Lucy Scholes is a critic who lives in London. She writes for The Times Literary Supplement, The Observer, The Financial Times, The New York Times Book Review, and Literary Hub, among other publications.

NYR DAILY

The Surrealist Eye of Lee Miller

Lee Miller: Nude bent forward (thought to be Noma Rathner), Paris, 1930

Gathered together in the excellent new show “Lee Miller and Surrealism in Britain” is a selection of candid snaps both Miller and Man Ray took during their Cornish adventure. Most arresting is Miller’s photograph of an all-but-nude Carrington reclining in the sun, eyes closed, a smoldering cigarette clutched between the fingers of her left hand, with Ernst sitting behind her, his veiny hands clasped over his lover’s bare breasts, his head resting lovingly on hers, one half of his face hidden in a cushion of her thick, curly dark hair. This sudden Surrealist invasion is integral to the story told in the Hepworth exhibition.

A Quiet Novel Turned into a Forceful Performance

Laura Linney as Lucy Barton in My Name is Lucy Barton, directed by Richard Eyre, Bridge Theatre, London, 2018

“Lonely was the first flavor I had tasted in my life, and it was always there, hidden inside the crevices of my mouth, reminding me.” Re-reading Elizabeth Strout’s breathtakingly exquisite novel My Name is Lucy Barton in preparation for seeing the theatrical adaptation, I found myself knocked sideways by these lines. But where the play fell flat for me is that Laura Linney delivers a powerhouse of a performance. Alone on the stage for an hour and a half, there’s nowhere for her to hide, and she bracingly shoulders that weight from the moment she first strides forward into our company, confidently launching into her monologue. But she remains Laura Linney throughout, she never transforms into Lucy Barton. Lucy is all quietness and unease; Linney, meanwhile, commands the room. 

A Mythic, Cool America

There’s also a familiarity to the lesser-known works adorning the walls of “America’s Cool Modernism: O’Keeffe to Hopper.” Not because British audiences have seen them before; they haven’t—nearly half of the eighty-odd paintings, photographs, and prints in this relatively small, three-room show have never previously been exhibited in the UK. All the same, we know exactly what we’re looking at: representations of the mythologies of an “America” that has long inhabited the popular global imagination, from the towering structures of the archetypal modern metropolis to the rustic barns, uniform fields of corn, and white picket fences of prairie farmland.

A New Lease of Life for Kettle’s Yard Gallery

Kettle's Yard contemporary art gallery, renovated by Jamie Fobert Architects, 2018

Kettle’s Yard, four old slum cottages, tucked away behind St. Peter’s Church in Cambridge (named after the Kettle family, who had built a short-lived theatre on the site back in the 1700s), became the location of Ede’s experimental vision. He renovated them and unpacked his collection, around which he and his wife, Helen, set up home, thenceforth holding an “open house” every afternoon during the university term, when students were encouraged to drop by, admire the art, read the Edes’ books—and, if lucky enough to be invited, perhaps partake of a cup of tea and a slice of toast with marmalade. Part of the charm of Kettle’s Yard has always been the juxtaposition between old and new.

Chaïm Soutine: the Butcher, the Baker, the Candlestick Maker

Dressed from head to toe in a vibrant red uniform with gleaming gold buttons, hands defiantly on hips, legs spread wide, the bellboy perfectly captures the tension, seen throughout the exhibition “Soutine’s Portraits: Cooks, Waiters & Bellboys,” between personal dignity and professional subservience. A Russian émigré and the son of a poor Jewish tailor, Soutine rarely gave his portraits titles (hence the generic ones provided here), let alone bothered to note the names of his sitters. And yet he is known for posing his anonymous subjects like the royalty of yore: the bellboy’s regal red livery is reminiscent of ceremonial dress; and a pastry cook, his fluffed-up white cap perched on his head like a bejeweled crown, sits resplendent in a kitchen chair like a monarch on his throne.