Thursday, May 08, 2025

Royal Society of Portrait Artists Annual Exhibition 2025

I had an extremely pleasant time at the Private View yesterday for the Annual Exhibition 2025 of the Royal Society of Portrait Painters

Overall it was a real pleasure to be able to meet artists and view an exhibition and the artwork in a very congenial environment. So much so it will be my abiding memory of the exhibition!

The catalogue of the Royal Society of Portrait Painters Annual Exhibition 2025

How to have a great Private View

The reasons for the congenial environment were:

  • the Private View started at 11am and the speeches and prize giving was in the evening at 6pm, by which time I'd disappeared!
  • at all times there were enough people around for it to be happily populated - but at no time was there any sort of crush or sense of standing room only
  • as a result I could SEE THE ART!!! 
  • More importantly for me, I was also able to talk to various artists - both members and open artists - without the sound of the constant chatter generated when you invite everybody to the same PV in a very short time slot!
  • AND I was able to take photos of the galleries because they were not too crowded
  • Net Result: I don't have to pay a second visit just to get photos - which always makes me rather grumpy....
Moreover, this was one of the best hung exhibition by the Royal Society of Portrait Painters that I've seen in recent years. It looks great and has got a really nice flow to it and, more importantly 90% of the artwork is worth a good look (Note: I never like everything!). I gather there was a new set of hangers this year and I think they should be encouraged to do a repeat job next year!

West Gallery


I took photos of all the artwork in the exhibition and 
  • my photos include the artwork I liked - as single artwork photos. It's always interesting to see which aligned with the views of the Judges. Plus there's commentary on some of the photos.

More about the exhibition after the innovations highlighted below!

The Buyers' Preview

Wednesday, May 07, 2025

Sainsbury Wing reopens + Coronation Portraits on display

The unveiling of the two new Coronation Portraits

Two big events happened yesterday at the National Gallery in London.
  • In the Central Hall the King and Queen unveiled the Coronation State Portraits, commissioned from the artists Peter Kuhfeld and Paul S. Benney. These portraits will remain on display at the National Galleryfor one month until 5 June, before they then move to the Throne Room at Buckingham Palace.
  • the King officially "reopened" the Sainsbury Wing after the major £85m project to transform it over the last two years to marh the 200th anniversary of the National Gallery.
The new entrance to the National Gallery

Two Coronation Portraits

Sunday, May 04, 2025

"Flowers - Flora in Contemporary Art & Culture" at the Saatchi Gallery - extended!

I'm never very sure why some art society selection panels have been somewhat sniffy about paintings of flowers. I've certainly encountered that view in the past (I think they ranked just above paintings of cats!). I guess this was associated with times when those running societies were somewhat sniffy about the participation of women...

However, anybody doubting the popularity of flowers should have been in Chelsea recently. Absolutely HORDES of people have been to see Flowers - Flora in Contemporary Art and Culture at the Saatchi Gallery (£20 entry or £12 if you like me are pensioner age)

Due to the popularity of this exhibition, pre-booking is strongly advised. Visitors are welcome to turn-up on the day, but may be turned away once the capacity for each ticket session is reached.

I've been meaning to go and see it but wanted to avoid the hordes at the beginning and weekends and holidays - and then forgot that it was supposed to finish on 5th May! 

So I scooted along yesterday morning before the hordes wanting to see it before it "finishes" on Bank Holiday Monday.

EXCEPT it's so VERY popular that the exhibition is reopening from 30th May to 31st August 2025.

We’ve been overwhelmed by the incredible response to Flowers. Visitor numbers and feedback have been exceptional, with audiences of all ages sharing feelings of joy, nostalgia, and wonder. We look forward to welcoming new audiences over the summer period, and those returning to enjoy the exhibition again.”
Which means it's on at the same time as the RHS Botanical Art & Photography Show for those who really like flower paintings!


About the Exhibition

It's very much a mulit-media exhibition - examining all the different ways flowers have been presented in visual culture and artefacts.
FLOWERS spans a wide array of media – including large-scale installations, fine art, photography, sculpture, fashion, film, literature, and music – offering a multifaceted exploration of the flower as artistic and cultural muse. The exhibition invites visitors of all ages to engage, learn and reflect on their personal response to flowers, with each section of the exhibition revealing different instance of flora through art, culture and our everyday lives.

It's a very curious exhibition. I'd love to be certain about the business model behind it - which I think I've worked out. Let's just say there's an element of commercial which is not very evident unless you observe and take a little time to think - and read a few exhibit labels.

Anyway, back to the exhibition.

I was glad I went. I saw some things I've never ever seen before. 

At the same time I also saw some art I hurried past and would be happy to never see again.

Some names were new to me - and I'm glad to have found them out

Some names which one might expect to see there were absent. I'm guessing those in charge of the artwork were not collaborating (eg how could you have a photography exhibition without Karl Blossfeldt. Apparently you can - you get Blossfeldt imitators instead!!).

The names of SOME of the artists are listed on the main page for the exhibition on the Saatchi website - I suspect these are where there has been commercial support for the exhibition.

However not all artists are listed which I thought grossly unfair to those who were not (eg all the artists who have contributed paintings of plants via the Chelsea Physic Garden Florilegium Society - and donated these to the Chelsea Physic Garden. CPG got a call out - but none of the artists did.)

The Rooms

The exhibition is on two floors and organised by themes which are as follows. 

The first sentence - in bold - is the official explanation. What follows is me.

The Entrance / Stairs: Greeting visitors at the entrance is Journey of Progress, a monumental 50m² mural by British artist Sophie Mess. Spray-painted over nine days along the height of the Gallery’s stairwell, the work is a symbolic meditation on growth. 
  • Well I do lifts not stairs so this was a bit lost on me in terms of walking up next to it. However I did get to admire it from the first floor looking down at it.
Sophie Mess with her artwork spray painted up the stairs

Room 1: ROOTS explores the rich history of artists depicting flowers, from the Renaissance to the modernist works of the 20th century. 

ROOM 1 - the Van Gogh on the left has been sprayed/painted on to the wall.
  • It looked like it might start well with a painting by Bosschaert - EXCEPT for the fact that 
    • it came from a minor museum (Shakespeare Birthplace Trust) 
    • IT was absolutely filthy and well overdue for a visit to the restorers for a good clean. 
    • was not by one of my favourites - the wonderful and very famous 16th century painter Ambrosius Bosschaert the Elder (who you can see in the National Gallery) - but rather by the 17th century Jean-Baptiste Bosschaert (1667-1746) who I've never ever heard of and appears to be fairly low key and essentially a decorative painter
  • Some interesting stuff from Sanderson and William Morris - including my bedroom curtains from 40 years ago! 
    "Time was" by Sanderson
    - and my bedroom curtains 40 years ago

  • one of the best know contemporary painter printmakers was Elizabeth Blackadder RA - but the example in the exhibition is a fairly weak cousin of the type of artwork she normally produced - which was normally more colourful and had more presence. Again it made me feel like this was an exhibition which had scrimped and saved where artwork was not donated. (To see an excellent exhibition of work by Elizabeth Blackadder - see my review of the 2021 exhibition at the Garden Museum - Elizabeth Blackadder - Favourite Flowers)
Poppies (2005-2006) by Elizabeth Blackadder
hand coloured etching
courtesy of Falkirk Museum
  • there was quite a bit of translation of famous paintings into mega versions of the art - from the Van Gogh Irises on the side wall to Botticelli's La Primavera on the end wall. I'd be interested to know whether these are spraypainted or decals or maybe both.
  • Plus some bronze chrystanthemums
Van Gogh paintings translated into other media


Room 2: IN FULL BLOOM showcases works by established contemporary artists from the past 40 years, demonstrating how flowers continue to inspire in the modern age.
  
  • It was full on Saatchi - with some big names, including Mark Quinn. I wasn't a fan of his very hard edges around each petal where the tape re the spraying had been removed. I assume "lost and found edges" is not something he's familiar with.  I think this was when I realised that some of the artwork in the exhibition is for sale - which was when I started pondering on the business model....
a very large artwork covering the end wall by Mark Quinn

Six prints by Michael Craig-Martin RA
Screenprint on Somerset Satin White 410gsm paper

Room 2 - which also includes spoon flower sculptures and Jeff Koon's flower puppy

Room 3: FLOWERS IN FASHION explores the enduring relationship between flowers and fashion
 
  • (I skipped throight this one pretty fast as it's not really something which interests me). 
  • However, I gaped at some of the very decorative plant tattoos adorning various bodies and hurried through. I couldn't quite work out whether there was a critical association with larger ladies ie. does fat make big tattoos easier to do?
artists like Daniel The Gardener merge fashion with "living art" through tattoos
the tattoed ladies

The Photography and Sculpture Gallery

Room 4: FLOWERS IN PHOTOGRAPHY AND SCULPTURE features contemporary photograpgers and sculptors, capturing moments of beauty in two and three dimensions. 
  • For me, there was only one question, WHERE was Karl Blossfeldt? I kept expecting him to turn up but he just didn't. Just some who were trying to be like him. 
Photos not by Blossfeldt
  • I liked some of the photographs more than I expected - but I've seen MUCH better exhibitions of plant photography in other shows. It felt more like up and comings rather than experienced and adept.
In terms of presentation, this jars a bit for me

Room 5 is a stunning 2,000 sq ft gallery entirely dedicated to LA FLEUR MORTE, a bespoke installation by internationally renowned artist Rebecca Louise Law
  • HOWEVER......frankly her dried flowers and plants falling from the ceiling now seem to be very old, very much less colourful and very much less interesting than those I saw in her exhibit in Gallery 3 at the Shirley Sherwood Gallery of Botanical Art at Kew Gardens back in 2017 (this post includes a pic which illustrates what I mean).  Overall, this exhibit - compared to my clear memory of the last one I saw - just looked very tired. I rather think it involved a tight budget.
very brown dried flowers
nothing like as impressive as the previous exhibit I've seen of her work


Room 6: FLOWERS IN MUSIC, FILM, AND LITERATURE highlights the role of flowers as symbols and motifs across these different media.
 
  • This was truly fascinating. I'd never realised before what an enduring motif flowers have been on vinyl covers of the past, film adverts and the books covers past and present.

Room 7: MIGUEL CHEVALIER, EXTRA-NATURAL is a generative and interactive virtual reality installation, bringing virtual flowers and plants to life across 70 square metres while interacting with visitors’ movements
  • This one was very innovative and intriguing and made me walk backwards and forwards in front of it to see what happened. I am sure children will absolutely love it! There was however a distinct feel of "Dayglo Day of the Triffids" about it.
My photo: Dayglo Day of the Triffids was my name for this room

The press photo of the same room
Room 8: SCIENCE: LIFE OR DEATH. In collaboration with the Chelsea Physic Garden, this room explores the scientific aspecgs of flowers, highlighting their medicinal and poisonous properties, as well as the mathematical principles behind natural floral phenomena.
  • This was where the collaboration with the Chelsea Physic Garden takes place. I have to say given the nature of the artwork displayed in this room, it was all undermined by the huge fluroescent signs used for to signify two themes relating to Pharmacy and Poisonous. This is when trying to be too contemporary completely undermines the nature of the artwork on display. It was really difficult to get a photo of any work in the room without the dayglo fluorescent in green or red intruding into the reflection. Don't ask people to display - and then ruin the presentation by a bit of graphic addon!
Botanical paintings by members of the Chelsea Physic Garden Florilegium Society
Helen Allen, Judi Stone, the late Penny Stenning and Christine Battle
Note the big red sign reflecting in the painting second from right
  • I saw a number of familiar works from artists who belong to the Chelsea Florilegium Society. Such a pity that the existence of the Society and why the artists produce the artwork they gift to the Chelsea Physic Garden wasn't acknowledged in any way by the exhibition exhibit text.
  • The display of orchids by the RHS Orchid artists was interesting - but I didn't spot an explanation as to why the paintings exist, the history of the orchid artists and how they continue to be painted today. (Happy to be corrected if I'm wrong).
Watercolour paintings recording the various features, colours and markings
of different species of orchids
by various RHS Orchid Society Artists

  • Digital forms of contemporary recording of the features of various plants and flowers were exhibited alongside the older and more traditional forms of botanical art. I liked the LED lightbox artwork Hortus siccus by Amy Shelton and it's always pleasing to see Nicki Simpson's digital plates for plant identification.

Coltsfoot (Tussilago farare) 2009
a digital compilation by Niki Simpson
print on satin paper mounted on aluminium


About The Saatchi Gallery

This is what Saatchi's Press people have to say about the Gallery
Since 1985, Saatchi Gallery has provided an innovative platform for contemporary art. Exhibitions have presented works by largely unseen young artists, or by international artists whose work has been rarely or never exhibited in the UK. This approach has made the Gallery one of the most recognised names in contemporary art. Since moving to its current 70,000 square feet space in the Duke of York’s Headquarters in Chelsea, London, the Gallery has welcomed over 10 million visitors. The Gallery hosts thousands of school visits annually and has over 6 million followers on social media. In 2019 Saatchi Gallery became a registered charity, beginning a new chapter in its history.

Thursday, April 24, 2025

A comprehensive look at Turner - all my blog posts

This is the blog post I should have done yesterday - on the 250th anniversary of the birth Joseph William Mallord Turner on 23 April April 1775 in Maiden Lane in Covent Garden #turner250

Below is a list of all my blog posts about some aspect of Turner since I started writing this blog. They all include images of various works by Turner - and some even include my versions

Many of you will never have seen or read them.

However, beware the links to pages relating to the Turner Bequest at Tate Britain. They revamped their website - without bothering to do any 301 commands to take people from old URLs to new URLs. In part bebcause they've dumped a lot of their content relating to Turner which used to be on the website - which is a very great shame.


Turner on Making A Mark (2007-2025)

A drawing by JMW Turner
On the Washburn, under Folly Hall
British Museum

2007

2008

A study of Turner's snowstorm seascape
coloured pencil on Arches HP, 8" x 10"

copyright Katherine Tyrrell

2010

2011

2012

"The burning of the Houses of Parliament" by JMW Turner

2013

2014

2015

Brunnen, Lake Lucerne in the distance c.1841-3,
J.M.W Turner (1775-1851).
watercolour over graphite, with pen, brown and black ink on paper
(touches of watercolour, verso, from next page)
height, 225, mm; width, 290, mm
Image: copyright Fitzwilliam Museum, Cambridge

2016

Rain, Steam, and Speed - The Great Western Railway
Location: Maidenhead Railway Bridge looking east,
across the River Thames​ between Taplow and Maidenhead
The bridge was designed by Isambard Kingdom Brunel and completed in 1838. 
Exhibited: 
Royal Academy in 1844
Collection: National Gallery

2018

2019

2020 

J.M.W. Turner (1775-1851), The Doge's Palace and Piazzetta, Venice, c.1840.
Image © National Gallery of Ireland

2023

2025


Where you can see Turner's artwork


The Turner Society maintains a list of all the larger collections in public museums and galleries throughout the world, has a magazine and various events, walks, visits related to Turner. 

Wednesday, April 23, 2025

The Turner Prize Shortlist 2025 begs a question

Today is Turner's 250th Birthday. Two days ago, the artists shortlisted for Turner Prize 2025 shortlist were announced.

What is The Turner Prize?

What the Tate says - other than in this year's press release - is
The Turner Prize is awarded to a British artist. 'British' can mean an artist working primarily in Britain or an artist born in Britain working globally. The prize focuses on their recent developments in British art rather than a lifetime's achievement.
Very many well known artists - or ones who have gone on to become very well known - have won The Turner Prize in the past. You can see a list here.

The award in 2025 is £55,000
  • £25,000 goes to the winner and 
  • £10,000 each goes to the other shortlisted artists.
In the past, the prize has been criticised for having criteria which are unfocused i.e. how do they get from the vast range of contemporary art development in the UK to those artists who are shortlisted for this prize.

Can one determine purpose from those shortlisted this year?
One of the world’s best-known prizes for the visual arts, the Turner Prize aims to promote public debate around new developments in contemporary British art.
They are:
  • Nnena Kalu, 
  • Rene Matić, 
  • Mohammed Sami and 
  • Zadie Xa.
Nnena Kalu, Conversations, Walker Art Gallery, installation view.
Courtesy of the Artist and Walker Art Gallery, Liverpool.
Photo credit: Pete Carr.
the unveiling of the short list often occasions a fierce debate about the artists’ relative merits and sometimes about the very definition of art. 
My initial inclination is to think somebody is trying to make a point. Which is all art needs to have a message. 

I don't think it does. I think art can be very many things. What it emphatically does not ALWAYS need to be is something with "a message" - and yet this is what jurors always seem to like.

In 2025, art seems to have become something which can only be celebrated if the artist is marginalised in some way - in terms of heritage or gender or ethnicity. Maybe this is connected to the fact that this year the Turner Prize is associated with Bradford as the City of Culture - and one might expect some sort of respect for the diverse communities that live in Bradford. 

But should it reflect just one city or the nation as a whole?

Of very great and increasing concern to me is that art favoured by jurors often seems NOT to connect in any way with vast numbers of the British public.
In turn, this can then be exploited by extreme right wing political parties which leads to increasing numbers of people voting for them. That way lies fascism and all that goes with that - as we are seeing playing out right now in the USA. That is very much NOT the way I want to see the UK go.

I'm also left wondering if the jurors selected their four shortlisted artists before or after this headline from the Evening Standard - Visitor numbers plunge at London art museums as Tate galleries lose 2.7 million in five years (25th March 2025) - which really shocked me! (There will be another blog post on this topic and why numbers have dropped - which is pertinent to my comments above).

But who decides?

It seems to me that which artistic developments get noticed rather depends on who is judging the prize - and which organisations they are associated with. 

This year the members of the Turner Prize 2025 jury are: