The Dorset Literary Salon!

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There are still a few tickets left for our very first salon featuring the fantastic John Ironmonger in the gorgeous environs of Symondsbury Manor near Bridport.

Our launch event will feature me in discussion with John Ironmonger talking about his fabulous new book. Tickets are £22.50 and include a cocktail, a hardback book of John’s novel, charcuterie and cheese platters and wine.

Intimate, funny and deeply moving, John Ironmonger’s Not Forgetting the Whale is the story of a man on a journey to find a place he can call home.

Please email: dorsetliterarysalon@gmail.com for tickets and further info.

 

David Hockney; Lucian Freud

David Hockney; Lucian Freud by David Dawson, 2003 © David Dawson Search for this portrait on the Portrait Explorer in the Digital Space, NPG P1001.

David Hockney; Lucian Freud by David Dawson, 2003 © David Dawson
Search for this portrait on the Portrait Explorer in the Digital Space, NPG P1001.

I particularly like this photograph of the two iconic painters.  We see Lucian Freud’s unkempt studio – paint-dashed floor and walls and we are coming in at the end of the story. Presumably Freud has spent months capturing Hockney. In the photograph Hockney plays the role of muse, while Freud lingers in the doorway clutching his brushes, his overalls – like chef’s whites – dabbed in yet more paint. Freud is in motion, while Hockney gazes out at us. Most of all, I like the double image of Hockney: the real man beside his portrait. Yet, there is another frame: that of the photograph itself. So, really this photograph is a Russian doll series of nested portraits, one inside the other, and it tells a multitude of stories. There is something deliciously novelistic about that.

My novel is structured like a gallery catalogue, each chapter containing a different portrait of Juliet but it’s not simply the painting of Juliet that tells the story, it’s also the process of painting and how it reveals the relationship between the artist and sitter. That’s what I particularly admire about all these portraits – we’re allowed to peek into the artistic process: they are paintings about what it’s really like to be painted.

Juliet and her pals

 

6817

The Situation Group by Sylvia Sleigh, 1961 © National Portrait Gallery, London This portrait is on display in Room 6817.

 

The Situation Group by Sylvia Sleigh

Now this is exactly how I imagine Juliet to be, surrounded by the artists she nurtures and admires – often a lone woman amid a sea of men. Like the fictional artists in ‘The Gallery of Vanished Husbands’ the artists depicted in ‘The Situation Group’ are strongly influenced by thrilling new work coming from America and hanker after the modern. I like the clean lines of the painting, and the thoughtful expression on the face of the only woman. She wears elegant black and none of the playful red that several of the men display on their ties. It must be lonely and take a certain strength of character to be a woman operating in the male dominated art scene of the ‘60s.  I also love the chap in large, David Hockney spectacles at the centre of the painting – so evocative of the era.