Max Berthelin, Royal Visit to Napoleon III, The Grande Galerie des Fetes at the Hotel de Ville, Paris, 23 August 1855, Royal Collection Trust 2016
Two contrasting exhibitions end the year on a high for Compton Verney art gallery in south Warwickshire.
Queen Victoria in Paris features watercolours from the Royal Collection, and Picasso on Paper: Prints from the collection of the Museum Kunstpalast, Dusseldorf, is self explanatory.
The Victoria exhibition is an unexpected joy. It features 44 watercolours which are from three different sources. In 1855 Napoleon III sent Victoria 10 watercolours depicting her visit to Paris from 18-27 August that year, she then commissioned 15 more and the final ones were sent by Baron Haussman. They are seen together in this touring exhibition for the first time – and some have never been seen before in public. The occasion marked the first time Britain and France were fighting on the same side, in the Crimean War, and only 40 years after the Battle of Waterloo.
Compton Verney has done what it does well with this exhibition, presenting them in rooms painted a gorgeous deep blue, and with the low lighting required to protect them.
Charles Auguste Questel, Royal Visit to-Napoleon II, The Illuminations in the gardens of-Versailles, 25-August 1855, Royal Collection Trust, 2016
This is a collection where the names of the artists are less important than what is shown or represented. Indeed in some of them, the architecture of the buildings, inside and out, is what is particularly impressive – and apparently that was entrusted to architecture students to draw. There are scenes inside from various parties, including at the Hôtel de Ville, where there were 7,000 guests, and the high ceilings and decoration inside is impressively shown; regular artists painted in the people in the bottom part of the frame.
William Wyld, Chateau de Saint Cloud, Royal Collection Trust, 2016
Victoria’s visit is depicted from her arrival in the Royal Yacht at Boulogne, through to a huge welcome in Paris, through a fake ceremonial arch built temporarily for the occasion. There are landscapes of Saint-Cloud, where she stayed, and which was razed to the ground when Napoleon III fell in the Franco-Prussian war of 1870, and some gorgeous interiors of the rooms, with Victoria and Albert shown reading in one. The detail of the rooms and of clothes and hairstyles will delight those interested in the era.
There’s a fantastic nightime painting of Versailles, a packed visit to the opera, and an exaggerated image of Victoria inspecting troops on a massive parade ground. The third room is dedicated to 19 scenes from the Hôtel de Ville ball. It’s an exhibition which is a delight in many different ways.
The Picasso exhibition features 70 works from the Dusseldorf collection, created over a period of 40 years from the 1920s-60s. The exhibition seems to work in phases, marked by Picasso’s changing women, and professional collaborators.
Pablo Picasso, Head of the Faun, Colour Linocut, Edition 19/50, Stiftung Museum Kunstpalast, Düsseldorf © Succession Picasso/DACS, London 2016. Photo: Stiftung Museum Kunstpalast, Düsseldorf, Horst Kolberg, ARTOTHEK and
Pablo Picasso, Françoise, 14.06.1946, Lithography, Edition 4/50, Stiftung Museum Kunstpalast, Düsseldorf © Succession Picasso/DACS, London 2016. Photo: Stiftung Museum Kunstpalast, Düsseldorf, Horst Kolberg, ARTOTHEK
There is a portrait of Jacqueline Roque, who featured in more than 400 of his works, and also marked the start of his collaboration with Hidalgo Annéra.
There are some cute images of his young children, Paloma and Claude, the outlines of one created with his fingertips as he didn’t have tools to hand. Motherhood is an etching, with a few simple lines creating perfectly the woman and the young boy she is feeding. The Painter on the Beach from February 3, 1955 is a humorous work of several odd characters posing.
La Tauromaquia is a seires of 16 aquatint and sugar lift works showing simple scenes of bullfighting, and there is another series, Poèmes and Lithographs, featuring portraits and stream-of-consciousness text.
A move from Paris to the south of France resulted in a new collaboration with a potter there, and there are some works loaned from Leicester Arts and Museums Service, including the lovely Yellow Face of 1947, with the sweet face drawn with his fingers again.
So clearly a pair of exhibitions with no connection, but both interesting in their own right – and on until December 11.