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John Henry Lorimer Exhibition

Earlier this week the good lady noticed that there was an exhibition of the works of John Henry Lorimer at the City Art Centre Edinburgh. That was only just in time. The exhibition opened in November but finishes tomorrow!

I have mentioned this artist before. And not just the once.

On Thursday (17th) we made post-haste to see the exhibition before it closed.

One of the first of his pictures previously unfamiliar to me was The Long Shadows painted, like so much of his work, in the grounds of Kellie Castle in Fife. This photo does not do it justice:-

The Long Shadows

Lorimer was a good portraitist. One of the paintings on show depicted the ordination of elders in a Scottish Kirk. The figures were so lifelike in all their Calvinistic awfulness I couldn’t bear to inflict it on myself or you.

This portrait is of Lorimer’s architect brother Robert Stodart Lorimer, who designed over 300 War Memorials including the Scottish National War Memorial which lies in Edinburgh Castle:-

Sir Robert Stodart Lorimer

Typical of Lorimer’s painting of light and very like Spring Moonlight (see first link above) in its use of candlelight is Grandmother’s Birthday:-

Grandmother's Birthday

Maternal Instinct by contrast contains very Victorian subject matter. Unfortunately reflections in the glass spoil this a little:-

Maternal Instinct

The window in this one features in many of Lorimer’s paintings. I think this is The Birthday Party:-

John Henry Lorimer Painting

Despite no overt lighting depiction this domestic subject is unmistakably Lorimer:-

Painting by John Henry Lorimer

Another fine portrait – of a lady. Unfortunately I forget whom:-

Portarit by John Henry Lorimer

A well as oils Lorimer was very good with watercolour. This, The Gyles House, Pittenweem, is the house in Pittenweem to which the artist retired:-

The Gyles House, Pittenweem

Housework’s Aureole. In real life this treatment of light falling through a window onto a wall is superb. The photo is nothing by comparison:-

Housework's Aureole

The exhibition’s poster image was Flight of the Swallows:-

Flight of the Swallows

Many more Paintings by Lorimer can be found at Art UK.

Twisted Chimney, Rye

On the walls of Lamb House, Rye, were a couple of paintings of interest.

The first was of the house itself, showing how it looked before the Music Room was destroyed in World War 2:-

Painting of Lamb House, Rye

The second was a street view from one of the windows painted by Beatrix Potter:-

Beatrix Potter Painting in Lamb House, Rye

I took this photo of the same view. Note the twisted chimney on the building which partly obscures St Mary’s Church:-

View from Lamb House, Rye

This is from street level:-

Twisted Chimney, Rye

Closer view:-

Rye, Twisted Chimney

Reverse view:-

Rye, Twisted Chimney, Reverse View

Periodic Tales by Hugh Aldersey-Williams

The Curious Lives of the Elements, Viking, 2011, 428 p.

The first thing to say is that, despite its title(s), this is not a Chemistry book. In its index there are eight references to Shakespeare (only one fewer than for the chemist Jöns Jacob Berzelius and more than for any individual scientist barring Humphry Davy, Carl Scheele, William Ramsay, Marie Curie and Dmitri Mendeleev) – four to Goethe, three each to Wagner and Van Gogh. Other seemingly unlikely name checks are given to Wilfred Owen and Barbara Hepworth, not to mention Hunter S Thompson’s novel Fear and Loathing in Las Vegas.

What it is, is a book about how Chemistry permeates our lives, not just in the biological sense – for without Chemistry our bodies could not work – but in the cultural sphere, in our day-to-day existence. (There is even a reference to Irn Bru! – in a frankly bizarre context.) As such the book ought to appeal to the general reader rather than just Chemists. But the importance of Chemistry in painting, sculpture, opera, poetry, fiction, even architecture ought not to surprise. As the back of the book reminds us, “Everything is made of them [the elements,] from the furthest reaches of the universe to this book you are holding in your hands, including you.” English words for white (apart from snow) are bound up with the compounds of calcium they embody, marble, alabaster, chalk, ivory, bone, teeth. (I object, here, that the “White Cliffs of Dover” are anything but; unless seen from a distance.) The Latin calx yields the Italian calcio for what Aldersey-Williams calls soccer, perhaps because a goal is scored by the ball crossing a chalked line. The word for railway in nearly every language except English reflects the iron from which it is constructed, chemin de fer, Eisenbahn, ferrovia, vía fería, järnväg, tetsudou. Akin to gold in its chemical unreactivity, the valuation of platinum – the only element first isolated by pre-Columbian Americans – over gold is a cultural choice; not due to rarity but snobbishness.

The book contains photographic illustrations every so often but they can at times be a little indistinct as they are reproduced only in monochrome.

Like his Swedish compatriot Carl Scheele (who has a fair claim to have discovered oxygen) Jöns Jacob Berzelius is all but forgotten – despite pioneering laboratory staples like filter paper and (the now superseded) rubber tubing for connecting laboratory equipment together, first using the words catalysis and protein, inventing chemical symbology and coming up with the idea that elements combined in fixed proportions and hence chemical formulae. If his name had been attached to these as Bunsen’s was to his – admittedly splendid – invention that might not be the case. But it seems the Swedes were/are reticent about blowing their trumpets. Due to their chemists’ wielding of an essential piece of technology – the blow-pipe – no less than seven elements – ytterbium, yttrium, terbium, erbium, holmium, scandium and tantalum – were identified from ores that came from a single mine near the town of Ytterby but there is now no trace of the mine nor is there a visitor’s centre. The Swedes may be missing a trick there.

Discovery of “new” elements has always to an extent depended on available technology. Better furnaces and higher temperatures explain the historical progression of metal extraction through the Bronze and Iron Ages and the isolation of zinc in India by the 13th century, the alkali metals, highly reactive and thus resistant to chemical extraction, were only torn from their compounds by the greater power of electricity – not harnessed till just before 1800 – the spectroscope enabled elements to be inferred from the incursion of additional lines in the resultant spectra, transuranics could only be synthesised when atom–colliding machines became available. New liquefaction techniques allowed William Ramsay in the 1890s to conjure new elements out of thin air. (Well, since it was liquefied, I suppose it was really thick air.) Ramsay populated a whole previously unknown Periodic Table Group, the noble gases – neon et al – using this method.

Aldersey-Williams has a tendency to employ the words light or heavy instead of low/high density respectively and to refer to an element when strictly it is the presence of its compounds, atoms or ions that is under discussion. Plus he infers ozone is bonded in a triangle. Its atoms may be arranged in a triangle but its bonds are not. He also says “sodium is now the colour of the city at night” as well as “our principal means of knowing this element.” My local street may be “lit from above by the sodium lamps,” but these have been largely replaced by the blueish white of mercury vapour lights on main roads.

He has however written an interesting and informative, at times quirky, book.

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