Independent researcher: 20thC Art & Visual Culture London, Paris, Moscow. Works in (slow) progress (1) British Art Groups (2) Nancy Cunard - An Uncommon Viewer.

Southend-on-Sea
Joined May 2016
Nancy Cunard "Up and at 'em!" [photo by John Banting @Tate tate.org.uk/art/archive/item…]
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DrMLBanting retweeted
Proud to support 'Sebastiane 50: The Reunion' at London's Gate Cinema; 28 Oct, 50 years after Derek Jarman's film premiered there Join us to celebrate his legacy & launch of documentary project 'Loving Sebastiane', with selected clips. 🎟️ Free tickets: eventbrite.com/e/derek-jarma…
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DrMLBanting retweeted
Reportage sur l'évolution de «Guernica» (Reportaje sobre la evolución de «Guernica») Dora Maar (Markovitch, Henriette Theodora) 1937 (mayo-junio, París)
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On this day in 1924, the Surrealist Manifesto was published and launched an artistic revolution. Today, The Met launches a new annual digital publication, “The Bluff Almanach,” focused on Dada and Surrealism. The inaugural issue centers on the artist Man Ray, the visionary known for his radical experiments that pushed the limits of photography, painting, sculpture, and film. For the Dada and Surrealism buffs, dive into Alex Da Corte’s one-night-only lecture as Marcel Duchamp, Jim Jarmusch and Carter Logan on scoring Man Ray’s films, and Man Ray’s arrival in 1930s colonial Korea. Explore The Bluff Almanach: met.org/4il4srp ___ The Bluff Almanach is a project of The Bluff Collaborative for Research on Dada and Surrealism, a Met initiative that merges historical and material research with contemporary thinking to offer a platform for new views and conversations.
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I've written to Lisa Nandy at DCMS requesting another meeting about Everyone's Art. Progress has stalled. As I wrote in @spectator 80% of our public art is hidden away in storage. spectator.com/article/museum… 'Top of the Wolds,' (1900) by Alfred East,' is stored @NorthamptonShoe
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DrMLBanting retweeted
#MaxBeckmann - Paris Society, 1931.
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1/ I've been reading Anna Akhmatova. Again. It beggars belief that she and Modigliani were lovers. Two great art forces melded together briefly. I wrote about the show of his drawings of her in 2016. Came across it again by accident. It's good. It's here. thetimes.com/travel/destinat…
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De l'Académie Julian au Bauhaus, ces 5 écoles mythiques qui ont révolutionné l'enseignement des arts ➡️ l.beauxarts.com/6Q1
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DrMLBanting retweeted
Peter (A Young English Girl), 1924 by Romaine Brooks, portrait of fellow artist Hannah 'Gluck' Gluckstein #womensart
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"In the closed world of Russian politics, what clues can we find to what comes next?" Our report from Moscow on Vladimir Putin's appearance at a foreign policy forum.
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'Looking for Gwen John' - Claire Doherty @cltopsfield and me having a really good time talking about Gwen J at @natgallscot and now available on You Tube youtube.com/live/JJYE5-ETj7Y
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In the ceiling of the Duchess’s Private Closet at Ham House is a painting called ‘The Penitent Magdalene surrounded by Putti holding Emblems of Time, Death and Eternity by’ Antonio Verrio (c. 1698). It is often suggested that the lady of the house, Elizabeth Dysart, is portrayed as Mary Magdalene due to her harbouring secret Catholic loyalties. However, I believe the real explanation is quite different. Rather than signaling religious heterodoxy, Elizabeth Dysart may be using the figure of Mary Magdalene—the first of the disciples to see Christ resurrected—to tap into the potent messianic symbolism cultivated by the Stuarts. Following the trauma of the English Civil War and the execution of Charles I, Stuart propaganda framed the King’s death as a political crucifixion endured for his people. The return of the monarchy in 1660 under Charles II was similarly framed as a resurrection and a fulfillment of divine right. Texts like the Eikon Basilike famously depicted the martyred Charles I holding a crown of thorns, trading an earthly crown for a heavenly one. Within this context, the symbols in Verrio’s ceiling painting reinforce themes of martyrdom, divine right, and royal restoration: *The hourglass denotes time, patience, and eternity. *The skull links directly to Golgotha (literally "the place of the skull"), the site of Christ’s crucifixion. *The Ouroboros (the self-eating snake) acts as a classic emblem of cyclical renewal, eternity, and restitution—symbolising the shedding of the old era and the rebirth of the crown Elizabeth Dysart was a royalist by birth who played a high-stakes political game, corresponding with the exiled Charles II using ciphers and invisible ink as a member of the secret "Great Trust." When Charles II was finally restored in 1660, Elizabeth’s calculated risks paid off, and she was rewarded with a pension of £800 per annum from the Exchequer for life. Her ceiling is not merely a testament to personal piety, but a monument to a hard-won royal restoration. academia.edu/90097711/The_Co…
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DrMLBanting retweeted
Alexis Gritchenko (Ukrainian, 1883-1977) - Sea Star, c 1926
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🖼️ What are early #Russian #lubok #prints really about? Zoom talk by Dr Julia Khodko, exploring the hidden meanings, production, audiences and subjects of Russian popular prints from the 17th to the early 20th century. 📅 Tuesday, 27 October, 18:30GMT go.allevents.in/s8y9x
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🎭 Kaléidoscope de formes et de couleurs, l’Arlequin à la guitare de Serge Férat réinvente le cubisme entre peinture et poésie 🔗 lien en premier commentaire
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‘Lee Miller’, Man Ray, 1929
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Gosh, once upon a time... (though it's not quite 'Man with a Movie Camera')
"Moscow Morning". Excerpt from 1985 Soviet TV film.
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In a stone shrine at the heart of Westminster Abbey is the tomb of Edward the Confessor, king and saint - but this was not his original resting place. Edward was born in Islip, Oxfordshire, sometime between 1002 and 1005AD, the eighth son of King Ethelred 'the Unready' and Emma. He was driven into exile in Normandy by the Danes and vowed that should he ever return safely home, he would make a pilgrimage to Rome in thanks. After 28 years in France, he was eventually invited to return to England. He succeeded his half-brother Harthacnut and was crowned in Winchester Cathedral in 1043. Once on the throne, however, Edward found it impossible to leave his subjects and the Pope released him from his vow on condition that he should found or restore a monastery to St Peter. Having established his new Palace of Westminster on the banks of the river Thames, Edward chose to fulfil his vow by re-endowing and greatly enlarging a Benedictine monastery which stood nearby. The monastery had been founded some hundred years earlier, in 960AD, under the patronage of King Edgar and St Dunstan. The large stone church he built, dedicated to St Peter the Apostle, became known as the ‘west minster’ to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Edward’s new church was consecrated on Holy Innocents’ Day, 28th December 1065, but the king was too ill to attend and died just a few days later, on 5th January 1066. The burial procession from Westminster Hall to the Abbey, where prayers were said all day and the following night, is shown on the Bayeux Tapestry. He was buried the following day, 6th January - the Feast of the Epiphany - before the High Altar of the church that he had built. There he rested for almost one hundred years until, on 13th October 1163, St Edward's body was moved – or translated – to a shrine specially prepared for it in the church. The king’s piety had greatly endeared him to his people and he came to be regarded as a saint long before he was officially canonised as Saint and Confessor by Pope Alexander III in 1161. The term 'Confessor' applies to those who have suffered for their faith but who were not martyred. He was associated with legends including a story from towards the end of his life. Edward was riding by a church in Essex and an old man asked for alms. As the king had no money to give he drew a large ring off his finger and gave this to the beggar. A few years later two pilgrims were travelling in the Holy Land and became stranded. They were helped by an old man and when he knew they came from England he told them he was St John the Evangelist and asked them to return the ring to Edward telling him that in six months he would join him in heaven. The story is one of fourteen scenes from the king’s life – real and legendary – carved on a mid-15th-century stone screen in the Abbey. Also shown are his birth, his coronation, Christ appearing to Edward at Mass, and the dedication of a church, assumed to be the Abbey. Edward’s 11th-century monastery stood for some two hundred years until 1245 when King Henry III began building a much grander Abbey in honour of St Edward, to whom he was especially devoted. The new church was consecrated on 13th October 1269, when Edward’s remains were once again moved, this time to a new shrine behind the High Altar. Henry, his brother Richard, Earl of Cornwall, and his two sons bore the coffin on their shoulders in a solemn procession. Henry had lavished huge sums on the church. The cost of the shrine alone was £45,000 or around £15 million in today’s money. It was richly decorated with Cosmati mosaics, the work carried out by Italian craftsmen led by Pietro di Oderisio. Such was Henry’s devotion to St Edward, that following his death in 1272, he was buried in a Purbeck marble tomb in the Confessor’s chapel. A further four kings and four queens were later buried here too, including Edward I and Eleanor of Castile, Richard II and Anne of Bohemia, and Henry V. A cult of St Edward had grown up and until this was superseded by St George in the 14th-century, many regarded Edward as the patron saint of England. The sick made pilgrimages to the shrine and knelt in the recesses to pray for healing – a tradition which continues on special occasions to this day. Every year, the Octave of St Edward is celebrated in the Abbey from 13th - 18th October. A national pilgrimage to Edward's shrine is held, attracting worshippers from across the United Kingdom and further afield, all of whom come to experience the beauty of the Abbey in an atmosphere characterised by prayer. The celebrations in 2019 were particularly significant, marking as they did the 750th anniversary of Edward’s translation and the dedication of Henry III’s Abbey. Pilgrims had the opportunity to venerate a new icon of St Edward, by the Orthodox Russian iconographer Archimandrite Zinon (Teodor), which was dedicated and placed in on the shrine. St Edward’s burial in the Abbey, the coronations and burials of many of his successors, together with commemorations of people of national and international significance, have led to Westminster Abbey becoming a unique place of prayer and thanksgiving as well as pilgrimage.
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📚 An installation featuring 22 fire-damaged books has opened at the Frankfurt Book Fair The books survived a Russian strike on the Ranok publishing house’s logistics center in Kharkiv on Aug. 1, which destroyed around 8 million books, including 620,000 school textbooks. Created by Ukrainian artist Valentyna Veremko, the installation highlights the destruction of Ukrainian literature and culture. 📸: Ranok Publishing House
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DrMLBanting retweeted
Our memorial stone to the four founders of the Royal Ballet - Ninette de Valois, Frederick Ashton, Constant Lambert and Margot Fonteyn - was dedicated in 2009. The flowing gold lettering was designed to depict the graceful movement of dancers. You can find the stone in the south transept. #31DaysOfGraves #Lettering
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