Cathy's Art Diary

Interesting online book discussion from the National Gallery looking at a recent book on the art of the British Isles. The author, Charlotte Mullins, was ably interviewed by Jacqui Ansell and they began by discussing the various definitions used in the book for what terms are used for the British Isles at various points in history. The author wanted to include Ireland in the mix as for most of the period under discussion it was united with Great Britain so their artistic histories are interwoven. In typing up the talk I realised they then went on to pick works in the gallery’s own collection which were covered in the book. This therefore became a bit of a skip through art history but it did lead to them making the point that much of what we think of as British art has actually been done by immigrants to the country such as Holbein and Van Dyck.

Fascinating detailed online lecture from the London Art History Society tracing changes meaning of depictions of Cashmere shawls in three portraits by Reynolds. Taking portraits of Captain John Foote, Mrs Horton previously Nancy Parsons and Mrs Baldwin, Jennifer Van Schoor, art director and graphic designer, traced the meaning of shawls in the 18 th century. For Foote the shawl was part of a diplomatic gift and showed his status within the East India Company on his return to England soon after this painting was made returnees from India were starting to be seen unfavourably and as ostentatious. Foreign luxuries were seen as threatening manners. The shawl in the painting of Nancy Parsons has shades of promiscuity as she was known to be the mistress of the Prime Minister the 3 rd Duke of Grafton. It was linking the exotic with low morals. Finally in the portrait of Mrs Baldwin it is still a sign of the exotic but in this case it was being seen as more acceptable as she was fro...

Charming exhibition at Pallant House Gallery on the life and work of William Nicholson. The show ran roughly chronologically which also meant it fell into a series of themes from his early graphic work, through his theatrical designs and onto his wonderful still-lives. There was also a good selection of his tender portraits and calming landscapes. The show blended his life and work well noting his relationship with his son Ben. A nice touch was to include portraits of William by his two wives who were also artists, Mabel Pryde and Edith Stuart Wortley. I also loved the addition of a dress made for Edie from material designed by William. I think the stunning still-lives were my favourite pieces in particular those which showed off his ability to paint shining surfaces. Closes 10 May 2026 Reviews Times Telegraph

Interesting installation at Pallant House Gallery of by Rana Begum. The piece was a series of shapes made of mesh in vibrant colours which hung down the 18th century stairwell. Lit by natural light from the windows the colours were more or less dense depending where you viewed it. Despite being still, its fragility gave a sense of movement to the space. This is one of a series of Staircase Commissions by the gallery. I think this about the third one I have seen. Closes April 2026

Beautiful exhibition at Pallant House Gallery of recent work by Caroline Walker exploring motherhood and early years care. These were bold yet tender paintings, sketches and ink drawings in domestic settings as well as maternity wards and other childcare settings. I loved this rather Caravaggio like painting "Friday Cleaning, Little Bugs" with its strong use of light making the outdoor setting slightly ambiguous. However, my favourite work was "Daphne" a painting of Walker's daughter seen through the window of her house during lockdown. It gives a real sense of the time and how we were all trapped in our homes and often only saw each other through windows. Again I loved the use of light. Closes 26 April 2026 Review Times

Slightly random online lecture from the Foundling Museum looking at music in Dutch Golden Age paintings. This was one in a series of talks on music in art and as such was geared to a more general audience rather than an art historical one. Mariska Beekenkamp-Wladimiroff, Founder of Art Historical London took us though the meaning of various musical instruments and of music in pictures in general as well as introducing the idea of symbolism in Dutch art. She had excellent illustrations but I would have appreciated a bit more structure to the talk possibly building to a conclusion.