Latest news with #TheEdwardians:AgeofElegance
The Guardian
20-04-2025
- Entertainment
- The Guardian
The Edwardians: Age of Elegance; Cartier review
The future Edward VII looks out from a white marble bust at the start of The Edwardians: Age of Elegance. His eyes have a familiar exophthalmic bulge beneath heavy Saxe-Coburg lids. The sculptor has turned the prince's head a fraction, to give him a flatteringly distant air of authority, but is otherwise faithful to the facts: Edward's love of upturned wing collars, of informal jackets and the wide tie knot he popularised, known to this day as the Windsor. Edward (1841-1910) – Bertie, as he was familiarly known – was the eldest son of Prince Albert and Queen Victoria. She is said to have blamed the boy, or at least his chronic philandering, for her husband's premature death. Prince of Wales until the age of almost 60, waiting for Victoria to give up the throne, Edward was king for barely nine years until his own death. Only the present monarch has had to wait longer. There is much to say about Edward's life, from his worldwide travels and incipient anti-racism to his attempts to quell the bellicosity of his nephew Kaiser Wilhelm II before the Great War. But this show is dedicated to a brief age of elegance in objects, art and clothes. It begins with that tie knot, runs through tiaras and trinkets, palace portraits and dresses to intimations of war, including a shot of the young Edward VIII at the Cenotaph. It tells royal history through atmosphere, images and spangled stuff. Edwardian royal culture is Fabergé, Cartier, Singer Sargent and the Marlborough House set drifting about in fancy dress costumes and hazy cigar smoke. It is Biarritz and garden party summers, pouter pigeon bodices and pearl chokers, expeditions to the pyramids in white linen. Edward's arranged marriage to the Danish princess Alexandra in 1863 brings an additional vogue for tiny waists, Copenhagen dinner services and Danish art. Laurits Tuxen, better known for his beach scenes at Skagen in northern Denmark, is commissioned to paint a group portrait for Victoria's golden jubilee. He crams as many members of the royal family as he can into the Green Drawing Room at Windsor. Victoria sits at the centre in her widow's weeds; Edward stands behind her, a cameo in distracted profile, one among dozens, as if he was never really there at all. How to stage and paint a royal portrait is in question throughout this show. Should it be doggedly accurate (Edward's growing girth), oleaginously smooth (Alexandra's swan neck) or cap-doffingly servile (little princesses in gilded carriages)? Sargent's portrait of Louise, Duchess of Connaught – ineffably arrogant, one hand tensed on a side table like his celebrated Madame X – is flatteringly pale and delicate, narrowing the gap between her wide-set eyes. Jules Bastien-Lepage's 1879 portrait of Edward is a hybrid of Holbein and pre-Raphaelite faerie fantasie, excessive attention given to the golden embroidery of the royal robes. Although there are many painted likenesses, this is truly the age of photography. Edward and Alexandra were zealous. Their family photographs appear in crowded albums and scrapbooks, in twinkling Fabergé frames and even, in the case of Alexandra's own early Kodak images, reproduced on teapots and cups. Edward owned eerie photographic nocturnes by the American pioneer Alvin Langdon Coburn. He attended the Paris studio of the incomparable Nadar. This show includes Nadar's photograph of the playboy prince in gleaming top hat, though he is almost unable to hold the theatrical cigar-and-cane pose. Another Nadar of Edward at 47, facing the camera, holds more nuance: courtesy, appetite, shyness, sorrow in one eye, good humour in the other. Edward, after all, was as complex as any other human being. A solemn portrait of his fox terrier Caesar, who famously followed his master's coffin at the royal funeral in 1910, returns you to Windsor tastes. Sure enough, there are images of horses and yachts. British emblems are everywhere: thistles on gilded leather screens; porcelain daffodils; shamrock-shaped snuff boxes in emerald and gold. Forget-me-nots sprout in 3D sprigs from china cups. Unwanted wedding presents, you might think, except that Edward and Alexandra apparently loved all these gewgaws. One of many excellent captions throughout tells of their deliberate massing of clutter. It is not, alas, the business of this show to convey the terrible tensions between Victoria and Edward, or even to allude to his womanising. A gilded screen from Sandringham decorated with photographs of the great and good – medalled and mustachioed heroes of the second Boer war; images of Edwardian politicians and writers – has a panel devoted to stars of the stage. At least one of them might well have been among Bertie's 50, perhaps more, reputed mistresses. The Edwardians is expertly achieved, intensely popular and, in many respects, repugnant. All of which could be said of Cartier at the V&A. It takes a strong stomach to withstand such a conspicuous display of wealth at its most blindingly diamond-bright (although, of course, supreme care has been taken with the subtlest of lighting). This once-in-a-lifetime show is full of jewels owned by royals and potentates, maharajas and sheikhs, American bankers and Hollywood stars. But it rises above this elevated gossip at every turn. Beautifully designed so that a tiara of pale blue aquamarines seems to float like stars in mist, while topaz and colossal rubies glow in spotlit darkness, it is a treasury of dazzling effects. Cartier's unique style is apparent throughout the opening galleries: hinge and hook, art deco rectangle, almond-shaped lozenge, shivering diamond haloes. The source material, from Egyptian scarabs to Indian howdahs, French embroideries to Japanese watercolours, is meticulously, and honourably, presented. You are always aware, for instance, of just how much Cartier took from Fabergé. But at what point can hard rocks be made to represent flittering butterflies, soft hair or delicate petals without some loss of impact? To see an emerald the size and shape of a credit card, and then how it is fractured into tiny shards to represent an animal's eyes, is to sense just how excessively tortuous these designs become. Recent Cartier creations are such grotesque pastiches of the past it is amazing that they are on display in this show at all. There is an immense distance between the Edwardian tiaras, light as air, and these knuckle-dusting chunks of bling. But money is in sight for the V&A as much as the viewer. Tickets start at £27, the show runs for seven months and is already sold out until June. Star ratings (out of five) The Edwardians: Age of Elegance ★★★Cartier ★★★ The Edwardians: Age of Elegance is at the King's Gallery, Buckingham Palace, London, until 23 November Cartier is at the V&A, London, until 16 November
Gulf Today
15-04-2025
- Entertainment
- Gulf Today
Elegance of the Edwardians on display at Buckingham Palace
A rare exhibition is exploring the glamorous lives and fashions of two royal couples who reigned over Britain during the Edwardian period as the country tipped ever closer to World War I. "The Edwardians: Age of Elegance", which opened on Friday at the King's Gallery in Buckingham Palace, brings together more than 300 works from the Royal Collection that will be on display until November 23. The centrepiece is the coronation gown Queen Alexandra wore on August 9, 1902, made of silk embroidered with thousands of gold sequins and designed by the French house Morin Blossier. Alexandra, daughter of King Christian IX of Denmark and sister of King George I of Greece, married Edward, then Prince of Wales, on March 10, 1863, in the chapel of Windsor Castle. She was 18 years old. He was 22. Alexandra was to remain the princess of Wales for almost 40 years until Edward succeeded to the throne on the death of his mother, Queen Victoria, in 1901. Museum staff looks at an artwork titled "Queen Alexandra" by British painter Samuel Luke Fildes during a press preview ahead of "The Edwardians: Age of Elegance" exhibition, at The King's Gallery at Buckingham Palace in central London. Under Edward VII began the Edwardian period. The royal couple ushered in a new generation after the austere last years of Victoria's long reign, when she largely withdrew from public life, mourning the death of her beloved husband, Albert. 'Pure drama' For her coronation as the new queen, Alexandra decided against wearing the traditional white or cream robes, which had an ecclesiastical feel. "She wanted that moment to be a moment of pure drama," said curator Kathryn Jones. A museum staff member dusts a throne chair by Carlhian and Baumetz at The King's Gallery at Buckingham Palace in central London. Realising that electric light was to be "used for the first time in Westminster Abbey ... she chooses a gold fabric so that she shimmers with thousands of tiny spangles", Jones told the media. The dress is fragile and has not been on public display for some 30 years. Conservators have spent more than 100 hours preparing it for the exhibition. "It's a powerful example of Edward and Alexandra's attempts to balance tradition and modernity as they stood on the cusp of the 20th century -- a shining moment of glamour before the world was at war," Jones says on the exhibition's website. Edward's gold coronation mantle is also on display, along with two thrones commissioned for the event. Museum staff hold an artwork titled "The Family of Queen Victoria in 1887" by Danish painter Laurits Regner Tuxen during a press preview. Photography was still in its infancy but it allowed thousands of pictures of the new queen to be seen around the world, turning her into fashion icon and symbol of elegance of the times. Alexandra was a keen amateur photographer herself and some of her snapshots taken with a portable Kodak camera are on display. Two massive portraits of the couple greet visitors arriving at the King's Gallery. One room depicts their lavish lifestyle through paintings of opulent receptions, concerts, regattas on the Isle of Wight, lavish costume balls, garden parties and their residences at Marlborough House in London and Sandringham in Norfolk. As collectors, they amassed textiles, artworks, tableware, paintings, furniture, sculptures, plants, and rare books. There is a copy of Oscar Wilde's "Poems" with a rare handwritten note by the author. Edward also discovered a passion for Faberge and ordered several miniature figures of his favourite animals. Museum staff dust a large Chinese vase during a press preview. Photos: Agence France-Presse Visitors can admire paintings and water colours by such artists as Frederic Leighton, Lawrence Alma-Tadema and John Singer Sargent, as well as bronze sculptures by Alfred Gilbert. Several rooms are dedicated to the royal couple's travels across five continents. The exhibition also includes works collected by Alexandra and Edward's son, who became George V and was crowned in June 1911, with his wife Mary. By then, times were changing, and instability and political turmoil roiled Europe and the British Empire. The Age of the Edwardians was fast coming to an end. Agence France-Presse
Observer
14-04-2025
- Entertainment
- Observer
Elegance of the Edwardians on display at Buckingham Palace
A rare exhibition is exploring the glamorous lives and fashions of two royal couples who reigned over Britain during the Edwardian period as the country tipped ever closer to World War I. "The Edwardians: Age of Elegance", which opened on Friday at the King's Gallery in Buckingham Palace, brings together more than 300 works from the Royal Collection that will be on display until November 23. The centrepiece is the coronation gown Queen Alexandra wore on August 9, 1902, made of silk embroidered with thousands of gold sequins and designed by the French house Morin Blossier. Alexandra, daughter of King Christian IX of Denmark and sister of King George I of Greece, married Edward, then Prince of Wales, on March 10, 1863, in the chapel of Windsor Castle. She was 18 years old. He was 22. Alexandra was to remain the princess of Wales for almost 40 years until Edward succeeded to the throne on the death of his mother, Queen Victoria, in 1901. Under Edward VII began the Edwardian period. The royal couple ushered in a new generation after the austere last years of Victoria's long reign, when she largely withdrew from public life, mourning the death of her beloved husband, Albert. Elegance of the Edwardians on display at Buckingham Palace - 'Pure drama' - For her coronation as the new queen, Alexandra decided against wearing the traditional white or cream robes, which had an ecclesiastical feel. "She wanted that moment to be a moment of pure drama," said curator Kathryn Jones. Realising that electric light was to be "used for the first time in Westminster Abbey ... she chooses a gold fabric so that she shimmers with thousands of tiny spangles", Jones told AFP. The dress is fragile and has not been on public display for some 30 years. Conservators have spent more than 100 hours preparing it for the exhibition. "It's a powerful example of Edward and Alexandra's attempts to balance tradition and modernity as they stood on the cusp of the 20th century -- a shining moment of glamour before the world was at war," Jones says on the exhibition's website. Edward's gold coronation mantle is also on display, along with two thrones commissioned for the event. Photography was still in its infancy but it allowed thousands of pictures of the new queen to be seen around the world, turning her into fashion icon and symbol of elegance of the times. Elegance of the Edwardians on display at Buckingham Palace Alexandra was a keen amateur photographer herself and some of her snapshots taken with a portable Kodak camera are on display. Two massive portraits of the couple greet visitors arriving at the King's Gallery. One room depicts their lavish lifestyle through paintings of opulent receptions, concerts, regattas on the Isle of Wight, lavish costume balls, garden parties and their residences at Marlborough House in London and Sandringham in Norfolk. As collectors, they amassed textiles, artworks, tableware, paintings, furniture, sculptures, plants, and rare books. There is a copy of Oscar Wilde's "Poems" with a rare handwritten note by the author. Edward also discovered a passion for Faberge and ordered several miniature figures of his favourite animals. Visitors can admire paintings and water colours by such artists as Frederic Leighton, Lawrence Alma-Tadema and John Singer Sargent, as well as bronze sculptures by Alfred Gilbert. Several rooms are dedicated to the royal couple's travels across five continents. The exhibition also includes works collected by Alexandra and Edward's son, who became George V and was crowned in June 1911, with his wife Mary. By then, times were changing, and instability and political turmoil roiled Europe and the British Empire. The Age of the Edwardians was fast coming to an end. —AFP
South China Morning Post
14-04-2025
- Entertainment
- South China Morning Post
Buckingham Palace exhibition of Edwardian royals shows the period's glitz and glamour
A rare exhibition is exploring the glamorous lives and fashions of two royal couples who reigned over Britain during the Edwardian period as the country tipped ever closer to World War I. Advertisement 'The Edwardians: Age of Elegance', which opened on April 11 at the King's Gallery in Buckingham Palace , brings together more than 300 works from the Royal Collection that will be on display until November 23. The centrepiece is the coronation gown that Queen Alexandra wore on August 9, 1902, made of silk embroidered with thousands of gold sequins and designed by the French house Morin Blossier. Alexandra, daughter of King Christian IX of Denmark and sister of King George I of Greece, married Edward, then Prince of Wales, on March 10, 1863, in the chapel of Windsor Castle. She was 18 years old. He was 22. An artwork titled Queen Alexandra (centre) by British painter Samuel Luke Fildes at the exhibition. Photo: AFP Alexandra was to remain the Princess of Wales for almost 40 years until Edward succeeded to the throne on the death of his mother, Queen Victoria, in 1901.
Asharq Al-Awsat
12-04-2025
- Entertainment
- Asharq Al-Awsat
Elegance of the Edwardians on Display at Buckingham Palace
A rare exhibition is exploring the glamorous lives and fashions of two royal couples who reigned over Britain during the Edwardian period as the country tipped ever closer to World War I. "The Edwardians: Age of Elegance", which opened on Friday at the King's Gallery in Buckingham Palace, brings together more than 300 works from the Royal Collection that will be on display until November 23. The centerpiece is the coronation gown Queen Alexandra wore on August 9, 1902, made of silk embroidered with thousands of gold sequins and designed by the French house Morin Blossier, AFP said. Alexandra, daughter of King Christian IX of Denmark and sister of King George I of Greece, married Edward, then Prince of Wales, on March 10, 1863, in the chapel of Windsor Castle. She was 18 years old. He was 22. Alexandra was to remain the princess of Wales for almost 40 years until Edward succeeded to the throne on the death of his mother, Queen Victoria, in 1901. Under Edward VII began the Edwardian period. The royal couple ushered in a new generation after the austere last years of Victoria's long reign, when she largely withdrew from public life, mourning the death of her beloved husband, Albert. 'Pure drama' For her coronation as the new queen, Alexandra decided against wearing the traditional white or cream robes, which had an ecclesiastical feel. "She wanted that moment to be a moment of pure drama," said curator Kathryn Jones. Realizing that electric light was to be "used for the first time in Westminster Abbey ... she chooses a gold fabric so that she shimmers with thousands of tiny spangles", Jones told AFP. The dress is fragile and has not been on public display for some 30 years. Conservators have spent more than 100 hours preparing it for the exhibition. "It's a powerful example of Edward and Alexandra's attempts to balance tradition and modernity as they stood on the cusp of the 20th century -- a shining moment of glamour before the world was at war," Jones says on the exhibition's website. Edward's gold coronation mantle is also on display, along with two thrones commissioned for the event. Photography was still in its infancy but it allowed thousands of pictures of the new queen to be seen around the world, turning her into fashion icon and symbol of elegance of the times. Alexandra was a keen amateur photographer herself and some of her snapshots taken with a portable Kodak camera are on display. Two massive portraits of the couple greet visitors arriving at the King's Gallery. One room depicts their lavish lifestyle through paintings of opulent receptions, concerts, regattas on the Isle of Wight, lavish costume balls, garden parties and their residences at Marlborough House in London and Sandringham in Norfolk. As collectors, they amassed textiles, artworks, tableware, paintings, furniture, sculptures, plants, and rare books. There is a copy of Oscar Wilde's "Poems" with a rare handwritten note by the author. Edward also discovered a passion for Faberge and ordered several miniature figures of his favorite animals. Visitors can admire paintings and water colors by such artists as Frederic Leighton, Lawrence Alma-Tadema and John Singer Sargent, as well as bronze sculptures by Alfred Gilbert. Several rooms are dedicated to the royal couple's travels across five continents. The exhibition also includes works collected by Alexandra and Edward's son, who became George V and was crowned in June 1911, with his wife Mary. By then, times were changing, and instability and political turmoil roiled Europe and the British Empire. The Age of the Edwardians was fast coming to an end.
