Exhibition Review: The Edwardians - Age of Elegance

It feels like a long time since I have had the time/energy/money to go to an exhibition in London which is a shame as I do love a jaunt to the capital. It was actually Mr Walker who requested a visit to The Edwardians at the King's Gallery at Buckingham Palace and booked the tickets, and so last weekend we made the journey...

I first went to Buckingham Palace in the 1990s when they opened it up for tours and it is glorious.  I don't remember going round the side to the gallery, but I was not disappointed as it is the most perfect exhibition space which had been filled with absolutely gorgeous things.

I think one of the problems with the Edwardian era is that it is so easily subsumed into what is now called 'the Long Victorian' and it is easy to see why - King Ed was only on the throne around 9 years so how impactful could his reign be in comparison with his mother's? However, I think there is an opulence and light to those pre-War years because, yes, I think 1914 did provide a bit of an abrupt halt to the Edwardian/Victorian sensibility.  Then again, maybe with that hindsight, the glittering years of the early twentieth century are all the more special because of what was to follow.

Queen Alexandra (1908) Francois Flameng

This exhibition consists of over 300 objects - paintings, books, plates, miniatures and costume - spread over many rooms and includes massive portraits as well as pieces of art that reflect a period that was indeed elegant. I also got the impression of artists and sitters who were also very concerned with the artistry of what they were producing, be it the monumental portraits of larger-than-life royal figures or the incredible books that belonged to them. I don't think it hurts that the rooms are not huge (which might actually be a problem in the first room which was packed and quite difficult to get round, especially when someone is giving a talk) so you are loomed-over by these glittering gods in sparkling jewels and satin.

God Speed (c.1893) Lawrence Alma-Tadema

It was also a pleasure to see works by familiar artists, such as God Speed above which was a wedding present to Edward's son who would become George V, when he married Mary.  The exhibition actually spans from Edward and Alexandra's wedding in 1863 to the end of the First World War and covers not only the pomp and ceremony of becoming King and Queen but also their travels around the world.

Silk panel (1901) Adelaide School of Design

Empire is a difficult thing to talk about and patently the last few months have shown how, as a nation, we still do not have national maturity to deal with our history, but I found the rooms that covered the Edwardian experience of the outside world to be fascinating as there were pieces such as the incredible panel by the Adelaide School of Design, a gift from the 'Ladies of Adelaide' to George and Mary on their trip to the opening of Australia's first Federal Parliament in 1901. In the same space are paintings such as Valentine Princep's A Nautch Girl (1877) showing a pretty, barefoot dancer which was studied from life but very much through a Western eye.

Charger (c.1873) Rebecca Coleman

There were a number of pieces that really intrigued me including this Minton Art Pottery Studio charger by Rebecca Coleman, the sister of William Stephen Coleman, the director of the studio between 1871 and 1873. I'm used to seeing this sort of head in portraits by people like Leighton, Alma Tadema and even Brickdale, but I loved seeing this plate and want to know more.

The Anointing of Queen Alexandra at the Coronation of King Edward VII (1902-3) Laurits Tuxen

I also had a bit of a soft spot for this painting as I remembered the 'canopy' bit from our last coronation and found it fascinating. Tuxen was appointed as Queen Alex's 'special artist to the coronation' and there is something quite intimate in this view, in what is an extremely monumental event. It is a very over-busy picture, too many people in it and far too much fabric but at the centre, quite still, is a woman becoming Queen and it is quite touching.

King George V (1915) Herbert Arnould Olivier

The last room of the exhibition brings you to the Great War which is somewhat of a shock after all the diamonds and gowns (as it no doubt was in real life).  I found two small portraits especially moving - the above of George V and another of Edward, Prince of Wales - which have a sense of speed, urgency and roughness which is a contrast to the smooth finish of the previous rooms.  There is a feeling that the royals moved into the new period of conflict and uniforms, and the glitter of the Edwardian party was over.

I really recommend the exhibition and was delighted that they have a little catalogue available with a selection of the pieces illustrated. The exhibition is on until 23rd November so perfect for a visit if you are braving London for your Christmas shopping.  Further details can be found here.