After my visit to Kensal Green Cemetery, me and my brother went off to the center of London. I basically dragged Peter with me ‘cos I wasn’t going to London and not going to see Waterhouse’s work (Pete would have gone to the pub for the day if he’d had his way). So first off, I went looking for The Mermaid in the Royal Academy at Burlington House. I’ve always had a soft spot for this picture because it was one of the first I’d seen of Waterhouse’s and I think it was one of the first I’d had a go at drawing. Although I could do better nowadays, I was pleased with it at the time (I think I was 20). I put it up in an exhibition that the hospital I worked for had organized to show some of the talent that workers had for art. I put it up with another picture I did of Ellen Terry (Choosing by George Frederic Watts). They both got stolen. I didn’t know whether to laugh or cry. I suppose I was a little flattered as they were the only two taken.

Anyway, to cut a short story even shorter, The Mermaid wasn’t there ‘cos it was taken down for the time being for some photo exhibition. Arrrggghhhh! Oh well, maybe next time.

I’ve been to Tate Britain before and seen The Lady of Shalott and Saint Eulalia. I remember not having a great deal of time to look at them when I went last, so I made a point of only really looking at those two pictures (though I did look for Millais’s Ophelia which, unfortunately, had been taken down as well). My brother has little interest in art and sat bored after about 5 mins so, again I felt a bit pressed for time.

Saint Eulalia

First off, you come to Saint Eulalia, painted in 1885. Here’s the story behind the painting from the Tate’s own website:

St Eulalia was martyred in the fourth century, aged twelve, for refusing to make sacrifices to the Roman gods. Two executioners tore her body with iron hooks, and held flames to her breasts and sides until she was suffocated by the smoke. According to the account given by the Spanish poet Prudentius, which Waterhouse quoted in the exhibition catalogue, a white dove emerged from Eulalia’s mouth at the moment of her death and a miraculous fall of snow descended.

It’s a beautifully painted picture and I think, for me, one of what I call his ‘transition’ paintings. His main body of previous work was classically oriented, whereas his later work (maybe even beginning the following year with The Magic Circle) definitely was influenced by impressionism. Saint Eulalia I think, mixes the two. Also from that point on women, often like Saint Eulalia in tragic or forlorn circumstances, became the focal point of his work. As with Hylas and the Nymphs when I visited that a few months ago, I was struck by something that you simply don’t see in images reproduced in books: this time it was the amount of cracks in the paintwork. I know Waterhouse is known for this ‘craquelure’ effect on his paintings, caused by not allowing the paint to dry properly before adding another layer.

The Lady of Shalott

Pushed for time, I didn’t spend as long as I would have liked with Saint Eulalia; I wanted to spend more time with The Lady of Shalott, about five paintings away.

First off, I’ll start by saying that this painting seemed by far the most popular there, certainly in that room. Amongst the many there the only painting I remember other than Saint Eulalia was Leighton’s Flaming June which I believe is considered one of the most popular victorian paintings around: it didn’t seem so the day I visited though, and I must admit to not being a fan of the picture myself - too unnatural looking for me.

Secondly, because it was so popular it was hard at times to get a proper look at the thing. There was one of those big seats directly in front of it where about four people can sit and ruminate over the painting which was usually occupied. I like to get up close and look at the brush work and the colours but I could only do this in snatches. One thing I noticed with The Lady of Shalott that is not readily seen in printed images is on one part of the painting, directly below the candle at the front of the boat with the flame that is about to be extinguished: there are reeds sticking out of the water that must have been part of a previous design or were part the finished composition that he decided to paint out.

I could have looked at the thing all day and wanted to take it home and stick it up on my wall so I could look at it whenever I wanted (I suppose most people feel that way). It’s such a beautiful thing though it’s tragedy is keenly felt. You wish you could take her by the hand, lead her to a high place and raise her chin to the sky and tell her ‘there’s so much more to life than this pain‘, and her doom would be avoided. But she is forever frozen in that moment of hopeless despair, eyes reddened with tears. A similar sense is conjured with his paintings of Ophelia as well.

There were two other paintings by Waterhouse at the Tate: Consulting The Oracle and The Magic Circle. I believe there are some sketches there as well. None of them were on show (they weren’t when I came to the Tate about five years earlier either). It’s kind of frustrating to think of them being within the same building but you can’t view them. Oh well, I guess I’ll have to wait for the upcoming exhibition.

Well, The Lady of Shalott was hard to leave behind but bored brothers do not a relaxing visit to an art gallery make. Anyway, there was always Killing Joke to look forward to.

I’m outta here,

Jimbob

Seeing as though I was going to  London, I looked on the net to see where the graves of my fave artist was and my fave writer where. As luck would have it, Waterhouse’s wasn’t too far from where I was staying but Mervyn Peake’s (he being the writer of the wonderful Gormenghast books) was miles away (on the coast, I think). I visited johnwilliamwaterhouse.com before I went and found some info on how to find his grave. Lucky I did. It’s such a big place! It’s like a city in itself.

It took me 40 mins to walk to Kensal Green Cemetery and, thankfully with the info I’d printed off beforehand, found John Waterhouse’s grave within about 15 mins of entering. I have to admit to stopping at various places to take photo’s of some of the wonderful mausoleums, some of which looked like little temples and chapels themselves. I could have spent all day wandering around the cemetery but I wanted to go to the city’s center later on, so I was a bit pushed for time. I knew that Sir John Tenniel’s grave was in the same cemetery as well and I would have very much liked to have seen that but just didn’t have the time. Sir John Tenniel, by-the-way, was the illustrator of Lewis Carroll’s Alice books.

I found the grave quite easily from the photo I’d printed off, the urn at the foot of the headstone marking it out from the rest. Compared to many of the other headstones and mausoleums around the cemetery, John Waterhouse’s was remarkably unremarkable. I felt a little aggrieved that someone who has had such a profound impact upon my life should have such an ordinary looking headstone. Having said that, it kind of seems fitting. Waterhouse, as far as I’m aware, was never one who sought the limelight and his work, certainly in the later years of his life, was largely ignored. It’s only in the latter years of the 20th century that interest in his work has flourished. As an example, the 1894 Ophelia sold in 1950 for just £20. 43 years later it sold for £419,500. 7 years later it sold for £1.6 million. Not a bad investment.

Anyway, here’s some photo’s I took that morning.

Waterhouse’s headstone is the one at the back with the wreath carved in a circle at the top with the urn in front of it. The cross in front of it was not on the picture I had printed off from a photo that was taken in Oct 2003. The name on it is Ada Mary. I’ve no idea who she is or what connection she may have to John Waterhouse. Answers on a postcard, please.

Headstone and urn

Sadly, most of the writing on the headstone is ineligible. As you can see, somebody has used something sharp to scratch ‘Waterhouse’ where the original engraving is barely visible.

About a foot or two below the artist’s name is his wife’s name, Esther. I think it says:

Here lies Esther

Wife of J Waterhouse

Died Dec 15th 1944

This engraving must obviously have been done 24 years after John’s name but it’s still been weathered pretty badly.

Here’s the urn which seems to have fared better than the headstone. I can make out a stag, a peacock (symbolic of immortality, according to Trippi) and grapes. The stag and grapes seem very Dionysian to me which kind of makes sense after Waterhouse painted a number of pictures using Greek mythology as their central theme.

Here’s a photo from the back. The grave is not far from the path near the crematorium (just in case anyone wants to pay a visit).

In summing up, it was a curious thing to be at his graveside, thinking of all those paintings of his that have affected me so. I guess there’s a kind of immortality in that, where ones vision is impressed upon later generations as long as those paintings endure. It can only be a blessing to the world as well, that those visions are ones of beauty. I gave silent thanks to John William Waterhouse for all he has given me, and will continue to give, for the rest of my life. I did mean to take a rose and leave it on the grave, a flower which I’m sure was close to John Waterhouse’s heart, but shamefully, I forgot. There’s always next time.

I left the graveside with a few glances back, as if leaving behind something much loved. It was a shame I was in a bit of a rush but I was looking forward to going the city center. I had some paintings I wanted to see.

Until next time,

Jimbob

It’s a helluva lot quicker getting to London from Birkenhead than I once thought it was. It took us about three and a half hours to get there, but chatting away to my brother Peter all the way (mainly about music and err…..Killing Joke) certainly made the time fly. We called in at our aunt’s house in Cricklewood, the first time we’d been there since 1982 when myself and two of my other brother’s went along. I didn’t recognize any of Cricklewood really. I do remember going to see the Pope in his pope-mobile at Wembley back then. I didn’t really know what all the fuss was about and, not being the religious sort, I still don’t. I also only found out recently that Cricklewood was the place that serial-killer Denis Nielsen lived when he murdered all those (mostly) gay men and it was all going on when I was there! I think he was arrested in 1983. Bizarre.

Anyway, Killing Joke, one of my favourite bands. I first got into them when I was eleven years old back in 1981. I heard a song called Butcher and that was that. 27 years and a few line-up changes later, they were in London for two sold-out nights with the original line-up that gave them their first three albums: Killing Joke, What’s This For…! and Revelations. They hadn’t played live together since Feb 24th 1982 after singer Jaz Coleman ‘fucked off’ to Iceland having, were told, predicted the coming of the apocalypse. The line-up at that time was Jaz (singer/keyboards), Geordie (guitar), Youth (bass) and ‘Big’ Paul (drums). When Jaz (and Geordie, who joined him in Iceland) came back they reformed minus Youth. The main bassist since then was Raven who sadly died last year (god, it’s almost a year ago!). It was at his funeral that the old line-up met and buried the hatchet and got back together, much to the delight of Joke fans everywhere.

Killing Joke - 1981- Youth, Jaz, Big Paul & Geordie

I’d never seen this incarnation of Killing Joke before and was a bit miffed when Jaz ‘fucked off’. Pete never got to see them either. He had a ticket to see them before Jaz left. I wanted to get a ticket but my mum wouldn’t let me go, even though a year before I’d been to see The Dead Kennedy’s! I think she was just trying to protect me, god bless her. I wasn’t very happy about it but didn’t feel so bad once the tour was cancelled. They did a few tv appearances (Riverside & Top of the Pops) with a scarecrow dummy replacing Jaz on keyboards. It was all mimed so it worked ok, but they couldn’t pull it off live without him. Having said that, seeing them perform with a scarecrow added a kind of manic punchline to the whole business. A Killing Joke indeed.

So, back to the first gig. It was brilliant! Seeing the original members together was a special thing and the band seemed to enjoy themselves, particularly Youth who didn’t seem to stop smiling all night. You never know with Geordie though, he’s just the coolest guitarist you ever saw. He doesn’t seem to put in a ny effort at all but the sound he gets out of that guitar is majestic. having Big Paul back on drums with his unique tribal patterns has been long missed. And then, of course, there’s Jaz, mad as a hatter and looking like a cross betwwen Heath Ledger’s Joker and Michael Myers in Halloween. It’s been said that in the recent Batman film, The Joker was modelled on Johnny Rotten to some extent, though for me, he looks more like he’s been modelled on Jaz Coleman more than anyone else.

The band, coupled with marvellous apocolyptic graphics by ‘Colesy’ on the screens either side of the stage, played a blinder. It reminded me of all the reasons I fell in love with them in the first place. It’s weird, but they kinda feel like family in a way. You go through the pain of break-ups and the joys of re-union; the pleasure of success and the disappointment at the lack of success and recognition they so richly deserve. not that they probably give a damn. In an era where celebrity status is more important that genuine talent, it’s refreshing to see musicians who don’t play the game and keep their artistic integrity. I’m not the biggest of their last few albums ‘cos they edged more towards a ‘metal’ sound which doesn’t do a lot for me. But, being like family, you accept them all the same. I’ve hardly stopped playing their second album What’s this For…! since being in London. One of the best albums ever made. I know it won’t be everybody’s cup-of-tea but it certainly floats my boat. As ‘Unspeakable’ was my highlight of the night (from the above mentioned album), here’s the studio version on YouTube (even though it says it’s live). The video quality is pretty poor, but it’s priceless just to see Jaz’s performance (war-painted face and all). Enjoy (or laugh at your peril!).

Next up, my visit to see the grave of JW Waterhouse.

I’m outta here,

Jimbob

Firstly, I’m off for the weekend to London, primarily to see Killing Joke at The Forum. This is the original line-up that created some of the best post-punk sounds I’ve heard. They did 3 albums together before things went awry (thanks to singer Jaz Coleman). They reformed again but without bassist Youth. 26 years later they are back together again and playing 2 nights in London. The first night they are playng their first 2 albums and the second night they are playing a later album from the 90’s (and singles). Can’t wait.

Secondly, while I’m in London, I’m gonna take the opportunity to go to Tate Britain and see some John Waterhouse paintings, mainly The Lady of Shallot and Saint Eulalia. There are others there but I’m not sure whether they are on show. I’m also going to the Royal Academy of Arts to see A Mermaid, also by the same artist. And, being a John Waterhouse freak, I’m going to see his grave at Kensal Green Cemetery which isn’t far from where I’m staying. If I’ve got time, I’ll try and find Sir John Tenniel’s grave as well, best known for the illustrations for Lewis Carol’s Alice books. What a weekend!

I’ll be writing about my trip (hopefully) when I get back.

Until next time,

Jimma

Well folks, here’s the finished article (though I may touch up the eye slightly - when I get time!). It aint perfect but it aint bad for an old timer. I’m a bit disappointed that I haven’t quite got the ‘the look’ of Rosamund but I’m not doing the face all over again. It drove me mad as it was. Nothing irritates me more than not getting a picture to my complete satisfaction (us Virgo’s are perfectionists, apparently). By the way, the photo’s I’ve taken of this painting are always a bit con vexed so I always end up not having the full picture as well not looking quite right. For example, the window frame on the left should run parallel to the edge of the canvas, but it doesn’t. Oh, well. Overall, I enjoyed doing this and kind of regret I didn’t attempt the whole thing.

I’m just re-introducing myself to oils. I haven’t used them since attempting (not well, I have to admit) Waterhouse’s 1910 Ophelia and I’m thinking of having a go at his A Naiad. When I’ve learned more I’m gonna start my own paintings. I’ve got ideas but I feel a little incapable at the moment, which is why I’ve just started art college.

Is that the time? I’m outta here!

Jimbob

Again, as usual, I’m just putting down base colours first so I can build on them. It’s been kinda nice to do the main body of the dress, even if it is unfinished. It feels like I’m finally getting there (all good fun).

See ya soon,

Jimbob.

I’ve added the branch creeping in around the window and part of the tapestry here. It’s a pity I didn’t have more canvas to paint more of the tapestry on because I think the red that’s in it compliments the red of Rosamund’s sleeve. Next up will be the dress.

I’m outta here,

Jimbob

Well, just a bit more of the background added and the head-dress thing has been touched up a bit.

One of the things I noticed early on with Waterhouse’s paintings is how everything kind of blurs into one another. There is no real definite lines as such and I find this hard to replicate. I’m reading a book called J W Waterhouse at the moment (highly recommended) by Peter Trippi and he makes mention of it also. He suggests that Waterhouse found this technique in the work of a French artist called Jules Bastien-Lepage and achieved that blurring of the edge with a ’sqaure’ brush. Not exactly sure what a ’square’ brush is but I shall find out. I think that blurring is wonderful and compliments Waterhouse’s rendering of mythological subjects where there is always (for me, anyway) a blurring of what is real and what is not. I think myths have some basis in fact and it would be the minority that would be pure fantasy.

Gotta go,

Jimbob

Here I’ve painted in Rosamund’s hands and some of the background. I like adding the darkness of the background which helps to contrast with the lightness of Rosamund’s skin colour which, at the moment, I think is looking ok, but it might need touching up a bit.

Until next time,

Jimbob

Sorry no updates lately. I’ve been on holiday in the Lakes where it rained and rained. The less said about the better. Anyway, here’s my latest offering on my little John Waterhouse altar. Just a few bits added this time, but its coming on slowly. Next one in a few days (all being well).

See you soon,

(A pleasantly dry) Jimbob