Showing posts with label HS2. Show all posts
Showing posts with label HS2. Show all posts

7 January 2017

Birmingham - A brush with greatness!

How good it is?




Tony Iommi with choristers of the Birmingham Cathedral Choir
(Photo courtesy of Edwin Ellis Creative Media)




And it came to pass that....

I was attending conference at the Aston Business School in Birmingham (as one does) and I had spent a day or two gazing out of windows seeking images of this grand city:




Where vestiges of the old have been allowed to remain in the midst of the new:




Then, on Thursday evening, January 5th, I had a few minutes to spare.  It was either a cup of tea and a rest before dinner, or, as my friend Janet suggested, an opportunity to get a few pictures of New Street Station and what was left of the Christmas Night Lights.....






It was chilly, and the black evening seemed to seep down the walls, and smudge the street lights, but I made my way through the traffic on the James Watt Queensway and up Corporation Street, snapping as I went.....






I have never spent a lot of time in Birmingham - apart, that is, from hours of idleness on the motorways trying to get past it - and things have changed since I was last here, but there are some fine buildings, new and old, and this whistle stop tour was not going to allow me to get more than a flavour.... The Law Courts are empty,





The arcades too are quiet, with the traces of Christmas about to come down....






And people are hurrying home, or getting ready for a night out....







In one way or another....







I recognise the old National Provincial Bank on Bennett's Hill (the entrance with coffered ceiling and sculptured panels by S F Lynn, 1869, and, on the skyline, a shield of arms with flanking figures. Banking hall has a richly coffered ceiling and pairs of fluted Corinthian columns down the centre of the hall. Important corner site....) which, when I last visited, was a book shop, with a troop of Clog Dancers performing outside. Now it's a bar....




So, overcome with memories, I duck into the Wellington, (where in keeping with their love of tradition, they sell a huge range of snuff) and for a moment I pose as a lonely drinker staring into the empty fireplace..... 





But then, in search of the glowing stained glasses of Edward Burne-Jones, I venture into Cathedral Square. Lights on within St Philip's entice me....









And this is where the story changes. Something is happening here, though I know not what it is. There are wines on the table under the west tower, and photographers are packing up. As I suspected the stained glass windows look better when the sun is up, so I compose a shot of the holy family and their wise visitors then turn to go.



 


At this point I catch the bespectacled eye of a dark haired, bearded man, wearing dark clothes. 

We smile. 

He is in conversation with the golden haired Dean and so I don't want to interrupt, but, for a moment, I brush with the greatness of Tony Iommi, founder member of local band Black Sabbath, and one of the finest rock guitarists ever.....





Tony Iommi and the Dean of Birmingham, the Very Reverend Catherine Ogle

(Photo courtesy of Edwin Ellis Creative Media)


Tony Iommi was brought up in Birmingham. He met Ozzy Osbourne at school and together they formed Black Sabbath. In 2012 Tony became friends with Dean Ogle when he was struggling with cancer, and the friendship led to his wish to give something back to his native city. And so, with words based on Psalm 133, he has composed How Good It Is.

Tony takes enormous pride in his Birmingham roots and the recognition he receives in the city. So much has changed, he has said. The city is hard to recognise these days. There’s so much building work going on, it’s really great that the city is expanding and offering people more to do here. It’s different from my day.....





How Good It Is 
Inspired by Psalm 133 

How good, oh how good… 
How good it is 
Where friendship dwells 
How good it is 
When kindred live 
In peace and love 
How good it is 
When strangers meet 
And find a home 
How good it is, so good…. 
This is home, this is home... 
Our city, God’s city, our home…. 
So good, so good, together, so good… 

Catherine Ogle, April 2016

The track can be heard via the following link:



[If, by any chance, this link fails, then go to the Birmingham Cathedral website]


Alas! I have just missed a public play through of the new work.  Curses! But I have to hurry.  My mission was New Street Station, and then there's my conference dinner....




Once New Street was just a railway station... confusing, grey, dull. You came out to hear the bulls in the ring, in the rain. 



Now, it's huge. Dazzling.  Such a shame that HS2 won't stop here.....





So, I must hurry back, under the Bull Ring,








Past Selfridges (Selfridges Birmingham is one of the city’s most distinctive landmarks and the in-store experience is equally as show-stopping, with the latest luxury brands, designer arrivals and a global restaurant offering),






Past Marco Pierre White's English Chop House,






Past the old elegance of Moor Street Station,







And into the glass and steel glitter of Aston University,








Dinner awaits.  My scant hour is up. It was a fleeting glimpse of a city's heart, but worth it.  The following afternoon it is back to New Street for the pendolino to Euston (do we really need HS2?) and as we pull away I get a last glimpse of the sprawling city, once the home of everything that was made in Britain, now a confusion of service industries and traffic.  I haven't seen anything really - not the Jewellery Quarter, nor the Symphony Hall, the Museum and Art Gallery, the canals, Cadbury World, not even the statue of Tony Hancock (though I probably walked right past it in the dark).....

I will have to come back.  


Thank you Janet Pickering for sending me out.  And thank you Tony Iommi for bringing me in.






How good it is 
When kindred live 
In peace and love 
How good it is 
When strangers meet 
And find a home 





28 October 2012

Brian Bennett

A SPECIAL RELATIONSHIP




From Coombe Hill



Brian Bennett is an Old Master. At least, he is one of my old masters. For thirty years from 1957 he was Art Master (Director of Art) at Berkhamsted School, throughout which time, and beyond, he was also a great friend of my parents. Now at 88 he surely qualifies for the epithet old, but with all the veneration Old Masters deserve. 




Ivinghoe Hills, Winter 





Brian read History at Magdalen College, Oxford, but the inspiration of his English teacher at school, Peter Greenham R.A., led him to become a painter.  I paint in oils with a knife, he explains, mostly landscapes of the Chilterns, where I live, concentrating on wild flowers that grow on the chalk and on the wide panoramic views from the escarpment.  In 2001 he published A Painter's Year: 12 months in the Chilterns, which contains over 80 reproductions of his work.  He is also the author of Oil Painting with a Knife, published by Search Press, as he paints, almost exclusively with a painting knife (not a palette knife) which I modify to my own requirements….. Large and more studied work may require pencil sketches to confirm the composition, but generally I brush a few compositional marks with very dilute paint on the canvas before I begin, in earnest, with my knife.




Sowthistle and Knapweed




This knife work is clearly evident on close examination, but the overall effect is one of bright detail, sharp definition and living contrast.  His foregrounds often show the umbels of wild carrot or beaked parsley, the heads of bristly ox-tongue or knapweed, or the delicate spikes of wild orchids.  May blossom, silver birches and young beech leaves enlighten his landscapes, and distant views of church towers or farm buildings create perspective and add touches of red or white angularity. 




Ivinghoe Hills, Winter - (Detail)





The Chilterns and the Vale of Aylesbury are where he concentrates today, but his work is not limited by locality.  He has travelled throughout Europe and the British Isles, and one of my personal favourites was painted on the beach at Charmouth in 1962, showing Golden Cap.  The deft knife work captures the day, from the children paddling to the flash of gold gleaming on the peak.  A photograph could have brought home the scene, but it would have been a record of a moment, not the impression of an afternoon, with individual choice in each tiny fleck of colour and selection of detail.  

I know; I was there.  And I am still there whenever I review the picture.



Golden Cap, 62 – Private Collection






Brian has had a distinguished career as a painter.  He was elected as a Member of the Royal Institute of Oil Painters in 1973, was their President from 1987 – 1995, and was subsequently elected as a Fellow.  He was a Governor of the Federation of British Artists from 1990 – 1996 and has exhibited at The Royal Academy, the Royal Society of British Artists, the Royal Society of Marine Painters, the New English Art Club, and the National Society as well as at the Annual Exhibition of the Royal Institute of Oil Painters at the Mall Galleries in London.  In addition he held solo exhibitions for many years in Berkhamsted and now for twenty-one years he has been associated with the Hawker Gallery in Old Amersham, where his current show is on display.




Cymbelline's Mount



In 2011, Brian’s exhibition at the Hawker Gallery was inspired by the proposed High Speed 2 rail link (HS2) between London and Birmingham, which will, if it goes ahead, destroy a great swathe of the Chiltern scenery as it shaves some fifteen minutes off the journey time between the cities.  Since the government’s appalling miscalculations over the West Coast Mainline franchise it is impossible to trust their judgement over this project.  Yes, it would create jobs in construction; but that brings to mind the only thing my economics teacher ever impressed on me, which was that it would make sense to build a battleship and then immediately sink it.  Sinking a battleship in deep water, however, would not quite leave the same mark on the landscape as brutalising an entire countryside.  Yes, it might shave a few minutes off getting from outer London to outer Birmingham, but it would also shave 15 million years off our heritage.




Chiltern Landscape


Anyway, Brian’s paintings are there to celebrate and preserve the scenery in case the madness prevails, but they also demonstrate to all comers just what we would lose.  




Ashridge, Autumn



And this year’s exhibition is not, in essence, different.  Its focus is on slightly different tracts of land, but it covers the same principle, and illustrates the changing beauty of the Chilterns.  If we do not look after what we have, his paintings will become Old Masters, windows on a lost world, like Hobbema’s Avenue, or Constable’s Haywain, and if one thing is for certain, as W H Auden said, About suffering they were never wrong, The Old Masters…..  Brian’s paintings are a joy to behold, now, but one day they may be reminders of a certain suffering.




 Wild flowers - detail from Private Collection




As Brian explains in the brochure to his current exhibition: My underlying ambition is to paint a landscape that will convey not only my love of the Chilterns but also to create something really meaningful for the viewer.  I strongly recommend a visit so that you can see for yourselves.....

The exhibition is running until November 14th (2015) at:


The Hawker Gallery, 
The Maltings, off School Lane, 
Amersham, 
Bucks, 
HP7 0ET, 
tel: 01494 724850 

And this year is a celebration of the special relationship Brian has had for twenty-one years with Michael and Michele Hawker, who share his ideas and commitment to the local landscape.....









Brian and Margrit Bennett
Another Special Relationship





All pictures copyright; reproductions by kind permission of the Artist