National Portrait Gallery adds Dame Kelly Holmes to its contemporary idols

Dame Kelly joins the "heroes" in the NPG's range of celebrities.

A portrait of Dame Kelly Holmes is the latest addition to the National Portrait Gallery as part of the BP Portrait award competition. The large-scale oil painting joins such important figures in the NPG's Contemporary Collection as footballer Bobby Charlton and the UK's "favourite"  billionare, Sir Richard Branson. Glancing over the portraits in the Contemporary rooms of the NPG, I'd say that, aesthetically, they have a lot to offer. The variation in styles begins to be somewhat overwhelming, however, leaving one skimming over pieces with less initial impact, such as John Swannell's photo portrait of Princess Diana with her sons (which at first glance I presumed to be a promotional shot from a 1970s family sitcom). Excluding this happy accident of a photo, most of the paintings could belong in any wing of the Tate Modern; some are so obscure that it seems the artists just decided to paint something  in their characteristic style, the famous figures depicted being mere quirks that made the pictures noteworthy enough to get into the NPG. The portrait of Holmesis one of the exceptions in its initial straightforwardness, though she looks so remarkably sad one would guess she had had her two Olympic gold medals revoked. In fact, there is no allusion to her sporting career at all.

But it does leave us questioning the kinds of people our society chooses as role models. Why is it that we value these people? If their fame is celebrated in the form of a portrait, why are the reasons for their being celebrated so often left out of the picture? This is perhaps less surprising in the case of some of the well-known actors portrayed, such as Alan Rickman and Helen Mirren. Perhaps they've reached the stage when they're famous for being famous, like the disreputable Kardashians or the wretched Jade Goody? We see faces such as those of Sir Roy Calne, surgeon extraordinaire, scientist Robert Winston and Body Shop founder and human rights activist Dame Anita Roddick, who have contributed to society in a slightly more productive way. But they are a lonely few in a sea of tabloid-worthy celebrities.

Kelly Holmes and J K Rowling are Orwellian Big Brothers,  inspiration to the proles to make something, anything, of their lives. Congratulations to Dame Kelly for joining the ranks of 16th-century kings and 20th-century singers. Let's hope it motivates the lazy nobodies to get out and climb the ladder so high they're forced to cover their faces in public.

Dame Kelly's portrait will appear alongside Britain's favourite celebrities, including the Queen. Photograph: Andrew Cowie/AFP/GettyImages
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Erdogan’s purge was too big and too organised to be a mere reaction to the failed coup

There is a specific word for the melancholy of Istanbul. The city is suffering a mighty bout of something like hüzün at the moment. 

Even at the worst of times Istanbul is a beautiful city, and the Bosphorus is a remarkable stretch of sea. Turks get very irritated if you call it a river. They are right. The Bosphorus has a life and energy that a river could never equal. Spend five minutes watching the Bosphorus and you can understand why Orhan Pamuk, Turkey’s Nobel laureate for literature, became fixated by it as he grew up, tracking the movements of the ocean-going vessels, the warships and the freighters as they steamed between Asia and Europe.

I went to an Ottoman palace on the Asian side of the Bosphorus, waiting to interview the former prime minister Ahmet Davu­toglu. He was pushed out of office two months ago by President Recep Tayyip Erdogan when he appeared to be too wedded to the clauses in the Turkish constitution which say that the prime minister is the head of government and the president is a ceremonial head of state. Erdogan was happy with that when he was prime minister. But now he’s president, he wants to change the constitution. If Erdogan can win the vote in parliament he will, in effect, be rubber-stamping the reality he has created since he became president. In the days since the attempted coup, no one has had any doubt about who is the power in the land.

 

City of melancholy

The view from the Ottoman palace was magnificent. Beneath a luscious, pine-shaded garden an oil tanker plied its way towards the Black Sea. Small ferries dodged across the sea lanes. It was not, I hasten to add, Davutoglu’s private residence. It had just been borrowed, for the backdrop. But it reminded a Turkish friend of something she had heard once from the AKP, Erdogan’s ruling party: that they would not rest until they were living in the apartments with balconies and gardens overlooking the Bosphorus that had always been the preserve of the secular elite they wanted to replace.

Pamuk also writes about hüzün, the melancholy that afflicts the citizens of Istanbul. It comes, he says, from the city’s history and its decline, the foghorns on the Bosphorus, from tumbledown walls that have been ruins since the fall of the Byzantine empire, unemployed men in tea houses, covered women waiting for buses that never come, pelting rain and dark evenings: the city’s whole fabric and all the lives within it. “My starting point,” Pamuk wrote, “was the emotion that a child might feel while looking through a steamy window.”

Istanbul is suffering a mighty bout of something like hüzün at the moment. In Pamuk’s work the citizens of Istanbul take a perverse pride in hüzün. No one in Istanbul, or elsewhere in Turkey, can draw comfort from what is happening now. Erdogan’s opponents wonder what kind of future they can have in his Turkey. I think I sensed it, too, in the triumphalist crowds of Erdogan supporters that have been gathering day after day since the coup was defeated.

 

Down with the generals

Erdogan’s opponents are not downcast because the coup failed; a big reason why it did was that it had no public support. Turks know way too much about the authoritarian ways of military rule to want it back. The melancholy is because Erdogan is using the coup to entrench himself even more deeply in power. The purge looks too far-reaching, too organised and too big to have been a quick reaction to the attempt on his power. Instead it seems to be a plan that was waiting to be used.

Turkey is a deeply unhappy country. It is hard to imagine now, but when the Arab uprisings happened in 2011 it seemed to be a model for the Middle East. It had elections and an economy that worked and grew. When I asked Davutoglu around that time whether there would be a new Ottoman sphere of influence for the 21st century, he smiled modestly, denied any such ambition and went on to explain that the 2011 uprisings were the true succession to the Ottoman empire. A century of European, and then American, domination was ending. It had been a false start in Middle Eastern history. Now it was back on track. The people of the region were deciding their futures, and perhaps Turkey would have a role, almost like a big brother.

Turkey’s position – straddling east and west, facing Europe and Asia – is the key to its history and its future. It could be, should be, a rock of stability in a desperately un­stable part of the world. But it isn’t, and that is a problem for all of us.

 

Contagion of war

The coup did not come out of a clear sky. Turkey was in deep crisis before the attempt was made. Part of the problem has come from Erdogan’s divisive policies. He has led the AKP to successive election victories since it first won in 2002. But the policies of his governments have not been inclusive. As long as his supporters are happy, the president seems unconcerned about the resentment and opposition he is generating on the other side of politics.

Perhaps that was inevitable. His mission, as a political Islamist, was to change the country, to end the power of secular elites, including the army, which had been dominant since Mustafa Kemal Atatürk created modern Turkey after the collapse of the Ottoman empire. And there is also the influence of chaos and war in the Middle East. Turkey has borders with Iraq and Syria, and is deeply involved in their wars. The borders do not stop the contagion of violence. Hundreds of people have died in the past year in bomb attacks in Turkish cities, some carried out by the jihadists of so-called Islamic State, and some sent by Kurdish separatists working under the PKK.

It is a horrible mix. Erdogan might be able to deal with it better if he had used the attempted coup to try to unite Turkey. All the parliamentary parties condemned it. But instead, he has turned the power of the state against his opponents. More rough times lie ahead.

Jeremy Bowen is the BBC’s Middle East editor. He tweets @bowenbbc

This article first appeared in the 28 July 2016 issue of the New Statesman, Summer Double Issue