Friday Arts Diary

Our cultural picks for the week ahead

EXHIBITION

Manet: Portraying Life,  Royal Academy, Burlington House  Piccadilly, London W1, 26 Jan - 14 April
A retrospective devoted to the portraiture of Edouard Manet. Works from Europe Asia and the USA are brought together in this showcase of a prolific and influential painter. Despite the fact that around half of Manet's artistic output was made up of portraiture, this is the first ever retrospective of this kind. It includes depictions of the artist's  family and friends, as well as literary, political and artistic figures of Paris of the time. The over 50 works on display include portraits of Manet’s wife Suzanne Leenhoff, intellectuals of the period Antonin Proust, Émile Zola and Stéphane Mallarmé, and scenes from everyday life, revealing Manet’s forward-thinking, modern approach to portraiture.

FILM

Breakfast at Tiffany's, British Film Institute, cinemas across London, 14 Feb

The BFI is screening Breakfast at Tiffany's, a classical romantic comedy, at 14 cinemas across London on Valentine's Day. Breakfast at Tiffany's tells the story of aspiring writer Paul Varjak (George Peppard) and to his unconventional neighbour Holly Golightly (Audrey Hepburn). Holly is a stylish socialite with a hidden past and her unlikely pairing with Paul has become one of the most well-known of modern love stories on film. The movie will be screened at the following cinemas: Charlotte St. Hotel, Everyman Baker Street, Everyman Belsize Park, Everyman Maida Vale, Clapham Picturehouse, Gate Picturehouse, Greenwich Picturehouse, Hackney Picturehouse, Stratford East Picturehouse and Prince Charles Cinema.The movie will be screened at the following cinemas: Charlotte St. Hotel, Everyman Baker Street, Everyman Belsize Park, Everyman Maida Vale, Clapham Picturehouse, Gate Picturehouse, Greenwich Picturehouse, Hackney Picturehouse, Stratford East Picturehouse and Prince Charles.

EXHIBITION

Sylvia Sleigh, Tate Liverpool, Albert Dock  Liverpool Waterfront, Liverpool, 8 February – 3 May

Sylvia Sleigh was a realist painter in New York’s feminist art scene in the 1960s and beyond. Her explicit paintings of male nudes challenged the art historical tradition of male artists painting female subjects as objects of desire. This exhibition at Tate Liverpool will be Sleigh’s first UK retrospective. It is also the largest exhibition of her work to date. Sleigh’s portraits reject the idealisation of frmale bodies, painting details such as tan-lines and body hair. Her work highlights that there is beauty to be found in everyone, regardless of their imperfections. Tate Liverpool has invited LA-based artist Frances Stark to respond to the exhibition, offering an interpretation of Sleigh’s work and a contemporary consideration of her relevance and impact.

PHOTOGRAPHY

After the Fall - Hin Chua, Third Floor Gallery, 102 Bute Street, Cardiff, 2 Feb - 17 Mar
The photographs in After the Fall are taken at the edges of urban development, places where towns and cities dissolve in the surrounding countryside. These forgotten places - discarded fields, industrial hinterlands, geographical accidents – are described as “in a state of impermanence, their lifetime short compared to that of the man made sprawl that will take over them”. These images fix into photographic paper the unpredictable, often disturbing results of the collisions that are gradually and chaotically reshaping the spaces around us. Hin Chua uses satellite imagery to find locations; landing him in surprising and often deserted locations in unfamiliar countries. Taken over several years, After the Fall brings a global perspective on the process of urbanization, which is changing our landscapes.

THEATRE

The Captain of Köpenick, Olivier Theatre, National Theatre, South Bank, London, SE1, 5 Feb – 4 April

Released after fifteen years in prison, trapped in a bureaucratic maze, petty criminal Wilhelm Voight wanders 1910 Berlin in desperate, hazardous pursuit of identity papers. Luck changes when he picks up an abandoned military uniform in a fancy-dress shop and finds the city ready to obey his every command. At the head of six soldiers, he marches to the Mayor’s office, cites corruption and confiscates the treasury with ease. But still what he craves is official recognition that he exists. A nation heads blindly towards war as the misfit takes on the state in Ron Hutchinson’s savagely funny new version of Carl Zuckmayer’s The Captain of Köpenick, first staged in Germany in 1931. Antony Sher takes the title role.

LONDON - DECEMBER 1: People walk past the Manet's Masked Ball at the Opera (circa 1873), Graeme Robertson, CREDIT: Getty Images
JACQUES DEMARTHON/AFP/Getty Images
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Why aren’t there more scientists in the National Portrait Gallery?

If the National Portrait Gallery celebrates the best of British achievements, there’s a vast area that is being overlooked.

The National Portrait Gallery (NPG) in London is my favourite place to visit in the city, even though I’m a mere scientist, or uncultured philistine as the gallery’s curators might consider me. Much of my research involves “omics”. We have “genomics” and “transcriptomics" to describe the science of sequencing genomes. “Proteomics” characterises our proteins and “metabolomics” measures refers to the small chemical “metabolites” from which we’re composed. The “ome” suffix has come to represent the supposed depiction of systems in their totality. We once studied genes, but now we can sequence whole genomes. The totality of scientific literature is the “bibliome”. The NPG purports to hang portraits of everyone who is anyone; a sort of “National Portraitome”.

However, I am increasingly struck by the subjective view of who is on display. Some areas of British life get better coverage than others. Kings and queens are there; Prime ministers, authors, actors, artists and playwrights too. But where are the scientists? Those individuals who have underpinned so much of all we do in the modern world. Their lack of representation is disappointing, to say the least. A small room on the ground floor purports to represent contemporary science. An imposing portrait of Sir Paul Nurse, Nobel laureate and current president of the world’s most prestigious science academy (the Royal Society (RS)) dominates the room. Opposite him is a smaller picture of Nurse’s predecessor at the RS, astronomer Martin Rees. James Dyson (the vacuum cleaner chap), James Lovelock (an environmental scientist) and Susan Greenfield all have some scientific credentials. A couple of businessmen are included in the room (like scientists, these people aren’t artists, actors, playwrights or authors). There is also one of artist Mark Quinn’s grotesque blood-filled heads. Some scientists do study blood of course.

Where are our other recent Nobel winners? Where are the directors of the great research institutes, funding bodies, universities and beyond? Does the nation really revere its artists, playwrights and politicians so much more than its scientists? I couldn’t find a picture of Francis Crick, co-discoverer of the key role played by DNA in genetics. Blur, however, are there. “Parklife” is certainly a jaunty little song, but surely knowing about DNA has contributed at least as much to British life.

Returning to my “omics” analogy, the gallery itself is actually more like what’s called the “transcriptome”. Genes in DNA are transcribed into RNA copies when they are turned on, or “expressed”. Every cell in our body has the same DNA, but each differs because different genes are expressed in different cell types. Only a fraction of the NPG’s collection ends up “expressed” on its walls at any one time. The entire collection is, however, available online. This allows better insight into the relative value placed upon the arts and sciences. The good news is that Francis Crick has 10 portraits in the collection – considerably more than Blur. Better still, Sir Alexander Fleming, the Scottish discoverer of antibiotics has 20 likenesses, two more than Ian Fleming, creator of James Bond. I had suspected the latter might do better. After all, antibiotics have only saved hundreds of millions of lives, while Bond saved us all when he took out Dr No.

To get a broader view, I looked at British winners of a Nobel Prize since 1990, of which there have been 27. Three of these were for literature, another three each for economics and physics, a couple for peace, five for chemistry and 11 for physiology or medicine. The writers Doris Lessing, Harold Pinter and V S Naipaul respectively have 16, 19 and five portraits in the collection. A majority of the scientist winners have no portrait at all. In fact there are just 16 likenesses for the 24 non-literature winners, compared to 40 for the three writers. Albeit of dubious statistical power, this small survey suggests a brilliant writer is around 20 times more likely to be recognised in the NPG than a brilliant scientist. William Golding (1983) was the last British winner of a Nobel for literature prior to the 90s. His eight likenesses compare to just two for Cesar Milstein who won the prize for physiology or medicine a year later in 1984. Milstein invented a process to create monoclonal antibodies, which today serve as a significant proportion of all new medicines and generate over £50bn in revenue each year. Surely Milstein deserves more than a quarter of the recognition (in terms of portraits held in the gallery) bestowed upon Golding for his oeuvre, marvellous as it was.

C P Snow famously crystallised the dichotomy between science and the humanities in his 1959 Rede lecture on “The Two Cultures and the Scientific Revolution” (which was based on an article first published in the New Statesman in 1956). He attacked the British establishment for entrenching a cultural preference for the humanities above science, a schism he saw growing from the roots of Victorian scientific expansion. The gallery supports Snow’s view. Room 18, my favourite, “Art, Invention and Thought: the Romantics” covers that turbulent period covering the late eighteenth and early nineteenth centuries. Here we find the groundbreaking astronomer (and harpsichordist) William Herschel, the inventor of vaccination Dr Edward Jenner, the pioneering chemist Humphrey Davy and the physicist who came up with the first credible depiction of an atom, John Dalton. Opposite Jenner (who also composed poetry) is the portrait of another medically trained sitter, John Keats, who actually swapped medicine for poetry. Wordsworth, Coleridge, Burns, Blake, Clare, Shelley and Byron, all adorn the walls here. The great Mary Shelly has a space too. She wrote Frankenstein after listening to Davy’s famous lectures on electricity. The early nineteenth century saw the arts and science united in trying to explain the universe.

Room 27, the richest collection of scientists in the building, then brings us the Victorians. The scientists sit alone. Darwin takes pride of place, flanked by his “bull dog” Thomas Huxley. Other giants of Victorian science and invention are present, such as Charles Lyell, Richard Owen, Brunel, Stephenson, Lister and Glasgow’s Lord Kelvin. Inevitably the expansion of science and understanding of the world at this time drove a cultural divide. It’s less clear, however, why the British establishment grasped the humanities to the bosom of its cultural life, whilst shunning science. But as the gallery portrays today, it is a tradition that has stuck. However, surely the NPG however has an opportunity to influence change. All it needs to do is put some more scientists on its walls.