Posting from home: a cat from Montmartre

Here in the UK we are into week 5 of lock down. People are responding to the situation in different ways. Some are coping well and are adjusting to a slower and simpler temporary life; others are struggling with confinement and  uncertainty about when things will change. I’m naturally a homebody and enjoy my own company, so thankfully I’m doing OK; though I am starting to lose track of what day it is and doubt I am alone in that. Sadly, there are no rural amblings to be had close to my home so I can’t show you any verdant spring scenes. I’m sure I’ll be itching to get out when restrictions are lifted, but as that could be some time off I thought I’d write a little retro travel post without having to leave the house.

Though not intentionally or philosophically a minimalist, I appear to own less stuff than most people I know and I tend only to have things that I actually use or am really fond of. In the second category is Montmarte Cat who sits on a shelf in the kitchen. I bought this ceramic feline about five years ago from my favourite part of Paris.

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Montmartre is well known as the artists’ quarter of the French capital, a bustling and lively place with lots of winding cobbled streets, cafes, artists and little studios. Montmartre is actually the name of the hill but it incorporates the district which has grown up around it.

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Walking around admiring street artists’ work is to be taken much more seriously than here in England. Stand too long in admiration and it’s assumed you have entered into an unspoken commercial contract to purchase the watercolour you have been ogling for the last seven minutes, or to pose for the portrait painter whom you have naively made eye contact with. Once those bristles hit that canvas there’s only one honourable outcome unless you want to make your escape, chastened and shamed, as the offended artist shouts insults after you. Just keep moving unless you want to buy, and enjoy the wonderful energy of the village.

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Moulin Rouge is a just a short walk away but I haven’t been tempted. One of my two favourite views of the city can be savoured from the Basilica of Sacre Coeur which sits atop Montmartre (the other favourite view, perhaps unsurprisingly, being from the top of the Eiffel Tower).

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Each time I have visited has been a warm and bright day, perfect for buying a freshly made baguette and walking up the steps of Sacre Coeur to sit and enjoy the sprawling metropolis below.

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Of course, there are the usual hawkers and pick-pockets and opportunists who can spot tourists a mile off; it’s a slice of life. There are also souvenir shops selling tat to those of us who can’t resist – my personal weakness is fridge magnets. Bill Bryson once admitted to the same (tat, not especially fridge magnets) so there’s no shame in it. Excellent coffee or a green fairy will soon have you feeling more sophisticated again.

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On my last visit five years ago I came across this gorgeous little ceramics studio.

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The items on display outside were, understandably, glued in place but I was still impressed that they remained intact. I knew I was going to buy something…

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Not the handrail, though it was exquisitely painted.

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Inside the tiny gallery there was a collection of cats in white and a rich olive green, singular and paired, reclining, sleeping, stretching, serious or smiling. One looked very pleased with himself, contented and lazy as cats should be, and as he has been since, on my kitchen shelf.

Keep smiling too! Planes will once again fly, ships will sail and adventures are awaiting.

Sublime Symmetry exhibition: celebrating the ceramics of William De Morgan

Last Saturday, I went to London to see the Sublime Symmetry exhibition at the Guildhall Art Gallery.

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A collaboration between the London Mathematical Society and the De Morgan Foundation, the exhibition celebrates the influence of symmetry in the designs of the Victorian designer, potter and later novelist, William De Morgan.

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William De Morgan

Born in London in 1839, William was the son of distinguished mathematician and founder of the London Mathematical society, Augustus De Morgan and his wife, Sophia, who were liberal and encouraging parents, supporting William in his desire to become an artist. Although he entered the Royal Academy, William left soon after to better find his own creative style. Out of a life-long friendship with textiles designer William Morris, the two went into business together between 1863 and 1872 with De Morgan designing stained-glass and furniture for Morris & Co.

Overall, De Morgan was best known for his fiction, but his most celebrated ceramics work emerged between 1872 and 1881 when he set up his own pottery works in Chelsea, experimenting with and perfecting innovative firing and glazing techniques which led to several noteworthy commissions from the rich and famous such as the painter Alfred, Lord Leighton and department store owner, Ernest Ridley Debenham.

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I fell in love with William De Morgan’s tiles ten years ago. A friend, knowing of my passion for Islamic architecture and art, recommended that on my next London trip I should visit Leighton House Museum in Holland Park, the former residence of Lord Leighton.

Like many of his contemporaries, Lord Leighton was part of the Orientalism movement, where western artists, writers, academics and philosophical sorts imitated aspects of middle-eastern and north-African art, design and literature and developed an interest in Islamic spirituality.  This is illustrated in the design of the magnificent Arab Hall at Leighton House. The wood and metal work were imported, mainly from Egypt, but the lustrous ceramic tiles in their peacock hues of cobalt and verdigris were created by William de Morgan. It was love at first sight and I have returned five or six times since my first visit. As photography is not permitted, the images below are from the internet.

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Leighton House 2 Arab Hall

Debenham House (also known as Peacock House) is just a few streets away and was built in 1905 for the department store owner Ernest Ridley Debenham with De Morgan being commissioned to design some of the interior tiles. Unfortunately, it is no longer possible to enter the property which has occasionally been used as a film set and, in the past, has held open days. I discovered that the property is currently being renovated and tried to persuade a work man to let me inside for 5 minutes, but to no avail. These images from the internet show more examples of De Morgan’s tiles inside Peacock House.

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The unique blue and green glazed bricks on the exterior mimic the feathers of the gorgeous peacocks I was lucky enough to see whilst eating my lunch in nearby Holland Park.

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After the Debenham House commission, the fashion for Moresque design started to decline and De Morgan left ceramics behind, turning his multi-talented hand to writing.

Apart from Arab and Persian influences, de Morgan also depicted mediaeval themes, mythical creatures and animals as can be seen in some of the Sublime Symmetry exhibits.

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As well as his artistic talents, De Morgan had great mathematical aptitude, perhaps unsurprisingly considering his father’s eminence in that field. Geometry and symmetry were central to the Islamic designs which inspired much of De Morgan’s work. Here are some examples.

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The exhibition is both visually stunning and informative and runs until 28th October.