Down, down we go!

 

 

 

 

 

 

One of the creepiest speeches that I have heard delivered was by That Bloody Woman when she quoted Saint Francis on the steps of Downing Street.  Absolutely stomach churning to listen to That Hag try and pretend that selfless generosity and inclusivity was anywhere near the core philosophy of The Conservative Party – even then!

     Now we have a resident of Number 10 who probably regards Saint Francis as a twelfth century enemy of the people leftie.  With all the hesitant charm of a broken reel to reel tape recorder, The Creature Truss gave her acceptance speech to the Conservative faithful and left the rest of us thinking of just how low a country has to sink to ‘welcome’ such an inarticulate cypher as even a titular leader.

     Unless she now (tomorrow) performs a series of policy U-turns that would tax the capabilities of a F1 driver, we are going to be stuck with someone whose ideology driven wrecking will demean, bankrupt, and kill.  Someone who has lauded the concept of NOT redistributing wealth in the face of the greatest cost of living crisis since the banking fiasco; who welcomes tax cuts that benefit the wealthy as a way of EVENTUALLY helping those in dire need now; who has shown less than a scintilla of interest in the realities of Global Warming.

     I will leave it to others to list her self-serving non-achievements; her lies; her ‘flexible’ beliefs – but I am preparing myself for the real moment of truth when she takes centre stage in front of Downing Street (or inside in case of rain) and says something real about what she is going to do.

     I am steeling myself for the list of cabinet appointments, but the fact that commentators have written that Dorries and Braverman are being considered for any post in government, let alone the highest positions, without breaking down into hysterical sobbing at the Ship of Fools that will be sailing under her captaincy, is horrific.

     Let’s get one thing straight – I care about my country, and I would rather see an excrescence like Truss succeed and the country thrive than have her fail and bring the country down further than it already has with twelve years of Tory Misrule, in which, let us not forget, she has been an active and maleficent wrecker.

     Truss went out of her way in her speech to laud her ‘friend’ Johnson, her friend the lying, narcissist, criminal Johnson.  If she takes his approach to honesty and responsibility, then we are in for a very rocky couple of years before the scythe of the next general election can do its long-delayed work!

 

 

 

NOT The Charge of the Light Brigade

 

 

In a desperate attempt to get my mind some way away from the interminable “None Of The Above” election of a right-wing dingbat to head up what used to be The Conservative Party and therefore the Brexit Failure that is Britain, I turn to Art.

     Admittedly I can find plenty of examples of works that would reflect what is going on in Britain at the moment, with perhaps Goya’s etching of “The Sleep of Reason Produces Monsters”, or perhaps Bosch with “The Ship of Fools” or even Lady Butler’s “Charge of The Light Brigade” (and yes, I do know that the title is wrong, the brigade is wrong, the war is wrong, the enemy is wrong, and the outcome is wrong for the original painting) but in the popular imagination (and we are, after all in the right-wing world of alternative facts) the painting shows the valiant and deeply stupid charge of horses against artillery, an exercise in Crimean futility and therefore all the more applicable to ‘modern’ Conservatism as exemplified by None of the Above.

     But I want to get away from all that.  I want escape from the realities of life and find solace in Art.

     Except, the more I study art, the less I find that I can use it to exist in that illusory world of appreciation that I thought that my studies would let me access.

     If you study Art History or Art Appreciation nowadays, the one thing that art courses force you to do is to link the art to its time and its society.  The Great Artist concept of creation where a supremely gifted Man (women have only relatively recently made it into the pantheon of greatness!) produces a Work of Art that transcends time and space and lives in a sort of artistic void where It alone exists and where the viewer can truly contemplate it as a separate entity, a calling of soul to soul.

     The concept of the artist as a lonely genius, existing only for their art and starving in a garret if necessary, rather than compromising integrity by bowing to the dictates of mere commercialism, is a tempting fantasy.

     Van Gogh we are told sold no paintings (or just a couple) in his lifetime, but he went on painting.  And he also went on being supported by his brother, Theo, so Vincent could go on producing the paintings that had so little (literal) currency while he was alive, and we also have the letters that the brothers sent to each other which are well worth reading.

     Artists have to live and they need money.  Blake did drawings for Wedgewood for a catalogue of china; Turner churned out popular prints for commercial exploitation when he was younger; atheists painted religious art for wealthy church patrons; portraitists flattered their sitters; Warhol, well, Warhol exploited exploitation and made Art out of artfulness, or something!

     I suppose that, for me, the ideal ‘absolute’ painting would be one of Monet’s water Lilly canvasses.  Living and being brought up in Cardiff and having access to the National Museum in Cathays Park meant that I could go (for free, except for the imposition of museum charges by the Conservative government under Heath of evil memory) and see the Davies Sisters’ Bequest to the museum.

     The Davies sisters were the daughters of coal owners who had an interest in art, knew Vollard the art dealer and bought extensively and then bequeathed their artistic riches to the nation.  In what I often take pride in describing as the greatest collection of Impressionist paintings outside London, I was able to enjoy Renoir, Monet, Manet, Cezanne, Van Gogh, Sisley, and more (and yes, I do know that not all of those painters are comfortably contained by the term Impressionist) at my leisure and pleasure.

     The paintings I always came back to were the three water lily paintings by Monet, with my favourite being the most abstract.  When I was younger, I used to think when I looked at it that it was a sort of solemn communion between the painting and my callow self.  Nothing else existed.

     Except, of course, things did.  And do.

      Quite apart from where the Davies sisters got their money and how it was made, there is the whole question of why they bought Monet when they did.  How did Monet get to be famous and his paintings collectable?  And why collect paintings at all?  What does a painting really show what does it really represent?

     Before we get bogged down in the philosophical questions about the production, sale and display of art, let’s just consider a simple, practical element in the mythology of Impressionism.

     In the series of paintings that Monet completed he chose subjects like the façade of Rouen Cathedral, haystacks, and lilies in one specific pond, trees.  He painted thee subject multiple times at different times of the day and with different viewpoints.  As opposed to the previously highly finished canvasses of the previous century and of many of his contemporaries his canvases often looked more like sketches, his brush strokes were large and obvious and there was rapidity to his work that made it look almost spontaneous.

     Previous artist had usually made sketches of details or scenes en plein air that they would work up later in the studio.  There could be pencil sketches, charcoal or pastel or watercolour, but oils were something that needed more effort as colours needed to be made when you needed them, the pigment being mixed with oil.  The sketching then was limited by medium.  It was the production of ready mixed oil paint in tubes that made it possible for artists to take oil paint with them into the countryside and produced oil paintings in the open air away from the studio.  Renoir is reported to have said, that without the invention of tubes of ready mixed oil paint, Impressionism would never have happened!

     So the sketch-like spontaneity of Impressionist canvasses is a direct result of the industrialization of oil colour production – the mechanical and prosaic having a direct effect on the artistic and rarefied!

    

And I have already typed myself into a calmer frame of mind.  Art wins again!

 

Wither irony?

 

 

 

 

 

 

So, Johnson is flying back to London after COP26 in Glasgow by private plane.  With anyone else of even minimal political credibility this would be a crushing piece of destructive irony – after weeks spent mouthing platitudes about the need to reduce carbon footprints.  But with the charlatan Johnson, it is no more than par for the course for someone who can see no further than himself.

     Add to that the news that the disgraced Conservative MP who sexually harassed a member of his staff is to be allowed back into the Conservative party, and it all fits with the assumption that most Conservatives can do what the hell they like and will be subject to few lasting restraints or consequences. 

     Be grossly incompetent?  Bully your staff?  Lie to the House?  Lobby illegally?  Give your donors preferential public money deals?  Kill people through mismanagement?  No worries with the Conservative equivalent of a perpetual Get out of Jail card ever at the ready to smooth a path for those who have demonstrably done wrong.

 

 

 

 

 

 

 

 

 

     A few days ago, I read a piece about Spike Milligan making the point that if anyone deserved the accolade of King of Satire, it must be him – but the piece also brought up the idea that the last few years have been so bizarre that so-called real life has produced actual event and characters that in their destructive absurdity defy satire.

     Donald Trump and his troupe of grotesques, you would think would be idea fodder for the sort of treatment that was meted out by the latex puppets in Spitting Image – but, when you look at the orange artificiality of Trump’s face and the wispy monstrosity of his hair, and how and what he says, how can any puppet do justice to the abomination that he exemplifies?  

 

 

 

 

 

     Watching Trump at one of his rallies forced you think that you were in a world where Dada, Surrealism and the Black Paintings of Goya were the motivating forces, rather than anything that could be recognized as “normality”.

     In a similar way the continuing car crash of Johnson’s so-called government of Britain would seem to demand that the cries for his instant dismissal and prosecution for wilful dissimulation and corporate manslaughter should by now have reached a crescendo – but still his corrupt and corrupting party had a healthy lead in the polls, and Johnson’s laughable “leadership” is still seen by a remarkable proportion of the population to be something in which they believe.

     And there, I think lies the crux of his popularity.  Facts and figures now mean nothing, or at least very little, to those who think that Brexit was a good idea and that the Conservatives have the interests of the whole of the country at heart.  The Conservative party is now a cult, and belief in Johnson is a core tenet of belief, something beyond mere reality.

     Every time I see Johnson in the newspaper or on the TV, I find that I am now experiencing the same feelings of revulsion that I had for a character like Saville.  Even at the height of his fame, when he was lauded by young and old, rich, and poor, the great and the lowly, I felt a repellence towards Saville.  He was not a person you would want to be near.  I am not, of course, suggesting that there is any similarity in the crimes that Johnson and Saville have committed, but the feeling that they are both wrong ‘uns is compelling.

 

 

 

 

 

 

 

 

The day after tomorrow I get my flu jab, and I hope a specific date for my booster Covid shot.  Although mask wearing is still happening in Spain, young people are more obviously not following the older population where mask wearing in crowded public space is usually the norm.

     I keep remembering the statements from health officials that “until everyone is vaccinated, we are all at risk”, and then I look at the statistics of how many children have been vaccinated and then hear of statistics from Africa and other parts of the world where a tiny proportion has had any sort of protection, and I think that the attitude of “we call all start travelling again in 2022” is blind optimism.

 

 

 

 

 

 

Today was the last day of my extended birthday.  I like to keep in a birthday mood for at least a week.  So, the excellent paella in the restaurant connected to my swimming pool was a fitting end to the jollifications.  Roll on my Name Day!