Ban the Nymph - Manchester Art Gallery and moral censorship

He leans down to place his pitcher into the clear water of the pool but is startled to find himself surrounded by a group of beautiful red haired nymphs. They emerge from the water, bare breasted with flowers clinging to their long tresses. He looks down and finds one of the women has taken hold of his arm, she looks deep into his eyes and he can't resist the power of her gaze.

Hylas is never seen or heard of again.

Yesterday I heard that Manchester Art Gallery have decided to 'temporarily' take down one of it's paintings from the PreRaphaelite gallery in order “to prompt conversations about how we display and interpret artworks in Manchester’s public collection”

The removal is part of a gallery takeover for a forthcoming exhibition by Sonia Boyce and hopes to prompt debate about how females have been portrayed, as either passive decoration or femme fatales, and also raise awareness of how works should be contextualised in the future. I think it's a genius publicity move but one that could be so so detrimental to how we acknowledge historic art in the future.

Hylas and the Nymphs created by JW Waterhouse in 1896 is the painting in question and despite the curator Clare Gannoway insisting the move isn't to censor or deny the painting's existence I can't help feeling that to make an example of it in this way will forever mar its appreciation.

She said, 'For me personally, there is a sense of embarrassment that we haven’t dealt with it sooner. Our attention has been elsewhere ... we’ve collectively forgotten to look at this space and think about it properly. We want to do something about it now because we have forgotten about it for so long'  

I find this very unsettling. It somehow implies that as a society we can't handle anything that questions a safe and sanitised version of the world. Why must we judge the aims and morals of a painting that is over a century old by today's standards? Surely it is better to study the context from the era in which it was painted to place into the framework of our own understanding so that we can learn from it, not point a finger at it.

I understand that the story inspiration for the painting fueled a Victorian erotic fantasy. As a classical myth it gave license for a society that was easily morally outraged to enjoy a bit of titillation and sensuality. Young, beautiful naked girls (the same girl in fact, painted seven times) all wet and covered in flowers suggestively tugging at a young man's arm to join them for... well who knows what, the myth never actually says, and the Victorian imagination could be very kinky.

I also understand that the painting holds layers of meaning. The usual male and female stereotypes being turned on their head. The strong Hylas is struck passive by the intense energetic sexual force of the nymphs. As he enters the water he loses himself... a little death... The power of the female sex overwhelming and destroying him. Victorians reveled in their fascination with sex, and more importantly their fascination and fear of female sexuality.

The painting's style is inspired by the PreRaphaelite Brotherhood (PRB) which strived to show truth in nature, both of the natural world and natural psyche. It wanted to do away with the sterile primness that had become the fashion and show real feelings and ideas that subsequently shocked and upset the art elite of the time. They painted about love sex and death. As a long time lover of the PRB's I very much appreciate Waterhouse's work for these very reasons.

The ideology behind the female form was so different from what is acceptable today but I understand how and why it was and that doesn't make me appreciate the work any less. I can clearly separate what the artist was trying to achieve from my own modern feminist values and enjoy the art from a place of pure pleasure. Taking away the painting denies future generations an opportunity to learn it's background or enjoy what is truly a beautiful piece of art. 

Also it does seem ironic that a painting that aimed to shake up the art world back in the 'stuffy' Victorian era is now being treated in a similarly 'stuffy' way by an easily outraged age.

In a week when F1 has just announced that it will no longer have 'Grid Girls' at its Grand Prix and Darts PDC is to scrap its 'walk on girls' it's a clever move to then take away a provocative 'girl' heavy painting from a city art gallery, but I just can't see how the two eras can be compared.

As a society we are definitely at a stage where having women appear in part, for decoration and male enjoyment should be questioned. But this opens up further questions still about a woman's right to choose to appear in this way, for what is feminism if not to support female choice? This in turn asks questions about promoting the 'wrong' image of women and how that feeds into the everyday sexism that many of us face. 

If Waterhouse's Hylas and the Nymphs were to be created today then we would have every right to ask the same questions. But it remains an historic art work and should only be judged by historic values. We can hypothesise about its relevance to today's standards, and we should, but if we begin to judge every art work from the past from a modern moral platform we lose sight of all the things they could tell us. We could be setting a dangerous precedent that dismisses any art work that hits an over sensitive nerve.

I am impressed with Manchester Art Gallery for having the gumption to create modern debate about historic art. How often does art, or specifically British historic art make the headlines? It is heartening to know that the public care enough to get involved and make their voices heard. I for one felt compelled to write this to get my feelings out in the open because this REALLY MATTERS!

I just worry that this could start a trend that gives an increasingly self absorbed generation the right to sneer with contempt at the past and ignore all the lessons it has to teach us. Who is to say that in a century from now the art work of today won't be viewed in the same way?

Please Manchester Art Gallery give us our nymphs back and don't treat us with kid gloves. You say this wasn't to censor, but by taking away the very thing that prompts the debate you rob us of the chance to make up our own minds.

From Pre Raphaeltes to Pin ups

Anyone who has read my blog before when I've been speaking of my love of Pre Raphaelite work will know I've often held the opinion that the Pre Raphaelite models were the pin up girls of their time. I've always thought of them in the same way, they might not be portrayed as cheeky or scantily clad, but they are definitely unattainable and glamorous, and they certainly define an era through their beauty.

So you can imagine my excitement of recently finding out about an artist who managed to span both genres in his lifetime and reflected this in his art work!

Frank Cadogan Cowper is widely known as 'the last of the Pre Raphaelites' being born in 1877 just around the time Edward Burne Jones was creating such works as The Beguiling of Merlin. 

Although Frank Cadogan Cowper was never one of the 'brotherhood', that title only belonging to seven artists including the best known Rossetti, Milias and Holman Hunt, like countless artists after them, being loosely associated with the Pre Raphaelite movement was enough to earn Cowper an honorary PRB badge.

In fact by the time Cowper first exhibited in 1899 the original Pre Raphaelite brotherhood had disbanded over 30 years earlier, yet it's influence could be seen in artists such as Evelyn de Morgan, John William Waterhouse and of course in the work of Cowper himself.

The painting on the left is called 'An Aristocrat Answering the Summons to Execution'
which won him critical acclaim. It reminds me strongly of Milais work in paintings such as 'Lorenzo and Isabella', just look at the dog, and the attention to detail even the black and white lining of the aristocrats coat echos Isabella's ribbon in her hair. I'm also pretty sure that this picture is laden with symbolism of impending doom just like Milais work.

 As Cowpers career took off his evident admiration of the Pre Raphaelites could be found time and time again in his subject matter and style. Here we see 'Venetian Ladies listening ot the Serenade' which takes obvious inspiration from Edward Burne Jones work, 'Sidonia Von Bork' not to mention Rosseti's 'Lady Lilith'.

 

The turn of the century saw vast changes in modes in art yet Copwer effortlessly bridged the Pre Raphaelite fixation of beauty and medievalism with contemporary themes. I especially find  his models fascinating because as the decades roll by you can witness the fashion of the times reflected in their faces. Take for instance these two paintings both called Vanity, painted first in 1907 (using that frock from the earlier painting above once again) and then 1919 and you can certainly see a nod to the decadent screen sirens of the early 20's in the latter's face.

Perhaps the best painting by Frank Cadogan Cowper to illustrate my point about pin up girls is this picture called 'The Ugly Duckling' which is startling when you compare it to his earlier paintings. It could easily sit next to a Gil Elvgrin or Peter Driben. If not somewhat more demure than those playful gals, this lady certainly has the aura of a pin up, one of those smiling yet unattainable lovelies which always make the world seem just that little bit perkier

Cowper's work is a beautiful illustration of how art changes and evolves and is one of the many artists who existed between the great art movements, sometimes overlooked simply for that reason. I however, love the fact he represented both Pre Raphaelites and pin ups with equal flare!

Gemma***

The People You're Not

Hi peeps! A belated happy new year to you all! There has been a good reason for my tardiness in posting recently and it's one I've not really told anyone about, but, ooh it is good!

Just before Christmas I was invited to take part in an exhibition at the Cornerhouse gallery in Manchester, which was draw enough in itself, but the idea for the work was proposed by Harry Hill. Yes, THE Harry Hill, he of TV Burp fame and such. Being a fan I jumped at the chance to participate. Here's the scoop, it's complex so pay attention:

Last year the Cornerhouse hosted an exhibiton called Unrealised Potential, an inventive show where artists submitted ideas for unmade work which was then put up for sale at £50 each and contractually had to be realised within a two year period. The show blurred the line between artist, public and curator allowing anyone to buy the ideas and fulfil the brief as they chose.

One of the ideas was put forward by Harry Hill, a little known artist in his own right, and consequently bought by art producer and curator Bren O' Callaghan. The idea was a simple title; To re-create George Cruikshank's The Worship of Bachus using known alcoholics.

That is where I came in, I am one of seven artists realising Hill's idea. But how? Have you seen Cruikshank's The Worship of Bachus? It's huge and contains hundreds of figures.
Bren came up with the clever solution of looking at the seperate tableaus within the work and re-creating them in the style of Victorian toy theatres. It was the layers of perspective that inspired him; just like the layers of set and scenary within a toy theatre.

What I especially like about this idea is that it hits upon themes I am interested in. Cruikshank was a lethal satirist (paid by some well known figures of his time NOT to draw them!) Burlesque took hold in the music halls of Victorian Britain and started life as saucy satire, mimicking and mocking the upper classes. This was the beginning of the bawdy knowing humour found in burlesque right through to today. (The stripping element came a bit later when it transferred to America). A toy theatre is the perfect platform to reference the burlesque aspect of the project.

Detail of The Worship of Bachus showing The Wedding Supper by George Cruikshank

The tableau I have concentrated on is The Wedding Supper (or Til Decree Nisi do we Part) a romantic scene... with booze. The twist to the theme is that of a celebrity wedding, the likes of which you find in OK Magazine and Hello! The comely bride, bridegroom and guests replaced by a sozzled Kerry Katona, Shane McGowan Tommy Cooper and the Queen of camp herself Liza Minellii to name but a few!

My drawing of Kerry Katona as a glazed Cinders

Not only were we re-creating the characters, we were given free rein to re-design the background and set. Mine is panto themed and I chose to set the event in Widow Twanky's laundry, using undies and socks as gay bunting. But the clothes are soiled; you know the saying of airing your dirty laundry in public? Well that's what these celebs are doing. Right from the go, the introduction of gin, champagne and beer has corrupted the idea of true romance turning it into a media circus instead. My procenium arch features Venus doing her best to spread the love, but being hampered by the drunken antics of her cupids.

Detail of the pencil sketch for my take on the toy theatre's procenuim arch

I have really enjoyed working on this project and putting together a scene of debauched fun. I've loved referencing the boozy antics of some well loved and maybe not so well loved characters. The joy will be seeing the finished thing actually constructed as a giant toy theatre alongside the other artists' tableaus. The complete set of six theatres will grace the Cornerhouse from Jan 29th until Feb 27th

To find out more and see some of the other artists creations see Bren's blog, which has covered the process of this project from the start.

Also as I was writing this an article has been published in The Art Newspaper about the show, check it out!

The People You're Not

Cornerhouse
70 Oxford St Manchester
29th Jan - 27th Feb
Private View 6-9pm 28th Jan

Tattoos, News and Meows...

Lots of bits an pieces to pass on this week!

Firstly The Chantilly Belles are performing this Sunday at the Llandudno Victorian Festival! We are taking to the main stage at 8pm. You can find detials about the listings and running order of the weekend at: http://victorian-extravaganza.co.uk

We also have a new Facebook page so if you'd like to become a friend find us at: http://www.facebook.com/home.php?#/profile.php?id=1737104154&ref=profile

My nautical tattoo paintings are coming on well! Above you can see how far I'm up to with the Rack and Ruin painting.

I've found I've had to approah this work in a totally different way to my usual paintings; It helps to apply a strong outline first instead of last or if at all, as this really helps give you a better idea of how the finished piece will look and just like a real tattoo the outline is the key element which holds the whole thing together. Also I've had to think about new ways of shading and chosen a very cartoony style which works well. I've also found it's much easier to work flat on these images rather than using a easel.
I am currently working on two other designs which I hope to begin next week some time. Here's a couple of great tattoo studios I've found in my research which you also might enjoy! I loved the work of Gungho Tattoo! Very classical and vibrant and high quality! and Memento Mori have some great examples of nautical art work.

And now for a new section to this blog. I'm calling it 'Rainbow Watch'. A very dear friend of mine has recently commissioned me to paint her little pussycat Rainbow after seeing my painting 'American Curl'.

American Curl 16" x 20" Acrylic on canvas

This isn't the kind of commission I usually take on but as I knew Rainbow personally I couldn't resist! This painting is going to be worked on slowly over the next few months in between other projects so look out for Rainbow's progress in the coming weeks! To see more of my work go to my website: www.gemmaparker.co.uk

Merry Christmas!

As the festive season approaches I am getting more and more excited! That's not to say there haven't been lots of stresses in the run up. Things never run smoothly do they?
Anyway, last week was the private view and last phase of my burlesque art residency in Sunderland. The exhibition went really well. It was housed in The Place and was one of the first art shows to be held in the mutli million pound arts venue! At the private view I met some of Sunderland's art and burlesque crowd, including the lovely Miss Gretchen Tice a member of the North East based burlesque troup, The Coquette Collective.

The project, although delayed by three months until completion, was really fun and I enjoyed finding out about an area I previoulsy knew nothing about. I was fascinated by Sunniside's merchant and sea faring history. I also enjoyed researching about Victorian culture and how the characters from the project fitted into this. I will be uploading the final images and write ups onto my website in the next few days so keep your eyes out for updates! In the meantime here's a snippet of the work from the exhibition:

The Widow

The character you see here is Margaret Turnbull a widowed school mistress who lived at number 13 Norfolk St in 1861.
Women were not allowed out of the house during the first year of mourning and were obliged to wear all black and a weeping veil. Some would even go so far as to dress the entire household including staff in black. Here we see Margaret outside her address which is now a picture framers
Margaret was 40 years old when the 1861 census was taken and lived with her general servant.
With a high death rate during the Victorian era mourning was a part of everyday life which encouraged a melodramatic obsession with morbidity and went on to influence the gothis movement of later years.

To read more about the project see older posts of this blog or go to my Myspace blog for a blow by blow account as the work progressed

The private view also included a fabulous live V.J set from artist Carl Gregg.
On the day of the photoshoot we all acted and reacted with eachother in character. All this was filmed on several video cameras. We performed and hammed it up in Sunniside gardens while the public gathered around filming us all on there mobile phones. I'm pretty certain we entertained a few local buliders too as they watched from their scaffolding! All the footage was then taken and edited by Carl who projected and overlayed the images to music on the walls of the gallery.
The final product was fantastic and I was pleasantly surprised as I felt a right idiot acting cheesy and pouting while the camera was rolling, but the finished thing looked so effective! I only wish Carl would release some of his amazing work onto the internet to show you!

Now I'm winding down for Christmas and I hope everyone has a wonderful holiday! I intend to indulge my chocolate habit to the MAX!
Until next week, Merry Christmas! xxx