Through My Lens: Pride in Davie Village

Davie Village has been adorned the past few weeks with more rainbow flags than usual. They’re in celebration of Pride Week, which culminates every summer on the Sunday of the August long weekend, when Western Canada’s largest Pride Parade takes place.

The most spectacular rainbow flag I’ve seen this summer is this one, at the intersection of Davie and Bute. It’s permanent, and a cheerful addition to the neighbourhood.

Davie and Bute

Sunny July

Beach Volleyball

Only in Vancouver would 34 consecutive days of sunshine make the day’s biggest news story. But that’s what happened yesterday. Vancouver received 411 hours of sunshine in July, and it was the first calendar month ever (since Environment Canada started tracking weather data) where we didn’t get a drop of the wet stuff.

Today, the weather’s back to normal: grey skies and the threat of rain. Despite the cooling temperatures, a campfire ban covering almost the entire province went into effect yesterday. I don’t remember there being campfire bans when I was growing up in (sunny) Alberta, but, ironically, now that I live in a rainforest, they are routine.

Art Talk: Persuasive Visions

Persuasive Visions

When my friend whispered to me that the art show we were viewing at the Seattle Art Museum put the Vancouver Art Gallery to shame, I had no idea I would have the chance to make a fair comparison within just a few weeks.

Persuasive Visions: 17th Century Dutch and Flemish Masterworks and Contemporary Reflections opened in Vancouver in June and I was quick to go see it. What an opportunity, I thought, to compare SAM’s exhibition of Dutch masters with VAG’s exhibition of Dutch masters.

Now, I should explain: I have a love–hate relationship with the Vancouver Art Gallery. I really, really want to support it, but …

For one thing, every time I step inside its doors, I always seem to have a run-in with gallery staff (no photography allowed in the atrium!! put that pen away!!) like I’m some errant school child. It gets really old really fast. When an overzealous security guard chose to skulk after me from room to room (to make sure I behaved, I’m assuming, after he caught me with my camera in the atrium), I felt violated. On that particular visit, I left the gallery only minutes after my arrival, and I didn’t go back for several years.

As for the exhibitions, I always leave the gallery thinking, “That could have been so much more.”

With Persuasive Visions, I was surprised, but also confused. I’ll get to my confusion in a minute.

I was surprised by how much seventeenth century Dutch art the exhibition did contain. When the Vancouver Art Gallery markets their exhibitions with the word “contemporary” in the title, it usually means about 90 percent of the modern stuff and 10 percent of the old (read: good) stuff. At least, this has been the case with many of its previous exhibitions. And so, with this exhibition, I was pleasantly surprised by the number of Dutch masters on display, and also by how many of them belong to the Vancouver Art Gallery.

(An aside: the Vancouver Art Gallery has a massive art collection, but, due to space limitations, can only exhibit about 3 percent of its collection at any one time. When a friend from Brooklyn, USA, visited me and I sent her off to the gallery, her first comment upon returning to my place was, “Don’t they show any of their own art? Or is it all only temporary exhibitions?” I explained to her the difficulty about the space limitations. The Vancouver Art Gallery has recently been granted a 99-year lease from the City of Vancouver and, if the fund-raising campaign goes well, will break ground sometime this century on a new building that will massively increase its exhibition space.)

Back to Persuasive Visions. Who knew the Vancouver Art Gallery had so much seventeenth century Dutch artwork? What a treat it would be to see these paintings on permanent display.

Now, on to my confusion. I was confused by the contemporary works the art gallery chose to display alongside the seventeenth century art. I’m a big fan of Jeff Wall’s photographs, but I didn’t see the connection to Dutch landscapes. I also appreciate contemporary portraits like those of Thomas Russ, but felt the juxtaposition of them alongside the portraits of Dutch sea captains and their wives a bit jarring.

So I called a friend. An artist friend, that is. “Help,” I said. “I don’t understand how this show was curated.”

My friend tells me the Art Gallery of Ontario is doing the same with its exhibitions, this mixing of old and new. “Then and Now,” she calls it. Jeff Wall is known for his use of light, as are the Dutch landscape artists, although she could understand my confusion. And the deadpan photography of Thomas Ruff is characteristic of the current school of German and Dutch photographers, so the Vancouver Art Gallery made a deliberate choice to compare seventeenth century Dutch portraiture to contemporary Dutch portraiture.

My friend’s explanation helped, and I decided to go see the show a second time and ponder her comments. The exhibition made more sense to me upon re-viewing, but, to be honest, I prefer the Seattle Art Museum’s curation to what the Vancouver Art Gallery is doing.

Persuasive Visions fills four gallery rooms, with each room focused on one type of painting: seascapes, still lifes, portraits, and landscapes. Many of the paintings from the Vancouver collection are covered in dark varnish, which requires you to step quite close to examine them in any detail. The Jeff Wall light boxes placed in the same room as the landscapes only makes the varnish-covered landscapes look even darker.

The last time the Vancouver Art Gallery showed an exhibition of Dutch Masters was back in 2009, when one Vermeer and a handful of Rembrandts on loan from the Rijksmuseum (then under renovation) went on a North American tour. That may have been the time I got chased out of the gallery by the overzealous security guard. This time? People were taking photos left, right, and centre with their iPhones, and nary a peep to be heard from any of the security guards.

Persuasive Visions: 17th Century Dutch and Flemish Masterworks and Contemporary Reflections is on display at the Vancouver Art Gallery until September 15.

Art Talk: Rembrandt, Van Dyk, Gainsborough

SAM

Kenwood House is one of those grand estate houses popular with tourists who want to see Downton Abbey–style houses. It’s currently closed while undergoing renovations. I’m sure that’s a huge disappointment for any tourists travelling to England this summer who were hoping to pay it a visit.

For me, not so much, because its closure gave Kenwood House a reason to send its artwork on tour to the United States. And ― talk about timing ― my friends and I got to see that artwork during our two days in Seattle, only days before the exhibition was due to close.

Rembrandt, Van Dyk, Gainsborough: The Treasures of the Kenwood House, London consists of 48 remarkable works of art. In addition to the Dutch masters and the paintings by Thomas Gainsborough, the exhibition also includes works by Joshua Reynolds and J.M.W. Turner.

“This show puts the Vancouver Art Gallery to shame,” one of my friends whispered to me as we bumped into each other in one of the gallery rooms. I nodded in agreement, awestruck. I don’t often get to see art of this calibre.

The Kenwood House exhibition was paired with a second exhibition entitled European Masters: The Treasures of Seattle, which included works by Eugène Delacroix, Frans Hals, and others, all borrowed from local private collections. I thought the two companion exhibitions complemented each other well.

Rembrandt, Van Dyk, Gainsborough: The Treasures of the Kenwood House, London has moved on to the Arkansas Art Center, my readers in Little Rock will be happy to hear. As for me, I’ve added Kenwood House to my list of art galleries to visit the next time in London. The collection is worth a second look.

Ulysses S. Grant Memorial

Grant

When I was going through my Gettysburg photos the other week, I came across these shots of the Ulysses S. Grant Memorial and realized my series on the National Mall monuments to American presidents was incomplete.

Flag

Ulysses S. Grant, 18th President of the United States, was in office from 1869 to 1877. He was also the Commanding General of the United States Army during the American Civil War. I guess Grant is considered a “minor” president since his memorial isn’t nearly as noticeable or as impressive as the monuments to the “major” presidents scattered around the Mall. But, it is one of the largest equestrian statues in the world.

Grant Artillery Soldiers

Located at the base of the West Front of the Capital, the memorial was sculpted by Henry Merwin Shrady over a period of 20 years and was dedicated in 1922, the centenary year of Grant’s birth. The sculpture consists of three parts: Grant is seated on his favourite horse, Cincinnati, and faces the Lincoln Memorial ― so designed in order that “the general who fought for the Union could forever sit facing the president who saved the Union.”

Grant Cavalry Soldier and Horse

On either side of Grant are sculptures of Union soldiers: artillery soldiers to his left and cavalry soldiers to his right. Grant’s face is hard to see; it was the faces of the soldiers that grabbed the attention of my camera lens.

Cavalry Soldier

Happy Birthday, Madiba!

As I walked out the door toward the gate that would lead to my freedom, I knew if I didn’t leave my bitterness and hatred behind I would still be in prison. ― Nelson Mandela

Today is Nelson Mandela’s 95th birthday. The world was worried he would not see this day, given his current state of health, but, here it is, he is here, and South Africa is celebrating.

When I visited Robben Island (the prison where Mandela spent 18 of the 27 years he served behind bars), what struck me most was how incredibly close it is to Cape Town ― and what a beautiful view of Table Mountain you have from the island. I imagine the prisoners would have been haunted by that view.

Mandela was allowed one visitor a year for 30 minutes, and could write and receive one letter every six months. The grace he has displayed since his release in 1990 is a testament to the healing power of forgiveness.

Table Mountain as seen from Robben Island

Table Mountain as seen from Robben Island

Reel Life: Gettysburg

GettysburgOne last post about Gettysburg, and then I’ll stop. Promise.

If you’re keen to see the battlefields of Gettysburg, but can’t make it to Pennsylvania in person, you might consider watching the 1993 film Gettysburg. I recommend the film only because it was shot on location at Gettysburg, so it gives you an accurate look at the landscape and physical layout of the two battle scenes featured in the film: the defense of Little Round Top and Pickett’s Charge.

The film was made pre-CGI, using real cannons to reenact the artillery barrage that took place on the morning of July 3, 1863. Even when using only quarter rounds, the cannons in that scene are far more impressive than any blow-’em-up scene I’ve seen in recent years.

Other than the principal actors, the cast consists entirely of Civil War reenactors ― some 13,000 of them. These guys take their roles pretty seriously, living and sleeping as Civil War soldiers did, wearing the same type of wool uniforms, and carrying the same type of weapons.

I saw the film Gettysburg in the theatre the year it was released and it motivated me to one day visit Gettysburg for myself. However, I recommend the film only if you’re really, really interested in the story of the battle. At four and a half hours, it taxes the attention span of most casual viewers.

Armchair Traveller: Hallowed Ground

But, in a larger sense, we can not dedicate — we can not consecrate — we can not hallow — this ground. The brave men, living and dead, who struggled here, have consecrated it, far above our power to add or detract. — President Abraham Lincoln

Hallowed GroundLast post I wrote that you couldn’t tour the Gettysburg battlefields on foot ― not in an afternoon, that is. But should you be motivated to attempt it, I highly recommend taking along James M. McPherson’s book, Hallowed Ground: A Walk at Gettysburg.

Professor emeritus of Princeton University and author of the Pulitzer Prize–winning book Battle Cry of Freedom, McPherson is considered the finest Civil War historian in the world (according to his book’s flap copy). Hallowed Ground takes its title from the words Abraham Lincoln spoke in his Gettysburg Address (quoted at the top of this blog post).

As a guidebook on its own, Hallowed Ground lacks maps and precise details about how to navigate the park. But as a means of providing context, I found Hallowed Ground invaluable reading prior to my tour of Gettysburg. McPherson explains in simple lay language how the battle changed the course of the Civil War, and its significance in American history. The book includes anecdotes of the author’s walks around key positions of the battle, such as Seminary Ridge, the Peach Orchard, and Little Round Top, as well as stories about the various monuments and statues.

McPherson has led countless tours for students and others at Gettysburg; with a little imagination, reading his book is like being on one of his tours.

Gettysburg

Cordori Farm

As I was planning my trip around the Eastern Time Zone last summer, I knew that one of my must-sees was going to be Gettysburg. I’m a history geek, and my pre-trip research quickly led me to the conclusion that it would be worth the drive from Baltimore, where I was planning to spend the better part of a week.

And so, I booked a car rental, enlisted my sister as navigator, and off we went for a drive through the Pennsylvania countryside. Both of us came away rather impressed with what we saw and learned. Since this week was the 150th anniversary of the Battle of Gettysburg, I thought it would be a timely blog post for the Fourth of July.

There are a number of ways to tour Gettysburg National Military Park. We opted for the Self-Guiding Auto Tour, where you are supplied with a map showing the location of more than a dozen stops throughout the park, each one of which has a viewpoint and a marker explaining its significance. If you lack a capable navigator such as I had, the Visitor Center sells CDs you can pop into your car’s stereo system while you drive, or you can take a guided bus tour.

What you can’t do ― not in an afternoon, that is ― is tour the battlegrounds on foot. At 6000 acres, the park is massive and completely surrounds the town of Gettysburg.

Now, if history isn’t your thing, you should skip on to the photos at the end of this post. But if you want a little background, read on.

In June 1863, General Robert E. Lee was the commander of the Confederate Army of Northern Virginia. He’d spent most of the month moving his 93,000 soldiers north into Pennsylvania so they’d be in a position to push the Union forces out into the open and into battle. Once he decimated them (so he figured, based on his recent successes), it would bring about the end of the war.

The 75,000-strong Union Army of the Potomac shadowed Lee’s movements, but at a slower pace to make sure they were always in position to protect Washington DC from the Confederate forces. On June 28, 1863, General George G. Meade took command of the Army of the Potomac.

Both generals were angling for a favourable spot for a battle ― what is ironic about when they finally met is that the Confederate Army was moving south and the Union Army was moving north. Neither army was aiming for Gettysburg, either. But when Confederate soldiers chanced upon and were attacked by Union soldiers on July 1 ― an attack the Confederates successfully defended ― Lee realized if he acted fast he could fight the Union forces before they had finished assembling. He decided to use the chance meeting as an excuse to start a major battle.

By the morning of July 2, the Union forces had retreated from the northwest of Gettysburg, where the previous day’s fighting had occurred, to the southwest of Gettysburg. Despite their retreat, their position was good ― they occupied a series of hills and ridges in a semicircular position. The Confederate forces had no choice but to attack from below, which they did at both ends of the Union line. The Confederate forces gained a bit of ground, but losses were high and on the evening of July 2, the Union forces still occupied the high ground.

Because the Union forces had successfully repelled the Confederate attacks at either end of their line, Lee was convinced that Meade had concentrated his forces on his flanks. On July 3, Lee ordered an attack on the centre of the Union line, which he thought would be the weakest point.

The Confederate artillery fired on the Union position for several hours. The Union artillery answered back with its own volley, but eventually went quiet. Lee assumed the Union guns been knocked out. He ordered the advance of some 12,000 Confederate soldiers toward the 7000 waiting Union soldiers. This attack, which came to be known as Pickett’s Charge, required the Confederate forces to march across almost a mile of open ground. While they were in the open, Union artillery ― which had not been destroyed after all ― again took up their firing.

Union losses that day were about 1500 killed or wounded, but the Confederate casualty rate was much higher ― almost 50 percent. Total losses from both armies over the three-day battle was more than 50,000. Lee admitted defeat and began his retreat from Pennsylvania the next day. By the time Meade realized Lee was retreating all the way to Virginia, not merely heading back into the mountains, it was too late for him to catch up.

Most historians consider Gettysburg to be the turning point of the Civil War ― and the battle that saved the Union. Pickett’s Charge is called the High Water Mark of the Confederacy because it was the furthest line of advance made by the Confederate Army, but the Union victory at Gettysburg ensured that Lee’s invasion of the North was over.

If you’re still with me, all I want you to take from what I’ve written above is that it immediately becomes clear as you drive around Gettysburg Park what role the terrain this corner of Pennsylvania played in the outcome of the battle. The establishment of the park in 1895 (initially maintained by the War Department, now by the National Park Service) means that the entire battleground still looks, for the most part, as it did in 1863.

And so, you can see (just barely through the trees) the cupola of the Old Dorm of the Lutheran Theological Seminary, which provided a crucial observation post on the night of June 30 as the Union generals surveyed the landscape and chose where to place their troops. You can stand at the rocky summit of Little Round Top and imagine the fierce battle that took place on its slopes as Confederate soldiers tried to overtake it on July 2. You can survey from various viewpoints the hilly terrain that frames either side of the fields the Confederate soldiers marched across during Pickett’s Charge on the afternoon of July 3. And you can stand where the Confederate soldiers stood, and look across the same fields they looked across, and see the copse of trees where the Union soldiers were waiting for them.

And now, as promised, here is a photo tour of Gettysburg National Military Park. (Click on the first photo at top left to open the slide show.)

Happy Canada Day!

Flags in Bayeux

When I travel, nothing catches my eye like a Canadian flag ― whether it’s stitched to the backpack of a fellow traveller, or hanging in the streets, like this one in the Norman town of Bayeux, France.