Successful ascent for Bristol Balloon Fiesta's second day
The balloons had a successful morning flight despite the overcast weather.
On Friday, hundreds of people watched the night glow event at Ashton Gate.
The balloons were lit up in time to a soundtrack picked by the BBC Radio Bristol team.
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BBC News
29 minutes ago
- BBC News
How a Cambridgeshire woman brought modern art into schools
A painting bought for £35 was revealed to be by New Zealand artist Frances Hodgkins on Monday and worth up to £50, Cantus acquired the wrongly-attributed picture in 2019, as part of Hertfordshire County Council's sell-off of most of its 20th Century British art art blogger and author, who lives near Cambridge, discovered its true provenance on BBC One's Fake or Fortune. But why would a council buy works by artists such as Henry Moore and LS Lowry n the first place? The BBC has been finding out. It all goes back to a scheme called Pictures for Schools, set up in the wake of World War Two and the brainchild of painter and teacher Nan Youngman (1906 to 1995). "The idea was to give children artwork that was inspiring to look at," said Mr Cantus, author of Nan Youngman & Pictures for Schools."Before Nan, a classroom would be full of sepia reproductions of paintings, from the National Gallery - or posters given out by the Post Office as empirical propaganda - Nan wanted paintings by living artists in the schools. "In 1945, she was chairman of the Society of Education through Arts and she initiated a series of exhibitions of contemporary art for sale at affordable prices to education authorities. She called these exhibitions Pictures for Schools. Who was Nan Youngman? Ms Youngman trained as an artist at the Slade School of Art before qualifying as a divided her time between teaching and art, exhibiting in London galleries throughout the 1930s, before moving to Cambridgeshire with her partner, sculptor Betty 1944, she became the county's art adviser under the education pioneer Henry Morris, the founder of the village college secondary school system, a great supporter of the art scheme. Mr Cantus said she also put on "remarkably successful" post-war exhibitions. "She was an incredible artist as well as a visionary for Pictures of Schools, but because she's a woman, her work is downplayed," he added. How did the scheme work? Each county's library service stored the artwork - which could be paintings, drawings, sculptures or textiles - and then loaned them out to schools on rotation. Mr Cantus said the idea was "every term, there would be something fresh to look at"."The school could use a painting of, for example, a tractor, to teach about farming, the weather, machinery - or art," he said. The scheme caught on and collections of art to lend to schools were established by many authorities, including Rochdale, Manchester, Carlisle, Southend, Great Yarmouth, Derbyshire, Lancashire, the West Riding, Cambridgeshire and Cantus said: "Most of the children would never have had the opportunity to go to museums, there were no school trips, so the idea was to bring museum-quality art to schools. How did it start? The first county to participate in the scheme was Cambridgeshire, which was the second poorest county in England at the first purchase was by LS Lowry, best known for his urban landscapes peopled with "matchstick men" - the council sold it for £541,250 in Hertfordshire County Council commissioned Henry Moore to create a piece called Family Group for one of its schools in Cantus said: "Some of the artists would lower their fees so that local authorities would be able to afford the works, but many of the works were cheaper than normal exhibitions as the artists were not being charged the same fees as they would if they were exhibiting in a commercial gallery." At its peak, Cambridgeshire County Council owned about 400 artworks, while Hertfordshire owned nearly 2,000 before it sold off the majority of its collection. What is its legacy? It now seems remarkable that so many local authorities had art advisers with budgets to buy contemporary last Pictures for Schools exhibition was in held in1969, but some authorities - including Cambridgeshire and Hertfordshire - continued to buy works until about 2000. Mr Cantus said the ability to move the works around to schools became more of a problem, as did storage, restoration and how to insure them. And as council budgets were slashed the works, many seen as old-fashioned, ceased to be school resources and became assets for sale to pay for essential services. Perhaps the idea of buying works of art by living artists and lending them to schools could only have arisen in "that post-war period of experimentation", he continued. "Everyone says how sad the scheme stopped, but everyone agrees, that while it's a wonderful idea, it would be challenging to implement today." Follow Cambridgeshire news on BBC Sounds, Facebook, Instagram and X.
The Guardian
29 minutes ago
- The Guardian
Locatelli at the National Gallery, London WC2: ‘Come for the Michelangelo, stay for the orecchiette' – restaurant review
I first heard of Giorgio Locatelli's move to the Sainsbury Wing of the National Gallery on Trafalgar Square in London via a promotional shot in which the great man stands, arms crossed, in front of The Supper at Emmaus by Caravaggio. In the photograph, chef Locatelli, with his flowing, silver locks and impish expression, has himself the look of a Renaissance-era mover and shaker. Great art meets great art, it seems to say. Come for the The Entombment by Michelangelo in Room 2 on Level 2 and stay for the orecchiette with nettle pesto on the first-floor mezzanine next to the gift shop. Or even just for a coffee and a cake at Bar Giorgio, which is really just a coffee stand in the entrance hall that serves Locatelli's chantilly cream-filled brioche buns for £7 a pop. Locatelli's new arty venture is in partnership with the catering company Searcys, which controls the dining offering at a number of large, unwieldy venues – the Gherkin, the Barbican and Battersea power station, to name just a few – as well as vast hangars in Pall Mall, Westminster and farther afield. This is an outfit that specialises in posh-ish experiences in mega-high-footfall sweet spots. The National Gallery, especially in summer, is a far cry from Locatelli's much-famed, Michelin-starred restaurant Locanda Locatelli, where small portions of pricey pasta, drilled service and twinkly lighting created a charming ambience. So charming, in fact, that after your linguine all'astice or strozzapreti al pomodoro, you could almost forgive a bill that felt a bit like being run over by a Piaggio scooter on Piazza Venezia in Rome. Locatelli's skill at creating ambience is being tested at the National Gallery, especially at the moment, when school's out for summer and this elegant, echoey gallery that's packed with old masters is overtaken by quacking hordes of crepe paper- and crayon-wielding school trips from overseas. These children would rather be anywhere else but staring at The Ambassadors by Holbein the Younger, and are probably busy giving each other dead arms while I pick at my burrata and panzanella antipasti. But here's the thing: I liked Locatelli at the National Gallery a lot. Head chef Imma Savinelli and general manager Costanzo Cappella, who front this latest Locatelli venture, have pulled off something unique in this pretty space with its pistachio-coloured, velour banquettes, gold furnishings and cute dessert trolley that delivers large, fat slices of tiramisu. The place is dashingly handy for meeting friends, too, and has a big, serious horseshoe bar that serves gin sours, adonises and breakfast martinis. What's more, the lunch menu is a million times more interesting than the usual museum or gallery scones and sandwich fare. Here, there is piping hot fritto misto, a choice of five fresh pasta dishes, including, when we visited, a juicy bowl of delightfully pungent red gurnard with thick pappardelle, fresh tomato, almonds and black olives that was nothing short of delicious. Someone is actually cooking here, not cynically heating things up for tourists; other pastas on offer might include handmade braised veal tortellini dotted with a punchy gremolata and served in a parmesan sauce or calamarata with sea bream. Earlier, a small, warm, rustic loaf of potato-and-rosemary sourdough had appeared with a glug of very good olive oil for dipping, which we ate with a bowl of giardiniera (pickled vegetables), including fennel and carrot. One of the highlights of lunch was a vegan offering, baked aubergine, roasted until soft but not decimated, dressed with a very good soy 'ricotta', sweet cherry tomatoes, toasted hazelnuts and basil pesto. From the mains, there was rib-eye with rocket pesto and pot-roast chicken with polenta, both of them served with potato arrosto, should one see fit. The contorni section, however, is a bit limited – there's just those spuds, some green beans and a rocket salad – and I chose badly from the dessert trolley with a Sicilian lemon tart that seemed slightly old and was not remotely zingy. We should have had another of those pricey chantilly cream buns. Service throughout felt as if everyone involved cared a great deal about your experience and was trying incredibly hard, even if it was the first time they'd ever worked in a restaurant, which in the current era of hospitality is really about as good as it gets. I'll take my service pleasant, well-meaning and unpolished any day. Overall, then, there's a lot to love about Locatelli at the National Gallery. Sure, it's not a patch on a night out at Locanda Locatelli; it's just a once-round-the-Botticellis followed by a bowl of fresh tagliatelle kind of gig. Not a masterpiece, but not bad. Not bad at all. Locatelli at the National Gallery, Sainsbury Wing, The National Gallery, Trafalgar Square, London WC2, (no phone). Open all week, 11.30am-5.45pm (Fri 10.15pm, Sat 8.15pm). From about £50 a head à la carte, plus drinks and service The next episode of Grace's Comfort Eating podcast is out on Tuesday 12 August – listen to it here.
Daily Mail
4 hours ago
- Daily Mail
Love Island's Harry Cooksley admits dating friend of Montana Brown just days before entering villa
Love Island runner-up Harry Cooksley has admitted he was dating a friend of Montana Brown just days before stepping foot in the villa. The reality star, 30, faced the awkward confession after Montana claimed he had been romancing her close friend right up until filming began. The ex-contestant, who appeared in series three of the dating show, dropped the bombshell on TikTok hours before last week's final, telling her followers not to back Harry for the win. The rumour mill went into overdrive, and just days later Harry was grilled about the claims during an appearance on This Morning alongside his partner Shakira. Host Emma Willis asked if he could respond to the allegations that had been thrown at him - something Harry didn't deny. Dressed in a stripy knitted white vest and brown trousers he admitted: 'Yeah, I was dating before I came in – I think we all were. 'I went on a few dates with her friend. You're not in the villa until you're actually in the villa. I only told my family and two of my closest mates I was going on Love Island.' He insisted it wasn't a serious relationship, adding: 'It's true, I was dating people obviously. But my actual ex girlfriend came into the villa, so it wasn't like it was an actual ex. Things have changed a lot in the last eight weeks'. Shakira and Harry have had a rollercoaster journey in the villa with Harry's roaming eye causing plenty of upset. While the pair were originally coupled up, it wasn't long before his head was turned and he snuck off to the Hideaway with Helena. After changing his mind once again, he returned to Helena after the pair claimed to have a 'undeniable connection'. Fans will then remember the dramatic moment his ex Emma walked into Casa Amor, blindsiding Harry while he was coupled up with Helena. Despite their history, Harry and Emma didn't rekindle their romance, but his time in Casa Amor wasn't exactly scandal-free, with the footballer striking up a flirtation with bombshell Rheo, even sharing kisses under the covers. Ultimately, he returned to the main villa single and carried on with Helena – only to later admit he still had feelings for Shakira, claiming his relationship with Helena was more like friendship. It comes after Montana Brown urged fans of the dating show not to vote for Harry as she branded him a 'walking red flag' for the way he apparently treated her friend before flying off to Mallorca to 'find love' in the villa. Airing her thoughts in a TikTok video, Montana said: 'Guys I've not been involved in the whole Love Island chat so this is the tea. 'Harry was seeing someone that I know, one of my good friends, right before he went on the show and wrote her a letter and said, oh my gosh I know you're doing to be really surprised at this but I still love you and we're going to be together and I just need to sort my head out and all of this c**p. Discouraging her followers from voting for Harry and Shakira, she said: 'And now I'm like this guy cannot win. Although I love Shakira from what I've seen of her, she's incredible.
