Soul Queer Perspective!

David McAlmont's take on the Queer Perspective tour at the National Portrait Gallery was a truly amazing adventure into some of the hidden secrets that surrounded some of the sitters, their concealed {same sex} lovers, including the statue of Albert and Victoria, which McAlmont had a few suggestions to share...

David McAlmont spoke beautifully with such passion about the selection of portraits and sculptures he chose as part of our tour around the gallery. Revealing myths and stories that have been branded about the certain sitters and painters; delving into their hidden lives on their quest to find love.

Accompanied with the artist Sadie Lee who was on hand to respond to any questions and give her view, as an contemporary artist on the portraits McAlmont had chosen.

My favourite portrait of this tour has to be by Thomas Burke of the famous boxer Len Harvey.

Burke was desperate to paint Len Harvey, that it took him most of his professional career until he was able to capture this acquisitive portrait. Shown as what the viewer can imagine a 'typical' boxer to be like; a towel draped around his neck, an over sized velvet robe, a clenched fist, and a side ways glance revealing Harvey's strong jaw line and angled nose- (or hiding that black eye??) We don't know- yet, as McAlmont went on to describe, the obsession Burke had to paint Harvey could have been out of more admiration and love for the boxer. I'd like to believe that this could be the case, as the outcome of this portrait reveals the delicacy of Burkes work to make a boxer 'float like a butterfly'

A beautiful tour!

What is our cultural Identity?

The main question asked on the National Portraits guided tour exploring 'cultural identity' by Liz Rideal.
What I like about these meetings at the Gallery is that every curator and guide has a different take on the themes being explored, and their own view of the portraits. We were took on a whirlwind blitz of over 12 portraits in the gallery from the 16c to contemporary photograph portraits. Exploring and questioning what it means to be 'British', from the sitters to the artists.

Starting off in the Eighteen by Twelve Print exhibition, looking at black and white portraits from M.I.A to the Princes William and Harry, gave an idea at the vast range of famous sitters housed in this exhibit. When considering the sitters Tracey Emin and the two Princes and what we could value to be true British actually when delving into their heritage reveals mixed nationalities in their backgrounds. So who is a true Brit?

Moving onto the Michael Landy sketch portraits supports the statement that most artists who study in London, aim to make work designed to stay in London, via varying shifting populations.



Looking at one of my favourite pieces in the Gallery; portrait of Zaha Hadid by Michael Craig- Martin, comprised via an LCD monitor/ computer with integrated software. It cunningly changes colour whilst you watch this portrait, cleverly and subtly done, made me believe that my sight was deteriorating. Asking whether line and colour can effect personality, as it is believed that Hadid's personalty is of a bright, colourful and vibrant nature, so then this portrait's style has represented her character perfectly:



Looking back at non British artists in the Gallery, it is funny to then come across German artist; Hanz Holbein's massive portrait of one of Britain's most famous iconic figures; Henry VIII. Questioning is this a British portrait?

Liz Rideal further questioned when thinking about our multicultural society, "How do we arrive?" Sometimes not war, or extradition makes us move, but merely population shifts-travelling etc.
Which led the group to the final portrait that is causing excitement and hype for the fact that this portrait goes against the Galleries main criteria for housing its works. This is of course the portrait by Benjamin Robert Haydon of Napoleon Bonaparte with Duke of Wellington (companion portrait)alongside, some calling this the 'struggling heroes'.



The galleries criteria is based on that the artist/sitter must have been a resident in the UK or have given something to the British society they live in. Of course, we know, Napoleon did neither!

Late night Hidden Histories

Went along to another late night shift at the National Portrait Gallery for the Gallery talk on Hidden Histories. Looking at a selection of portraits from the gallery, and a delve into their past, secrets and stories behind the sitters and artists of that time. Led by Sarah Ciacci she chose 3 very different portraits ranging from the 1500 1800s, and elaborating of the hidden story behind each one.



Firstly looking at the oil based canvas the portrait by unknown artist of Sir Henry Unton, in which portraits like this aren't usually seen in the Galleries collection, but because of it unique design and composition has been house at the National for quiet a few years. A rich tapestry of Unton's life includes past and present scenes from his life, with notably his portrait displayed openly at centre of this scene. The scenes from right to left displays moments in his life that correspond, or tells the viewer of the life that Upton had and the kind of gentleman he was. Importance's (of the time to status) such as, (wealth) at birth, studying at Oxford, travelling through Europe, studious, musician and publican.
The detail in this painting is incredibly rich from intimate faces to hand gestures, and the clearly marked essence of the passing of life into death, much to why this painting was composed in this way, and to me very notably but subtly the symbols of day into night at the very corners of the painting.



Thomas Howard portrait (Earl of Arundel), an oil on canvas by Peter Paul Rubens. Rubens chose to represent Howard realistically, compared to other portraits of this period where such paintings produced would have been edited and made to look much better than the actual sitter, were common. Rubens delivered exactly what he saw in this non idealisation of Howard's portrait, making this work interesting in its authenticity. This portrait valued here at the National in recognition of Arundel who was considered important for bringing new contemporary European art to London, and later setting up the Arundel House. A very dark but beautifully mysterious portrait.



Portrait of Mary Jane Seacole by Albert Charles Challen. This is a treasure of a portrait (and my favourite) only 9 1/2 in. x 6 1/4 in size and just discovered in 2002. Mary Seacole is best known for her nursing work in the Crimean War, although didn't really become known or famous for her duties and work until her autobiography was publicised. Her work is compared to that of Florence Nightingale, but obviously Nightingale being the more noted and pictured in art and history of the too nurses. With a recent new publication of her autobiography and the recent purchase of this portrait by the National in 2008, her reputation and work has now finally be reunited and valued. Beautiful portrait.

Look at reality through the Taylor Wessing Portrait Prize

Went to go and see the last week of the Taylor Wessing Photographic Portrait Prize at the National Portrait Gallery.

"The Taylor Wessing Photographic Portrait Prize 2010 presents the very best in contemporary portrait photography, showcasing the work of talented young photographers and gifted amateurs alongside that of established professionals and photography students.
Through editorial, advertising and fine art images, the entrants have explored a range of themes, styles and approaches to the contemporary photographic portrait, from formal commissioned portraits to more spontaneous and intimate moments capturing friends and family".

What I admired about this years exhibition is the concept of striving to find the 'real' in reality. Every image had an in depth story and truthfulness about it, nothing seemed compositioned in order to express an opinion. (All except Steven Barrittt's admitted self portrait of; Untitled from the series Analogous Mythography in which the arranged detail in this image was cleverly positioned, to form that of an obsessive Britney Spears fan - to put it frankly, though this image is not to be underestimated as simply as that).
Not wanting to take my time I found myself surprisingly encapsulated to stay at each frame longer than Trafalgar's traffic lights; what could be perceived as a simple 'headshot' became, to me, actually a door/window into not only the sitters life, but that of the photographer. By selecting just one image, caught a precise moment of innocent realism, the simple beauty in the photographers connection with the sitter. To me, that is what made the Taylor Wessing Awards the most contemporary and engaging of exhibitions I have seen.

Most of the images varied in content, tone and subject matter. What I was pleasantly surprised by was the amount of portraits that focused on the single female shots. I have to mention Abbie Trayler-Smith, with Untitled 2, (part of an ongoing series), Jeffrey Stockbridge, with Tic Tac and Tootsie (twin sisters Carroll and Shelly Mckean) from the series Nowhere but Here, Panayiotis Lamprou, with Portrait of My British Wife, from the series Human Presence and the first prize to; David Chancellor, with Huntress with Buck from the series Hunters. All of which gained places within this exhibition, all of which focused primarily on the female form/role.

Very interesting work from this years entrants!