The two MONA LISA images will hang together in the Louvre this year. I am thrilled and eager to see them together again when I am in Paris this year. What a story to have the daVinci portrait as well as a contemporary’s version which adds great insights into the daVinci version. Aren’t these amazing times?! ABSOLUTELY EXCITING.
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
My fifth child, Richard, was a graffiti artist and opened my eyes to a NEW VOICE for design, color, and expression or purpose. It was hard for me to look at his designs when I first saw what my own friends called “graffiti” and I ended up calling STREET ART. But, as the years have passed, I have grown very fond of well placed and organized displays of public art. While I was in London, I ran into the website STREETARTNEWS.NET. 
This website lead me to the work of David Schillinglaw who had just painted a new piece of work on Bacon Street, off Brick Lane. Well, from there, I started to scratch and scratch until I knew I was going to visit and search through neighborhoods around Brick Lane to see what I could see and find out more about this guy SHILLINGLAW. My friend Luis and I flew through London traffic on a motorbike and landed in the heart of the most amazing street art which is highly prized and regarded by the citizens of the neighborhood. I was in heaven and couldn’t stop shooting image after image with my camera. I decided that my VALENTINE’S DAY article today would highlight this young artist whose work is absolutely amazing. London is a rich center for artistic expression these days: exhibitions, galleries, street art, graffiti, markets, and young artists all over Trafalgar Square and other areas with their canvas and chalk. There is no question that SHILLINGLAW is part of a new voice which developed into an important art form, highly regarded by critics and collectors all over the world. I know that if I could have taken home a wall from East London’s Bacon Street and Brick Lane with the most wonderful street art, I would have been whistling all the way. Look at this.
Aren’t we grateful to our children who open so many doors for us who are often too glued to older and sometimes archaic forms of expression!?
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
An evening at the Royal Academy. Nice.
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
Louise A. Grosvenor, London, 1906
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
I keep saying to myself: WHAT NEXT!? I have loved this huge TUDOR historical painting which hung at Whitehall. I did not realize there was mystery in its long history. Until now!
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
There are so many “levels” in London: the centuries of ancient London below the surface, the magnificent city we see today, and the fabulous sculpture on all the buildings in this amazing city. We have done a good job discussing the city “at eye level” over the past few years on this blog, but it is now time to explore the London “above.” Let’s have a look up for a bit. Fabulous how a city records its history; London does a splendid job.
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
The National Gallery is hopping with exhibitions this year. First Leonard daVinci and now TITIAN’S “FLIGHT INTO EGYPT” – purchased by Catherine the Great in the 18th century in Venice. This is the first time the painting has been outside Russia since it was purchased. We have to see this! Wow!
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
When I wander through the great galleries in London, I often wonder how all these great canvases are kept in such magnificent presentation. The vanishes darken, the canvases crack, the panels warp, on and on. Teams and teams of artists work full time assuring that these great masterpieces remain in perfect condition. When I was a young man, our friends Shirley and Paul Carroll in Reading, Massachusetts, thought that I should try to work on a canvas to learn to appreciate the work involved in keeping a collection of paintings “safe.” I was to inherit a collection of good pictures, and they feared that I was unaware of the work involved with this responsibility. I was to inherit a Claude Lorraine and a Benjamin West from the Carrolls, so they were protecting their gifts to my family. I slaved over the practice canvas with some success, but I certainly understood the Carolls’s point. The highlight of the summer was a visit to the workshop of Morton C. Bradley in Arlington/Boston who was in the process of cleaning the great colonial portrait of John Hancock by Copley from the Boston Museum of Fine Arts. My training came in handy when a few years after this bit of training, a great collection of paintings were offered to the LDS Church in Salt Lake City. Mrs. Florence Jacobsen called me to her office to make arrangements for Mr. Bradley to come to Salt Lake City to give his expert opinion. It was a fabulous experience. While Mr. Bradley was in Salt Lake City, he looked at the great collection of Harwood paintings which are some of finest canvases in the LDS Church Collection. For the next three years, several of the paintings were shipped to Boston for Mr. Bradley’s care. (see below) I will never forget those years. It was fascinating, to say the least. From a little summer work on an insignificant canvas to working with Mr. Bradley on some of the finest 19th century Harwood paintings was a great voyage for me. Even though I was only the person who arranged shipping and rehanging, I felt greatly rewarded for my efforts.
This morning, when I am reading about the restoration of the Courtauld Gallery’s restoration of Peter Paul Rubens’ “Cain Claying Abel,” I marvel at the expertise needed to complete the restoration and conservation of such a fragile work of art. This is a great achievement. Several years ago, I was invited by “artsy” friends to accompany them to Hampton Court Palace where several of the Queen’s pictures were under restoration. I remember walking into a huge room where the most enormous Renaissance painting was undergoing restoration. Several conservationists were working meticulously inch by inch across this great image. And now, how can we, the public, help? Everything that is bought in the Queen’s Gallery generates profit which goes to the maintaining of the Royal Collection. The Summer Opening of Buckingham Palace is the largest source of funds for the care of the Royal Collection. These great works are held in trust for the Nation by the Queen. And, someway, somehow, funds have to be generated to pay for these tremendous expenses. I think you will enjoy these articles about the Courtauld Gallery’s fantastic efforts.
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Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
This article takes the DA VINCI EXHIBITION to another level. I think the author is EXACTLY RIGHT.
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
All the focus on daVinci in London this year has stirred a great deal of interest world-wide. A remarkable discovery has given further insight into the MONA LISA in the Louvre. This is really amazing. HOT OFF THE PRESS!
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
I hate this stupid 4th plinth–every bit of it. I CAN’T BELIEVE this is the best contemporary art sculpture we can find for the 4th plinth. Ridiculous!
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
Wartski announces a loan exhibition — A DIAMOND JUBILEE TRIBUTE – FABERGE from a private collection. This amazing EXHIBITION will take place from 15 – 25th May 11am to 5 pm 14 Grafton Street, London W1S 4DE. Yesterday, I visited WARTSKI on Grafton Street in the heart of Mayfair. I was thrilled to hear of the upcoming EXHIBITION of a private collection of FABERGE – A DIAMOND JUBILEE TRIBUTE. These kinds of special exhibitions are delighting the public during this special time when we celebrate the Queen’s DIAMOND JUBILEE. Thrilling!
During my visit, I photographed the famous portrait of Queen Alexandra delightfully covered in her magnificent jewels. It was thrilling to see. I also photographed some images of some of the most fabulous pieces of FABERGE which are on offer. Goodness, IT IS INCREDIBLE.
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
WANDERING through London has been my way of life. I have walked London streets for over 60 years, and I have never tired of one single street or corner. Today has been another one of those fantastic days I so love in this “eternal” city. My dear friend Luis put me on the back of his motorcycle and I went flying through this ancient city, seeing this city that I know so well from the back of a speeding vehicle. I would have probably been frightened had I not known Luis so well and trusted him completely. I had a blast. We left central London, down the Strand into the City, around the Mansion house and the Bank of England, on to Tower Hill and then what was for me UNKNOWN TERRITORY. Traffic was thick as mush, but the bike ripped between buses and cars from one red light to the next one. Horns were sounding, drivers swearing, a few four letter words, and a lot of bouncing and flying along. I couldn’t believe I was doing this. But all of a sudden, I saw the street sign BRICK LANE, and I knew my camera was about to melt away with image after after of some of the most unreasonable graffiti I had ever seen. I loved it, every weird-strange-angry-curious-irredeemably vulgar figure. It was not so much the graffiti that I loved; rather, it was a world where people weren’t afraid to “give it a try.” People walked by these vibrant walls as if this is how the world is to be. There were a few cameras flashing; but they were souvenir visitors who wanted to be shocked or were going to write a blog about it–HM! Vintage clothing shops, motor bike garages, colorful galleries caught my eyes, and I was thrilled to be flying sitting on the back of a bike with my camera and very exciting eye balls. When we left Brick Lane and were ripping down Shoreditch Main Street, I saw a bit of colorful writing that said CHANGE NOW. It made me think, but not enough to discourage my fun ride with cold January breezes chilling my nose and ears. WHAT A BLAST! I hope you will enjoy these images–a bit weak because I was moving pretty fast. Yikes! Here it goes again!
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
I was directed to this article about another major art discovery. These are very important discoveries. Read this! Really exciting stuff.
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
Yesterday, I came down the stairs from the Jewel Chamber to the first floor. As I was descending, I looked up and stopped to look at the huge “cartoon” in front of me. I was taken by its great size and its incredible beauty. But, there was no identification card for this picture, and no one working for the museum had any idea about its artist. The picture has to be 20 feet tall. Can anyone identify it for me? Sorry about my photos; it was so large, and its position on the wall was difficult. Put the two pieces together. THIS IS A VERY IMPORTANT WORK OF ART. I am curious; in fact, very curious.
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
JOHN CONSTABLE SAID THAT CLAUDE LORRAIN WAS THE GREATEST LANDSCAPE PAINTER OF ALL TIMES
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
2012 will be a year filled with exceptional exhibitions all over Britain, and in some circumstances all over the Commonwealth. The Gardens of Kensington Palace are being refurbished, Windsor Castle is presenting an amazing exhibition from the Queen’s private collection, and Buckingham Palace will highlight the Queen’s life at the Queen’s Gallery. The Victoria and Albert is presenting Cecil Beaton’s Exhibition of royal Portraits to honor the Queen in her special year. So, there will be a lot to see and several places to visit; it is going to be very exciting. I was very interested in an article this morning which highlighted five art exhibitions “not to be missed” during the Diamond Jubilee year. What might they be?
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
A reader just reminded me of this intriguing book about Philip Mould’s passion for locating lost works of art. It is a fascinating read. I read it some time ago, and it made me want to hit the road looking!
While you are in London, please visit PHILIP MOULD GALLERY on Dover Street, Mayfair. It is a really wonderful gallery and London destination.
Thomas Moore email: TMooreSr@me.com Telephone: 801.791.9918
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