Arts feature

‘Bigger,’ said Sir Osbert Lancaster when asked the difference between his work for the page and for the stage. ‘Definitely bigger.’ For almost 40 years Lancaster was the ‘pocket cartoonist’ for the Daily Express. He had remarked to the features editor that no English newspaper had anything to match the little column-width cartoons of the French papers. ‘Go on,’ said the editor, ‘give us some.’ On 1 January 1939, Lancaster gave them the first of around 10,000 line-drawn cartoons. His subjects were the war, the Blitz, the weather, Stalin, Hitler and Dr Spock, the Swinging Sixties, the Common Market, the test tube baby and the topless swimsuit.

It’s morning in the garden of William Christie, and he’s talking about home improvements. ‘I planted three pines up there actually,’ he says, pointing. ‘One blew over in a storm in ’99. But I was able to plant on both sides and create a vista. It’s getting there.’ He gestures across topiary and lawns and away towards the opposite hillside, where an avenue of trees and classical pillars sweeps up towards the skyline. Hang on: he created that too? It’s not unknown for famous conductors to act like Bourbon princes.

Heinrich Schliemann had always hoped he’d find Homer’s Troy. Although he had no archaeological background to speak of, he did have money, and spades, and in the 1870s this would do. Tipped off as to the probable location of the ancient citadel — beneath Hisarlik on the west coast of modern Turkey — the Prussian businessman got zealously to work, pushing through the soil until he struck what he assumed to be the treasure of King Priam himself. In the Iliad the Trojan king lived lavishly. His palace was ‘surpassingly beautiful’. Its 50 rooms were built of ‘polished stone’. The terracotta wares Schliemann lifted from the ground did not quite evoke such splendour. There were fat-bellied pots with nipples and navels and rustic two-handled cups.

What makes someone become a pop star? Sometimes, it’s true, pop stardom arrives by accident, and its recipient responds not with joy, but horror. More often, though, pop stardom is sought, sometimes to make up for things that are missing in life, and the newly minted star embraces all the benefits fame brings, until those benefits — unlimited sex, unlimited drugs, unlimited drink — become more of a burden than a pleasure. Mick Hucknall appears to fall very much into the latter camp. What was missing was, first, a mother: she left his father when he was an infant, and records became some sort of surrogate as he grew older.

‘Everyone of us knows we deserve to be punished,’ says the frail old man before me in a hotel café. ‘You and I for instance. What have we done this morning that is good? What have we done to resist the ruination of our planet? Nothing. It is terrifying!’ Peter Brook fixes me with blue eyes which, while diminished by macular degeneration that means he can make me out only dimly, shine fiercely. But for the genteel surroundings and quilted gilet, he could be Gloucester or Lear on the heath, wildly ardent with insight. ‘Think of Prospero. He’s a bad character, hell-bent on revenge for his brother’s wrong, a colonialist who dominates Caliban and the rest of the island.

What does it mean to be a successful comic? Richard Herring isn’t sure. He’s been a ‘professional funnyman’ for nearly 30 years, yet — as he’s the first to admit — he’s largely unknown beyond the circuit. Even then he has doubts. ‘I’m never in those top-100 stand-up lists,’ he says, when we meet in Soho ahead of his new tour. He admits his old shows have largely been forgotten and he hasn’t been to an awards ceremony for decades. As promo strategies go, it’s a curious one. But then Herring is an odd one. In the late 1990s, he was part of a new wave of Oxbridge-educated fame-hungry young comics who exploded on to television.

‘She’s only a bird in a gilded cage, a beautiful sight to see. You may think she’s happy and free from care; she’s not though she seems to be.’ When the British lyricist Arthur J. Lamb first offered the lyrics of ‘A Bird in a Gilded Cage’ to the Tin Pan Alley tunesmith Harry Von Tilzer, he was told to go back home and clean them up. Lamb had made the subject of his song a rich man’s mistress; for mass-market appeal she needed to be married. In its revised version ‘A Bird in a Gilded Cage’ shot to the top of the 1900 sheet-music charts. For some strange reason the idea of the kept woman, married or unmarried, continues to exert a fascination on both sexes.

On 25 November 1895, Camille Pissarro wrote to his son Lucien. He described how he had bumped into his erstwhile protégé, Paul Gauguin, who had explained to him how artists in the future would ‘find salvation by replenishing themselves’ from the works of remote peoples and places. Pissarro was not convinced. Gauguin, he grumbled, was always ‘poaching’ from someone. Once it had been Pissarro and his fellow impressionists, now it was the native peoples of Oceania. Plus ça change… Over the succeeding century and a quarter, Gauguin (1848–1903) has frequently been condemned.

Occasionally, we encounter an image that seems so ludicrously out of kilter with the modern world that we can only flounder in antiquity for appropriate descriptions. We see a black and white photograph that shows a swarm of tiny figures, ant-like in their relentless pursuit of some mysterious purpose around the edges of a dark, cavernous maw, and we say it’s biblical, epic, ancient. We invoke the building of the pyramids, the Tower of Babel or Dante’s Inferno. Our artistic sensibilities might point us towards the darker paintings of Jan Brueghel the Elder or the apocalyptic waxwork tableaux of Gaetano Zumbo. What we seldom imagine is a 1980s Brazilian gold mine.

‘Welcome,’ says our guide Stuart Bellehewe, with an imperious sweep of his arm, ‘to the cathedral of shit.’ Before us rises Abbey Mills Pumping Station in all its grade II*-listed glory. It arose on east London’s marshes in 1868, giving Victorians a fecally fixated premonition of postmodernism’s fetish for mashing up architectural styles. Observe, urges Stuart, the Russian Orthodox-style cupola surmounting the cathedral, clearly quoting church design. Savour, he urges, the gothic Venetian design of the arched windows and of the corkscrew twist incorporated into the rainwater downpipes. The steeply pitched mansard roofs evoke Flemish designs; brass and copper florets on the doorways are derived from Celtic art. Until 1940, there was more.

Judy Garland is now a myth, a paradigm and a warning: don’t let your daughter on the stage! It’s the cognitive dissonance that is thrilling and awful, like a child that dies: Dorothy kicked off her ruby slippers and turned to Benzedrine. It is a narrative that erases Garland as surely as the drugs ever did. When I think of Garland, I don’t think of the chaos, born at MGM Studios where they drugged her to make her slender and biddable. They called her the ‘little hunchback’ and because she was schooled with Elizabeth Taylor and Ava Gardner she believed it. I marvel at the music. She was extraordinary, not because of her illness, but despite it.

‘Imagination is my world.’ So wrote William Blake. His was a world of ‘historical inventions’. Nelson and Lucifer, Pitt and the Great Red Dragon, chimney sweeps and cherubim, the Surrey Hills and Jerusalem in ruins, the alms houses of Mile End and the vast abyss of Satan’s bosom.  He saw the fires of the Gordon Riots and the serpent in the Garden of Eden. His subjects were Milton and Merlin, Dante and Job, ‘Elegy Written in a Country Churchyard’ and the Book of Revelation. He held infinity in the palm of his hand, yet worked through the night to write and grave all that was on his mind. ‘I have very little of Mr Blake’s company,’ said Catherine Blake with the indulgent sigh of all wives of Great Men.

At the Villa Pignatelli in Naples there is an exhibition by Elisa Sighicelli: photographs of bits and pieces of antiquity from, among other places, the city’s Archaeological Museum. Put like that it doesn’t sound so interesting but the results are stunning. Walking through the Archaeological Museum after seeing the exhibition it was difficult to discover the original objects from which Sighicelli’s samples were taken. One instance, a tight crop of fingers pressing into a calf, is from a highly elaborate, much restored and augmented sculpture with so much going on — a naked swirl of bodies, a rearing horse, a sympathetic doggy — it’s hard to imagine how she found it in the first place.

‘I often wonder what artists are for nowadays, what with photography and a thousand and one processes by which you can get representation,’ L.S. Lowry muses in Robert Tyrrell’s 1971 documentary. ‘They’re totally unuseful. Can’t see any use in one. Can you?’ I can: as fodder for biopics. Cinemato-graphers have always been inspired by painting, but the appeal of the artist’s biopic lies less in the representation than the lifestyle: mainly the sex.

A camera sweeps across the verdant, shimmering beauty of Jamaica before descending on to a raffishly charming wooden house built into the hills. We’re at a music studio where four of the pioneers who gave birth to reggae are congregated to record a new album. ‘It’s tranquil, a real feeling of nature, just birds, trees and the wind,’ says 71-year-old Ken Boothe, whose seductive voice is smooth as rum, just as it was in 1974 when ‘Everything I Own’ stormed the British charts. Boothe is one of the stars of a beguiling new documentary, Inna De Yard, about the rise and fall of roots reggae, which reached its peak in the late 1970s with Bob Marley’s ‘conscious’ lyric-writing and is now witnessing a revival.