Whistler

Wednesday

Hermione Eyre

How did so many fail to appreciate Whistler?

From our UK edition

I approached this exhibition like a conscientious critic, poring over the catalogue, the signage, making notes… And then, about halfway through, I drifted. I dawdled. I stopped thinking and gave in to the aesthetic rapture, the rhyming half-tones, the ‘breath-like softness’ of Whistler’s paint. I was a disciple, briefly, of art for art’s sake, even though I wasn’t wearing white, nor carrying a peony. It was the room full of Nocturnes that sent me. Their opiate-like gloomth put me right beside the Thames at dusk. No, that’s too pedestrian. Not beside the Thames; with the Thames. Whistler lived on Cheyne Walk, but watching the river was not enough; he would take a boat out at night to prepare for his paintings.

Saturday

Amy Rose Everett

Fresh tracks in ancient territories

By complete fluke, my delayed shuttle bus rose through the Coast Mountains at dusk. I pressed against the window, outing myself as a tourist amid seasonaires snoozing through another spectacular sunset. Hot pinks and deep purples streaked between towering pines, transforming the outline of snow-capped peaks. I’d crash with local friends for a month, with support from Vail Resorts to explore stories beyond the slopes. Tales of Whistler Kids ski school were already family lore – I’d once visited as a 10-year-old, buzzing to see snow. Stuck at Vancouver International, I’d pulled up a chair at Salmon n’ Bannock on the Fly – Canada’s only Indigenous restaurant in an airport. As travelers, how often do we pause to ask whose land we’re actually on?

Wednesday

Lisa Hilton

The splendour and squalor of Venice

From our UK edition

Hard by the Rialto, in a densely packed and depressingly tacky quarter of Venice, the church of San Giovanni Cristosomo houses one of Giovanni Bellini’s most luminous and exquisite paintings. ‘I Santi Cristoforo, Girolamo e Ludovico di Tolosa’ is known to locals as ‘the Burger King Bellini’, after the fast food outlet opposite the church door. In any other city, the picture’s exquisite handling of light and complex mingling of Christian piety with Renaissance Neo-platonism would grant it a museum of its own, but in Venice its principal spectators are weary tourists in line for a Whopper. Martin Gayford’s paean to Venice as ‘a huge, three-dimensional repository of memory’ is constantly alert to such anomalies.