

I’ve just returned home from seeing the new horror film “Smile 2” today with my friend Karen.

I saw it at the Leicester Square Odeon theatre. Managed to bag a 2 tickets for £15.

And - boy oh boy! - it’s intense, v. scary and brutal.  

It’s a sequel to the 2022’s “Smile” film which, in my view, takes it to a whole new level of scare/horror with the terrific performance of Naomi Scott as “Skye Riley” (the central character) and the noticeable raising of the stakes. 

The fact that, in the film, Skye has the persona of a world famous pop star adds to the stress and tension which comes from her day-to-day “star” lifestyle and its demands. Since she has a well-developed character, it makes her turmoil so “real”. (I couldn’t really watch the teleprompter scene).  

It makes her unfolding even more torturous. The stakes seem much higher in this film due to (1) the existence of “Morris” (Peter Jackson) who has a plan to work with Skye and destroy the demon in time, while (2) having to please her legion fans, managers, mother, and friends. (For reference, I think her first interaction with Morris was real, but she missed her opportunity.)

The film’s depiction of the “pop star” reality creates a beautiful esthetic. Her outfits, hairstyle, and amazingly choreographed dancing are gorgeous.

There is a v. interesting insight into the demonic lore of the entity. It mixes the supernatural with biology as an allegory on trauma. To me, it seems as though this demon behaves like a virus. Skye is merely a “host” for this malignant entity to “use”; and then, after use, it spreads to the next person killing the earlier host. Its true origins though remain mysterious. 

Like the original film, the demon seems to enjoy mentally torturing the victim. It creates elaborate and complicated delusions which forces the viewer to question what was reality as opposed to illusion. This confusion and chaos combined with a veritable rollercoaster-ride of jump scares makes for a film you can’t look away from ... while also having to cover your eyes.

There is an escalating horror and so much gore. I had to look away often. And the ending scene will leave jaws on the floor. When horror films seem to be more of a miss thesedays, this film is a very strong hit. 

I definitely recommend it for any horror nerds.

Great viewing for Halloween! 

Rating: 4.5 ★★★★★

Hamas leader Yahya Sinwar finally killed

Such important news today.

The IDF killed Yahya Sinwar.

This piece of trash was evil incarnate and utterly irredeemable. 

The man who orchestrated the mass killings, rape and kidnappings of October 7 — and Hamas’ human shield strategy — finally got what he deserved.

We also shouldn’t forget that, in 1989, he was sentenced to several life sentences - not because he murdered Israelis - but because he slaughtered Palestinians.

That’s why he was honoured with the epithet of “The Butcher of Khan Younis” against Palestinians merely suspected of passing information to Israel. “According to Israeli officials, he later confessed to punishing a suspected informer by getting the man’s brother to bury him alive, finishing the job using a spoon instead of a spade.”

As I write this post, I’m thinking of all the people who died because of him — Israelis and Palestinians.

If you’d like to know who cared the very least about Gazan civilian lives, it was Sinwar. 

Good riddance.

I hope his death causes Hamas to lay down their arms, hand over the hostages and surrender.

Memorial for the October 7 victims, London Hyde Park

Earlier today, I went to Hyde Park to attend a beautiful, weighty and moving memorial event dedicated to the memory of the victims of the savagery and evil of October 7.

I was so inspired by the faith, courage, persistence, and the love for the Jews and Israelis. 

Many of the speakers touched my heart. We were joined by the released hostage Ada Sagi and her son Noam Sagi, the Holocaust survivor Mrs. Mala Tribich, and a few survivors of the Nova music festival.🥹.

So many people attended too — a reminder of the support and love for Israel.

Long live Israel!   Am Yisrael Chai!

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Below a few photos:

Thousands gathered in London’s Hyde Park.

During these tough times, Israelis & Jews should remember lots of people all around the world, like me, love your nation, love you and will support you !

“Jerusalem of Gold”. So beautiful.

Sir Simon Schama speaking. He shared three poems.

The last one being the most introspective.

Schama.

Mandy Damari, the mother of the British-Israeli hostage Emily Damari.

Poor mother. What strength. I can’t even imagine.

Édouard Manet and Pierre-Auguste Renoir at the Courtauld

This post is a few impressionist paintings from my recent visit to the Courtauld.

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A Bar at the Folies-Bergère by Manet - 1882

This was Manet’s last masterpiece.

Manet was never fully appreciated by the public. He submitted this to the Paris Salon of 1882 to negative reception. Critics just didn’t get it, they found it unsettling. He became disillusioned and ill. In April 1883, he died two weeks, after a leg amputated below the knee, due to syphilitic infection. Monet and Zola would help carry his coffin. 

And what a great painting - a complex composition involving a mirror (and, therefore, undoubtedly postulating something about the Parisian 19th century “reality”), and executed quite beautifully. Alluring.

What is fascinating is the expression on the barmaid’s face as she leans onto the bar itself.

Is she trying to recall something, or just feeling a bit tired?

Her energy certainly feels discordant with the overall tone and energy of the surrounding.

One of my favourite little bits of details is the feet of the trapeze artist at the top left.

Such radiant and sumptuous tangerines. They glisten in their bowel.

And the champagne bottles! Manet signs his name on the cover.

According to the gallery:

In this work, Manet created a complex and absorbing composition that is considered one of the iconic paintings of modern life.

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Study for “Le Déjeuner sur l’herbe” (Luncheon on the Grass) by Manet - 1863

This was a preparatory work for the masterpiece at the Musée d’Orsay.

It’s very interesting and makes you think.

This painting’s subject was considered shocking and scandalous in its depiction of the “everyday” and unidealised with the inversion of Renaissance traditions of the female figure.

As above, Manet draws inspiration from the contemporary and everyday ordinary people — in opposition to the academy.

 

 A nude woman casually lunching with two fully dressed men.

They don’t even seem to notice her; and she confronts the viewer with her direct gaze.

I think the lady in the background is a nod to Titian’s “Reclining Venus”.

Turban is part Medieval European Fashion. 

The chaperon/turban (along with the cape) a nod to Renaissance clothing - Jan van Eyck?

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Banks of the Seine at Argenteuil by Manet - 1874

So vivid and beautiful.

Apparently, Manet painted this while staying with Claude Monet over a summer break. Claude Monet’s wife and son are posing along the embankment.

Swift brushstrokes creating amazing ripples on the water surface.

Iran’s missile attack against Israel

I was watching the incoming and defensive missiles shooting across the sky of Tel Aviv on the news.

180 missiles fired into civilian areas with zero military objectives!

Only reason for low casualties are Israeli defence systems and shelters.

Last time Iran launched the mass missile attack, in April 2024, Israel showed tactical restraint. The Iranians told everyone ahead of time, and then launched drones giving plenty of warning to Israel. There wasn’t many direct hits. Iran just did a ballistic missile barrage and is saying more attacks are coming.

It’s no longer posturing, it’s now war.

Iran has certainly escalated this situation.

You cannot fight proxy indefinitely. This is not about “Iranian sovereignty”. To the extent that Iranian officials were recently killed in Lebanon & Syria, it’s because they were meeting with Iranian-proxy terrorist leaders.

Israel is definitely going to respond differently this time around.

“Surviving October 7th: We Will Dance Again” - BBC Documentary

I recently watched Yariv Mozer’s BBC documentary: “Surviving October 7th: We Will Dance Again”.

Found a YouTube upload (above). It is age restricted, so you’ll have to watch it via YouTube.

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Moving, harrowing and very deeply affecting.

At the end, just before the credits, it said: “October 7th was the deadliest single day for the Jewish people since the Holocaust.”

Jews must process the horrifying trauma & reality that Oct-7 was a repeat of the genocide of the Holocaust. It happened again.

To call it “terrorism”, I think, is to downplay the intent and barbarism. Entire kibbutzim were wiped out ... even pets showered with bullets by hate-filled maniacs. 

What is shocking is that Hamas recorded their evil savagery with cameras - they didn’t try to hide the evidence. You can hear them call Israelis dogs ... dragging hostages by their hair ... and smiling as they approach the victims pointing their guns. Their hatred for Jews is insane.

The footage of the dead bodies doesn’t get easier to watch. And I had to look away, and dry my eyes, at their capacity to brutally shoot defenceless and harmless kids trying to get away. Just when you think you’ve seen the worst, there’s more worse yet!

What I found most shocking was just how vulnerable Israelis were. Hamas fighters attacked at 6.29am ... and yet at only around 2pm did the armed forces appear to protect them. People at the Nova Festival sat for hours and hours and hours among dead bodies, or fridges etc waiting and waiting for help, with Hamas maniacs around them.

The part that hit me the hardest was the story of Ruth Peretz and her father Erick Peretz.

Politicians receiving “gifts” – Keir Starmer and the donorgate scandal

To bloggers not based in the UK: our new PM (and Cabinet) seem to have been receiving loads of “gifts” from a mysterious “Lord Alli” (spelt, apparently, with a double “LL”).

The PM accepted “clothes” from Lord Alli (including a dress for the PM’s wife), and an Arsenal box etc... and everyone seems to have received something from Lord Alli.

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For the Arsenal box — writes Stephen Daisley in “Now we know how Keir Starmer will fall“ (The Spectator):

I’m a massive Arsenal fan. I can’t go into the stands because of security reasons. Therefore if I don’t accept a gift of hospitality I can’t go to a game. You could say, well, bad luck. That’s why gifts have to be registered. But you know, never going to an Arsenal game again because I can’t accept hospitality is pushing it a bit far.

The £20k donation for the use of a flat — writes Archie Mitchell in “Keir Starmer accepted £20,000 of accommodation to help his son study for GCSEs“ (The Independent):

I’m not complaining about that, that’s fine, but if you’re a 16-year-old trying to do your GCSEs, your one chance in life, I promised him we’d move somewhere, we’d get out of that house, and go somewhere where he could be peacefully studying ... “Someone then offered me accommodation where we could do that, I took it up, and it was the right thing to do for my boy, it didn’t cost the taxpayer a penny.” Asked if that was Lord Alli, Sir Keir says: “Yes, of course” ... But my primary concern wasn’t about influencing government, it was making sure my boy could do his GCSE’s without wading through loads of journalists outside the house.

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How does the PM expect normal people (whose taxes are about to go up) to react to this when they can’t afford to attend football matches or find “somewhere quiet” for their kids to “study”? Especially after they’ve been criticising the Tories for being “out of touch”? 

Those undertaking a “civic” job in government (e.g. judges, parliamentarians), directorships, or professional associations have work policies forbidding accepting “gifts” from clients, because doing so runs the risk of falling foul of anti-bribery and corruption laws.

Starmer looks especially bad since he was a most vocal critic of cronyism and questionable donations in opposition.

He just looks like a massive hypocrite now.