Tag Archives

Greenwich

MERIDIANS AND PARAKEETS

I am sitting on a bench beside the Thames

on a sunny April Saturday at Greenwich,

and watching the boatloads disembark

at Greenwich Pier. They wander through the erstwhile

Royal Naval College, and walk up the hill

to the Royal Observatory. They tread,

in its courtyard, the stainless steel strip

that marks the prime meridian which set

the clocks of a thousand shipping fleets.

I watch the river as it flows softly

past the Isle of Dogs on the opposite bank,

and the sun glint on the topless towers of

Canary Wharf’s Masters of the Universe.

 

I think of elsewhere: across the Hudson

near the Jersey shore, the view from Liberty

Island and Ellis Island of the isle

of Manhattan – its charm, its promise,

its threat – the Twin Towers still intact;

of the stone compass in the cliff-top

fortress at Sagres, the furthest south west point

of Europe, where the Mediterranean

and the North Atlantic meet, where Henry

the Navigator set his naval college,

some of whose graduates made the Slave Coast.

 

The Royal Naval College here, its elegance

and Portland Stone still pristine, was designed,

during the Restoration, by Wren,

Hawksmoor, Vanbrugh. It has become part

museum, wedding venue, grove

of academe. Mature London Plane Trees grow

in its expansive, graceful courtyard.

Rose-ringed parakeets – offspring of escaped pets

originally from India but now

naturalised through much of south east England,

and spreading westwards, and northwards – flit

their vivid green from branch to branch, their calls

squeaking like infants’ toys.

 

 

TRIUMPH OF THE WILL

‘Half winged-half imprisoned, this is man!’
PEDAGOGICAL SKETCHBOOKS, Paul Klee, 1925

 

Cruising from Westminster to Greenwich, we passed
Tate Modern, the old Bankside power station –
art as regeneration. The current show
was ‘Paul Klee – Making Visible’. “Making
a fool of himself, more like!” called the captain
over the tannoy. There was much laughter
and some applause. The 02 Arena
and the Thames Barrier came into view –
two works of abstract art as engineering.
In the Royal Hospital’s Painted Hall
are Thornhill’s baroque maritime murals –
representational art as décor
and establishment propaganda.

On the return trip, a different captain
made the same remark – to the same effect.
Klee and his peers had been many decades
dead and were, seemingly, still a threat –
despite the sponsor, EY – Ernst & Young –
trusted global accountants and auditors!

Klee catalogued his work precisely.
‘Making Visible’ followed his schema.
In the ‘20s room, I studied his ‘Wohin?’ –
‘Where to?’ – oil on paper, A4 more or less –
a stylised landscape of seven trees –
straight trunks, leaves and branches circular,
six deep green, paint richly daubed, the seventh
a discreet orange – and varicoloured,
irregular fields, no lanes, paths – the title
painted in as part of the picture.

I had seen the work before: exhibited
in Chicago’s Art Institute, built
as part of the 1893 World Fair –
architectural art as marketing.
The exhibition was a reprise –
a sort of victory roll – of the Nazi’s
‘Entarte Kunst’ – ‘Degenerate Art’,
mastered by Goebbels, opened by Hitler
in ’37 in Munich’s Chamber
of Visual Arts. In addition
to Klee’s, there were works by Chagall, Grosz,
Kandinsky, Kokoscha, Mondrian et al –
snatched from the public galleries of the Reich.
One might have expected the exhibition
to have been followed by the public
immolation of the works of art,
like the burning of books in ’33.
Some disappeared as Europe broke apart.
Many, like ‘Wohin?’, travelled safely
abroad. Money makes the art go round.

In ’33, vilified by the Nazis,
he left Germany and returned to Bern.
His was, as he put it, ‘a thinking eye’,
seeing truly the scope and the nature of things;
Picasso’s ‘master of colour’; versatile
in his use of materials; prolific.
In ’36, he was diagnosed
with scleroderma, an incurable
degenerative disease, that affects
motor skills. He died the month the Werhmacht
took Paris. He painted to the end.