Latest news with #RoyalAcademyofArts
Phone Arena
22-05-2025
- Phone Arena
Hands-on: Style meets function in the new Honor 400 mid-ranger
Honor officially launched its 400 series at a special event in London on May 22. The Royal Academy of Arts hosted the announcement, and under the works of Rembrandt and Gauguin, we got to experience the phones for the first was a fitting scene for the 400 series launch, as the stylish models in this lineup not only look great but also feature some AI camera magic that's very impressive. We won't dare to compare it to the aforementioned fine arts grandmasters, but it's impressive already covered the Honor 400 Pro, which is a flagship in disguise really, but the vanilla Honor 400 is also very interesting and quite different from its Pro sibling. The vanilla model in the Honor 400 portfolio is a very different animal compared to its Pro sibling. For what it's worth, it looks and feels much more "western" and modern, mainly because of the flat design and the camera layout. It's a bit of a contradiction, as it's the more affordable model of the two, but here we Honor 400 comes in a slightly more compact form than the Pro model, courtesy of the 6.5-inch display. The phone is flat all around and looks very classy, especially the Desert Gold color variant. At just 7.3 mm thickness, the Honor 400 feels great in the hand, even though there's no curvature to wrap your palm around. The smooth surface of the frosted back glass is also great, with a satin feel to it. The phone weighs around 180 grams, which is just perfect—not too light, not too heavy. As far as aesthetics are concerned, we like the Honor 400 more than the Pro, not only because its flat design results in a more modern look, but also because the camera bump is much more understated compared to the Pro. The camera housing of the Honor 400 looks quite stylish | Image by PhoneArena It has the same rounded trapezoid shape, but the two cameras are vertically positioned with the LED flash offset in a smaller circle. It's a stylish and unique 6.5-inch display is very bright, at least that's how it feels. Honor says it can output up to 5000 nits, and we're going to test this pretty soon. But subjectively, our first impressions are very positive—the image is bright and vivid and also smooth thanks to the 120 Hz refresh rate. We really should put this hands-on in some context here, and in order to do this, we need to compare the Honor 400 to its Pro sibling. First, the vanilla model starts at £399.99, compared to £699.99 for the Honor 400 is almost half the price, so let's see what sacrifices had to be made to achieve this much more attractive price tag. The Honor 400 features the same main and ultrawide cameras but ditches the 50MP telephoto. All the zooming is done via crops from the main 200MP sensor and some AI magic. And the results are pretty good (samples will appear here shortly). The processor inside is the Snapdragon 7 Gen 3, which is a proper midrange chip compared to the 8 Gen 3 found in the Pro model. The Honor 400 also comes with 8GB of RAM as opposed to the 12GB inside the Pro model. And finally, the charging support caps at 66W wired on the Honor 400, while the Pro can do else is the same: the battery capacity is the same, the two main and ultrawide cameras are the same, and the display metrics (apart from the size difference) are also the same. The same software magic with AI sprinkles is present on the Honor 400 as well, and put side by side, both phones work identically well—fast and smooth. A great package in a stylish enclosure | Image by PhoneArena Stay tuned for the full review, as it will be interesting to test the 5000 nits brightness claims, as well as see how the Snapdragon 7 Gen 3 performs inside the Honor 400. But our first impressions are very positive. At £399.99, the Honor 400 offers a lot of bells and whistles, and it also looks quite classy. In our opinion, this model has the potential to persuade more people to reach out and grab it instead of a Galaxy A56, for example. Honor is making a statement with its Magic series already, and now the 400 series offers a great package at a very reasonable price.
Time Business News
21-05-2025
- Time Business News
Why Mayfair Holiday Rentals Are the Ultimate Choice for a Luxurious London Getaway
When planning a lavish escape to London, few locations rival the timeless elegance of Mayfair. Renowned for its sophistication, prime location, and rich history, Mayfair is the epitome of luxury living. For those seeking Mayfair luxury rentals or short-term rentals Mayfair , choosing a holiday rental in this prestigious neighbourhood guarantees an unforgettable experience. Here's why mayfair holiday rentals stand out as the ultimate choice for a luxurious London getaway. Mayfair's central position makes it a dream for travellers craving luxury stays in Central London . Nestled between Hyde Park and Soho, this neighbourhood offers unrivalled access to London's finest attractions. Stroll to Buckingham Palace, shop along Bond Street, or dine at Michelin-starred restaurants—all within minutes. Unlike cramped hotel rooms, Mayfair vacation apartments provide spacious, elegant retreats that let you immerse yourself in the city's vibrant pulse while enjoying a serene home base. When it comes to high-end holiday homes in London , Mayfair delivers unmatched quality. From Georgian townhouses to sleek, modern flats, Mayfair boutique accommodation blends classic architecture with contemporary comforts. Expect high ceilings, marble finishes, and state-of-the-art amenities like smart home systems and private terraces. These exclusive rentals in Mayfair are curated to meet the highest standards, ensuring every detail—from plush furnishings to curated artwork—elevates your stay. One of the biggest draws of holiday flats in Mayfair is the privacy they offer compared to hotels. You're not just a guest—you're at home. Enjoy the freedom of your own space, complete with fully equipped kitchens and private lounges. Plus, booking directly through Luxury London Listings means access to dedicated concierge services, tailored recommendations, and seamless check-ins, making your getaway effortless and bespoke. Whether you're in London for a weekend or a few weeks, short-term rentals in Mayfair cater to your schedule. These properties are designed for flexibility, offering everything from cosy one-bedroom apartments to sprawling multi-bedroom residences. Ideal for romantic escapes, family holidays, or solo adventures, Mayfair vacation apartments provide the perfect balance of comfort and opulence, ensuring your stay feels both indulgent and practical. Mayfair is a cultural and culinary hotspot, adding to the allure of luxury stays in Central London . Explore world-class galleries like the Royal Academy of Arts or browse exclusive boutiques on Mount Street. After a day of sightseeing, unwind at one of Mayfair's renowned bars or restaurants, from historic pubs to cutting-edge dining spots. Staying in a Mayfair boutique accommodation puts you at the heart of this vibrant scene, with every experience just steps away. Opting for a trusted provider like Luxury London Listings offers distinct advantages over platforms like Airbnb. Direct bookings ensure transparent pricing with no hidden fees, curated properties that guarantee quality, and exclusive perks like complimentary transfers or welcome hampers. This seamless process lets you focus on enjoying your luxurious getaway rather than navigating booking complexities. For those seeking the pinnacle of sophistication, high-end holiday homes London in Mayfair are unmatched. With their prime location, exquisite design, and personalised service, these rentals redefine what a luxury getaway can be. Whether you're drawn to the cultural richness, culinary delights, or sheer elegance of the neighbourhood, exclusive rentals Mayfair deliver an experience that's as unforgettable as London itself. Book your stay with Luxury London Listings and discover why Mayfair is the ultimate choice for your next holiday. TIME BUSINESS NEWS
Daily Mirror
06-05-2025
- Entertainment
- Daily Mirror
King Charles and Queen Camilla give revealing verdicts on official Coronation portraits
The historic paintings of King Charles and Queen Camilla will be displayed at the National Gallery before being moved to their permanent home at Buckingham Palace, as part of the Royal Collection in time for the summer opening King Charles and Queen Camilla have unveiled their official Coronation portraits in the National Gallery, on the second anniversary of their crowning at Westminster Abbey. Unveiling the works by the artists Peter Kuhfeld who painted Charles, and Paul S. Benney who depicted Camilla, the King praised the "wonderful composition" of his portrait while Camilla said of hers: "I just love it." The pictures will be exhibited in the gallery's central hall for the next six weeks, before being installed in Buckingham Palace 's Throne Room as part of the Royal Collection, where they will be on display for the palace's annual summer opening. They will form part of a long tradition of Coronation portraits dating back centuries, with the earliest known example being a painting of James VI and I by Paul van Somer which hangs at Windsor Castle. After unveiling the paintings in the central hall and posing for pictures with the artists, Charles and Camilla spoke with Kuhfeld and Benney, who were personally chosen by the King and Queen being previously known to them from former royal commissions. "Hello Paul, lovely to see you," said Camilla, before beckoning over her daughter, Laura Lopes, who joined the King and Queen for the visit. Camilla recalled how Laura, a gallerist, had seen the early stages of the portrait during her sittings with Benney at Clarence House. "It's so incredible. It's very flattering," Laura said. Hitting her daughter playfully on the arm, Camilla joked: "Don't say it's very flattering! I just love it." The portrait shows Camilla wearing her Coronation dress by Bruce Oldfield, draped with her robe of state, alongside " Queen Camilla 's crown", formerly known as Queen Mary's Crown. She told Benney: "It was so nice not having to wear it all the time [for the sittings], it was very heavy." While speaking with Kuhfeld, Charles, who is royal patron of the National Gallery, praised the "wonderful composition" of his portrait, where he is depicted in uniform with the Imperial State Crown and his robe of state. Charles is a longstanding patron of Kuhfeld, a graduate of the Royal Academy of Arts. In 2012, he commissioned the artist to paint the wedding of Prince William to the then Kate Middleton and he also painted portraits of young Princes William and Harry in 1986. Benney rose to prominence as a contemporary artist in New York in the 1980s and 1990s. His portrait subjects include Queen Elizabeth II, Sir Mick Jagger and John Paul Getty III. In 2015, Charles also commissioned him to paint the Second World War veteran Brian Stewart, for the Royal Collection. Kuhfeld said of his commission, which was completed during sittings at Windsor and St James's Palace: "I have known His Majesty The King for over forty years, since he was the Prince of Wales. We first met when I had left the Royal Academy Schools where I had completed the postgraduate course in Painting. "He asked me to paint the Princes, William and Harry, who were then 5½ and 3½ years old. Unbeknown to me, this was the first of what were to be many commissions from His Royal Highness, as I subsequently accompanied him on many of his foreign tours (as the Tour Artist). "When he became King in 2022, I was delighted and honoured to be commissioned by him to paint his official Coronation State Portrait. It has taken over a year and a half to complete. I have tried to produce a painting that is both human and regal, continuing the tradition of royal portraiture. His Majesty gave of his time with his usual graciousness and attention to detail, and we discussed certain aspects of the painting. He gave me five sittings in total, not including the painting of the Imperial State Crown. The State Crown had its own sittings! "I usually start with drawings to develop my ideas and then move on to several oil studies to work out problems of composition. During this time, nobody was allowed in my studio while I was working, but one evening my eldest granddaughter forgot, when coming to tell me supper was ready; she burst through the door and came to a standstill and exclaimed, 'Oh! It's the King!'" Benney, who painted Camilla at Clarence House, said: "It was an honour, privilege and total pleasure to undertake the first official portrait of Her Majesty since The Coronation and it is with some regret that the sittings for this important commission have come to end. After nearly a year of being installed in a temporary studio at Clarence House, I have deep and abiding memories of many hours of fascinating and sometime hilarious conversation with Her Majesty on countless varied subjects. I shall miss the quiet and relaxed atmosphere while I was working there even when Their Majesties were engaged elsewhere. "My guiding principles in this commission were to both acknowledge the grand and historic nature of The Coronation iconography with all the equipage of the Monarchy and at the same time reveal the humanity and empathy of such an extraordinary person taking on an extraordinary role." Charles and Camilla, wearing a scarlet crepe dress by Fiona Clare with the late Queen's raspberry pip brooch, had arrived at the gallery's newly refurbished Sainsbury Wing to a fanfare by Household Cavalry state trumpeters, as the late Queen had when opening the original wing in 1991. They then met supporters and donors to the gallery, including members of the Sainsbury family and the broadcaster, Andrew Marr. Today's royal visit also marked the official re-opening of the Sainsbury Wing after a two-year transformation for the gallery's 200th anniversary. In 1984, Charles controversially described a proposed extension to the gallery as a "monstrous carbuncle on the face of a much-loved and elegant friend". The extension, designed by architect Peter Ahrends, was scrapped and the final more traditional design, built in 1991, was created by the partnership Robert Venturi and Denise Scott Brown instead. The intervention incensed many architects who felt Charles's comments made him an enemy of modern design. Sir Gabriele Finaldi, the gallery's director, and John Booth, the chair, introduced Charles and Camilla to the gallery's architect, Annabelle Selldorf, and some of the project building and design team, including Hannah Lawson, the architect for the new Roden Centre for Creative Learning, which they briefly viewed at the end of the visit. After unveiling a plaque to mark the re-opening, Charles and Camilla also had a look at the gallery's new restaurant by Italian chef Giorgio Locatelli and his wife, Plaxy. They then took a tour of the gallery, seeing some of the works on loan from the Royal Collection including Andrea Mantegna's series 'The Triumphs of Caesar,' which Charles had personally asked to see, and a painting of Adam and Eve by Jan Gossaert. Other works which they saw on their tour of the gallery, which was closed to the public until they left at 11.35am, included the Arnolfini Portrait by Jan van Eyck and a 14th century crucifix by Segna di Bonaventura suspended in the air - the first time the gallery has hung a work from the ceiling. Before leaving the gallery, Camilla was presented with a posy by eight-year-old Maria Finaldi, the niece of the gallery's director. 'Thank you, they're my favourite flowers, and that's a very good curtsey,' Camilla told her. Before making their way into the State Bentley, Charles and Camilla quickly greeted a group of well-wishers and school pupils who had gathered outside the gallery's back entrance.
Telegraph
08-04-2025
- Entertainment
- Telegraph
David Hockney 25, Fondation Louis Vuitton: Will transform how we think about this brilliant artist
Dressed in a flat cap and tweed suit (but, uncharacteristically, without a cigarette), David Hockney, 87, is whizzing on a mobility scooter around his colossal new retrospective in Paris. With more than 400 artworks produced, astonishingly, over seven decades, the exhibition is – fittingly, for an artist who relishes titles that contain the word 'bigger' – his biggest yet. What's it like for Britain's most popular living artist to see his career laid out in such glorious fashion? 'It's fantastic,' he tells me with a smile, eyes twinkling behind canary-yellow, round-framed specs. 'I'm still here!' 'Fantastic' is the 'mot juste'. Timed to coincide with his favourite season, as blossom erupts outside in the Bois de Boulogne, David Hockney 25 is a rousing, dopamine-unleashing celebration and summation of a brilliant, beloved artist's work. On the billowing silver exterior of the Louis Vuitton Foundation designed by his friend Frank Gehry (whose blue-eyed, crinkly-lipped portrait, with hands like red gloves, appears halfway through the show), Hockney's quasi-handwritten words are picked out in pink neon: 'Do remember they can't cancel the spring'. As (potential) swansongs go, it's remarkably uplifting. Yet, more than this, as signalled by the subtitle ('Less is Known than People Think') of two strange, spiritually intense new paintings at the end, fresh from Hockney's Marylebone studio (he moved to London from his half-timbered farmhouse in Normandy in 2023), the show may transform how we think about a figure occasionally rebuked for his escapism. On this evidence, Hockney is a complex, even (at times) melancholic artist, seemingly compelled – to my surprise – by a burning otherworldly yearning. There are 11 rooms, beginning with a pleasingly chunky, two-gallery synopsis of his career to the turn of the millennium, filled with many of his greatest hits (including 1967's A Bigger Splash, lent by the Tate), as well as a sombre 1955 portrait of his dark-suited father, like something by Édouard Vuillard (and the first painting he ever sold). Much of the rest of the exhibition dwells on his output over the past quarter century, with galleries devoted to landscapes executed in Yorkshire during the 2000s, as well as, from 2019, rural Normandy. I was snippy about some of Hockney's Yorkshire pictures when they appeared at the Royal Academy of Arts in 2012; the smaller works remain parochial and minor. But the grand paintings in which, say, hawthorns like gigantic squidgy chess pieces appear to undulate and dance while exuding creamy blossoms like squashed eclairs? They're radiantly weird. With its anthropomorphic purple tree stump, like a grumpy forest god surrounded by pupal orange streaks, Winter Timber (2009) is impregnated with supernatural, cosmic significance: beside a track, felled orange logs laid out like the yellow brick road lead the eye to a vortex of swirling blue branches, like a portal to another dimension. Few galleries could so suavely accommodate Hockney's Bigger Trees near Warter (2007), an oil painting on 50 canvases depicting a wintry coppice irradiated by uncanny, seemingly fluorescent reddish-pink. Throughout, artworks confound the notion that Hockney is nothing but a hedonist depicting sunshine and sex by the pool. A graffiti-like picture in the opening room, with two forms like bristly Weetabix depicting men urgently going at it, was painted in 1961, when homosexuality in Britain was still illegal; Berlin: A Souvenir (1962) seems to represent a nightclub frequented by wraiths. In a 2013 portrait, Hockney's partner, 'JP' (Jean-Pierre Gonçalves de Lima), clutches his head as if bereft; nearby, in 15 grimacing self-portraits grouped together on a royal-blue wall, the artist appears, by turns, befuddled, plaintive, even vacant. In the final picture, he cups his ear, reminding us of his deafness, and, by extension, the inevitability of physical decline. Several Normandy landscapes depict raindrops plopping into ponds or sliding down a window's panes. One vast composition, created using an iPad, turns the setting sun into a volcanic explosion; elsewhere, Hockney portrays clouds like luminous smoke rings. A gallery of nocturnes depicts the artist's garden tinged with silvery lunar reflections. Spectral and mysterious, they're the antithesis of the Hockney we thought we knew.
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The Independent
28-03-2025
- The Independent
The sleepy Austrian village to visit for a fairytale getaway
Recently, the well-heeled Viennese set have been flocking to the charming village of Schwarzenberg in the heart of Austria 's Bregenzerwald region. The attraction? The newly renovated Hotel Hirschen, a boutique spa hotel that has breathed fresh energy into this pretty enclave, while remaining true to its centuries-old heritage. Situated in the idyllic town square opposite a baroque church, Hotel Hirschen was established in the 1700s and still stands proud today. Steeped in tradition, recently the hotel completed works to a design-led 'bathhouse spa', complete with 15-metre outdoor swimming pool that's heated year-round. All sleek glass and wood, the spa allows guests to effortlessly move between the sauna and pool. Strolling through Schwarzenberg feels like stepping into a 19th-century painting: timber chalets with intricately carved facades line the quiet streets, their shingled roofs catching the afternoon light. These houses, built using traditional techniques, are part of what makes Schwarzenberg so unique: they reflect a deep respect for craftsmanship that has defined the region for centuries. Although appearing sleepy at first, this stillness is a veil for a profound charm and historical importance. Renowned 18th-century artist Angelika Kauffmann, the famous Neoclassical painter, never forgot her family roots in the Bregenzerwald region despite achieving international fame. Kauffmann was one of the founding members of the Royal Academy of Arts in London, and the museum, housed in a beautifully restored farmhouse in the village, is dedicated to her art. Situated in the region Vorarlberg of western Austria, nestled in a valley between Lake Constance and the Arlberg mountain range, Schwarzenberg is one of 23 idyllic villages that sit in the Bregenzerwald region. This is storybook Austria – all snow-capped alpine hills and rolling wildflower meadows. Food in Schwarzenberg is a serious affair. Every morning you will find queues of locals waiting to be served at the Käslädele Maria Vögel, a family-run business specialising in local fare. A few steps down into the cellar and you will find yourself surrounded by local delicacies including homemade jams, honey from local beekeepers, and mountain cheeses. Anyone particularly passionate about cheese can follow the Käsestraße Bregenzerwald (Cheese Route). In a region famous for dairy farming and cheese production, particularly Bregenzerwälder Bergkäse, the Cheese Route is a network of farms, dairies and restaurants where visitors can sample and learn about traditional cheese-making. In the surrounding hills, mountain huts offer rustic lunches of homemade bread, smoked sausages and alpine butter – perfect fuel for a day of exploring. For those with a sweet tooth, Café Angelikahöhe is a charming spot for an afternoon break. Its signature Apfelstrudel, served with a generous dollop of freshly whipped cream, is the kind of thing you'll dream about long after you've left. In the evenings, Hotel Hirschen becomes a gastronomic hotspot thanks to a kitchen team led by Jonathan Burger and Raphaela Wirrer, who have been awarded a green Michelin star for sustainability. For a more rustic affair and just a short walk away, you'll find Gasthof Adler serving up hearty classics like venison stew and käsespätzle (Austria's answer to macaroni cheese), all made with locally sourced ingredients. Beyond Schwarzenberg, the villages of Mellau, Schoppernau, and Bezau, among others, combine the charm of centuries-old wooden houses with avant-garde designs by local architects. The Umgang Bregenzerwald trail connects 12 of the villages, offering insight into the region's architectural heritage and sustainable design philosophy. These trails, adorned with discreet markers, unveil stories of how locals have lived in harmony with their environment for generations. For the more adventurous visitors, a trip to the Rappenloch Gorge is a highlight. Open from April to November, this dramatic natural wonder near Dornbirn, is a rocky gorge, featuring wooden walkways and bridges leading through stunning rock formations, waterfalls, and lush forest. Located in nearby Andelsbuch, Werkraum Bregenzerwald is a collective of local craftsmen housed in a minimalist glass and wood building – it's a must-visit for design and architecture lovers. The modern exhibition space showcases the region's finest furniture makers, weavers, and artisans. A fascinating way to spend an afternoon is at the Frauenmuseum in nearby Hittisau. As Austria's only women's museum, this thought-provoking institution focuses on the history, culture, and achievements of women, with regularly changing exhibitions. Founded in 2000 and a cultural landmark in the Bregenzerwald region, the museum explores topics such as women's rights, female craftsmanship, and social roles across different cultures and eras. In winter, the nearby Bödele ski area provides a more intimate alternative to Austria's mega-resorts, with quiet slopes and breathtaking views over Lake Constance. A 30-minute drive from Bödele you will find the snow lover's paradise, Damüls-Mellau. It's a haven for skiing and snowboarding enthusiasts, and cross-country skiing and guided snowshoe hikes allow visitors to explore the quiet beauty of the valleys and mountain paths. How to get there Zurich and the Swiss border lie to the west of Bregenzerwald, the vibrant city of Innsbruck to the east, and Munich to the north – all have international airports. Both British Airways and easyJet operate flights from London (Heathrow and Gatwick) to Munich, Zurich and Innsbruck during the winter months. Public transport is excellent in the area, but a rental car is advisable to help explore fully. For more information visit
