I visited Cherkley Court in Leatherhead in 2007 when the gardens were open to the public and the house was to be viewed on named occasions; a bright orangery spilled out onto a terrace where one could sip tea and be fed on the spectacular view of the Surrey Hills.
An exhibition of Pierre-Auguste Renoir’s work has opened at The Lightbox in Woking in Surrey.
The exhibition features paintings, sculpture, etchings, sketches and letters by Renoir, which illustrate the rise of his popularity. Renoir almost exploded into the art scene in 1874 when his work first came to the attention of British art collectors and two of his paintings were shown at an exhibition in London; in the same year six of his works featured in the first Impressionist exhibition in Paris. Since then, Renoir has become one of the most internationally acclaimed artists whose art is coveted by collectors in the UK and all over the world.
The Lightbox is the first regional gallery to bring
together a cohesive representation of the work of Renoir held in British collections. ‘Renoir in Britain’ includes loans from The National Gallery, The Victoria and Albert Museum, Tate, Ashmolean Museum, The British Museum and The Courtauld Gallery.
It’s a fantastic exhibition, I highly recommend a visit!
‘Renoir in Britain’ is at The Lightbox in Woking until 20th April 2014. Free entry (donations welcome)
Opening times: Tuesday to Saturday: 10.30am – 5.00pm Sunday: 11.00am – 5.00pm.
The Lightbox, Chobham Road, Woking, Surrey. GU21 4AA
The Lightbox is also hosting a lecture on Thursday 27th March at 1pm by Christopher Riopelle, Curator of post-1800 paintings at the National Gallery on ‘Renoir’s Life and Legacy’ (£6 adults, £5 concessions. Advance booking required 01483 737837.)
Journalism has changed radically over the last 50 years. This is not news. The ‘Golden Age of Journalism’, so-called because of the thriving scope of newspapers and magazines and the associated ‘glamorous’ lifestyle of journalists in the 1960s, seems a world away from journalism today.
I interviewed Don Short, one of Fleet Street’s legendary journalists, to get a clearer perspective on the transformation of the profession.
Don Short worked as the Show Business Columnist on The Daily Mirror in the 1960s. At the time, the Mirror had a circulation of over 5 million – more than all the other newspapers put together.
Not only did he have the chance to travel the world with Hollywood icons, but he was given carte-blanche to report on them. It was Short who coined the now ubiquitous term ‘Beatlemania’ to describe the excitement and hysteria that the band inspired among fans.
‘Journalism has entered a new age as everything is now on screen and online. When I was working as a reporter your main equipment was a notebook, your crucial contacts book, and a telephone kiosk if you could find one. It was always a matter of dashing to get to the telephone box first! You’d have copy-takers at the end of the phone in the office who would take your dictation as you told your story to them straight from your head as quickly as possible, while a queue of other journalists formed behind you urging you to hurry up. Of course now everyone has a mobile phone from which you can call or email so it’s much faster and more direct.’
‘The hours were quite different too: your shift might start at 9am and was set to go on until 6pm, but at 5.50pm you could be sent anywhere in the world to cover a breaking story. You could then be away for several days, so you always had to have an overnight bag ready.’
‘Fleet Street was a community in its own right, and had a fantastic atmosphere. Each paper had its own – unofficial – wine bar or pub. So if you heard that a paper had a big exclusive and wanted to find out more, then you’d go to the relevant pub. The Daily Mirror’s was the White Hart (known as ‘the stab in the back’) and there would often be physical fights between journalists over stories!’
The Golden Age of Journalism certainly seemed very glamorous indeed…
‘We always stayed in the best hotels with the stars, you had to do that otherwise you made yourself detached from the story. Although I once worked on a story about Elizabeth Taylor when she was in Paris, and she always stayed in the Lancaster Hotel, but I couldn’t get a room there at that time so I had to rough it and stay in the neighbouring Georges V hotel! [one of Paris’ most exclusive hotels] For the Cannes Film Festival I often stayed at the Carlton Hotel. When I went to cover a story in New York I either stayed in The Plaza or the Waldorf Astoria. Another favourite was the Hotel Byblos Saint-Tropez.’
‘The Daily Mirror had two aeroplanes at Gatwick Airport on stand-by as part of a contract with Morton Air Services, which they could use as and when they needed them. One of which is now outside Croydon Airport on the Purley Way in Surrey. I had quite a few flights on that plane: I went to Austria to cover the story of a plane crash. I travelled with a photographer, whom I literally had to hold on to while he leaned out the plane door to take pictures of the scene below. And I also flew to Greece where a cruise liner had gone down.’
Showbiz Journalism is very different to how it used to be, partly because Hollywood has changed so much, as Don Short explains:
‘I don’t think Hollywood has the same aura as it used to as the stars are very different; some of their personalities seem rather vacuous compared to the characters of the 1960s and 70s.’
‘Now journalists often have to agree to terms and conditions when interviewing a celebrity: the publicist hands them certain stipulations before the interview and journalists must feel almost gagged by the parameters of the questions. I’m all in favour of journalists saying ‘No’ to having to agree to the set questions. Journalists often want to discuss other areas of interest to colour their interviews, while the stars want to mainly talk about their latest show or album. Stars often wanted to see the story before it went to press, which is always problematic for a journalist.’
‘I remember Sophia Loren wanted to see her photographs to check her hair was in the right place and to make sure she was looking her best!’
Don Short described some of his best scoops:
‘I reported on the death of Brian Jones from The Rolling Stones. He was found dead in the swimming pool of the house he’d rented in East Grinstead (which had previously belonged to A.A. Milne, the author of Winnie the Pooh.) I was there within a couple of hours of the incident and I wrote up the story which went to press for the front page of the next day’s paper.’
‘I also broke the story of Elizabeth Taylor marrying Richard Burton; and the break-up of The Beatles’, Surrey resident Short said with much modesty.
The Golden Age of Journalism: so very aptly named.
This interview was featured in Roy Greenslade’s Media Blog on The Guardian Website on Wednesday 26th March 2014. Click here to see it.
*Although the piece says that Daily Mirror circulation figures are incorrect, I found the information here:
(look at the top left hand story)
Picture Source: Hold the Front Page Blog
St Mary’s Guildford by Henry Pether (Image from Guildford Borough Council)
A local art exhibition has opened at Guildford House Gallery displaying beautiful images of Guildford past.
The collection includes paintings of the River Wey and atmospheric Surrey landscapes as well as ceramics from the borough art collection.Landscape towards Peaslake by William Hyde (Image from Guildford Borough Council)
Guildford House Gallery lends itself nicely to the character of the paintings as it’s such a lovely building, with a fantastic feature staircase, intricate ceiling design and charming panelled walls.
‘A Taste of Art’ is on until 22nd March 2014. Open Monday – Saturday 10am-4.45pm. Free Entry.
T: 01483 444751. Guildford House, 155 High Street, Guildford GU1 3AJ.
St John’s School in Leatherhead opened its doors last Thursday to host a guest lecture by the world-renowned art critic, historian and broadcaster Andrew Graham-Dixon.
Past St John’s pupils gathered with current students in the school chapel to hear the lecture on Caravaggio and his relationship with Christianity in his art.
Andrew Graham-Dixon’s talk ‘Whose Christ is it Anyway?’ explored Caravaggio’s unruly and indeed obscure background; in fact there are few concrete biographic details, and some of the most illuminating information about him can be found in criminal records of the time. He famously killed a man and was regularly in fights. His artistic technique mirrored his shadowy life, as Andrew Graham-Dixon observed that: ‘Light and shadows are key to his work and he himself was like a living chiaroscuro.’ He skilfully played with light on his canvas while dodging the spotlight in life, as he purportedly wore black and had his hair untidy to aid his camouflage!
Caravaggio lost most of his family to the bubonic plague when he was young. The Renaissance was a time of great uncertainty over what happened in the afterlife, so the present-day tensions only heightened those concerns. Graham-Dixon explained that Caravaggio often captured that very doubt in his paintings. Also, in a similar way, Caravaggio’s treatment of miracles is particularly interesting, paradoxical even, marked in a step away from the ‘fanfare’ announcement of a miracle taking place. The audience was told that: ‘Miracles are subtle in Caravaggio’s paintings. The Supper at Emmaus shows those who see the miracle, and those who don’t.’
Caravaggio frequently revisited the dramatic physicality of death in his paintings. Andrew Graham-Dixon told the audience that we can learn through the x-ray of Judith Beheading Holofernes that Caravaggio repositioned the head of one of his subjects to depict the most dramatic and bloody angle; and that Hollywood director Martin Scorsese had remarked to him that it was Caravaggio who had taught him ‘How hard it is to kill a man!’ – the similarities of the difficulty involved in showing the physical elements of death on screen and in art.
I thoroughly enjoyed the informative lecture.
Andrew Graham-Dixon’s book ‘Caravaggio: A Life Sacred and Profane’ published by Penguin. RRP £12.99