The wild garlic is about to flower, acres of it, covering woodland slopes. The first cowslips are opening, the skylarks are ascending, the long tailed tit echoes itself. But yesterday it was London and the long lines of destination-driven travellers always keeping left in corridors below Paddington station. Occasional mask wearers on the underground, otherwise near normal. Normal would be delays and hold-ups, but now we flow smoothly.
My destination – meeting an old friend at the Royal Academy to view an exhibition of the paintings of the Japanese artist, Kawanabe Kyosai. His was a time (he was active c1850 to his death in 1889) of extraordinary change, the overthrow of the Shogunate, and the Meiji Restoration. There’s a saké-influenced crazy irreverence about Kyosai, his emblematic black crow in stark contrast with armies of frogs battling with bullrushes. I learnt about shogakai, parties where professional painters and calligraphers ‘produced spontaneous creations’. They were not known for ‘their seriousness or sobriety’.
Contrast the major Raphael exhibition at the National Gallery, where I headed later in the day. Everything is measured and controlled, carefully worked through in drawings, and the effects precisely and wondrously calculated. Raphael’s workshop was legendary in its time and I can’t imagine alcohol featured. I’m assuming Kyosai sold his work on the open market. Raphael in contrast would be working within the constraints of patronage, not least the church in the form of Popes Julius II and Leo X. Contrast the endless virgins in different poses with a naked child, studies in affection and reverence, with Kyosai’s long scroll which features a much-more-than-lifesize profile of the Buddha’s face with on its upper lip a tiny Zen Buddhist monk working his way up, an extended parasol in his right hand. ‘Today, once more, saké after saké,’ he captions a painting of a ‘shojo’, a mythical red-haired saké-loving creature out of Japanese folklore.
Later in the day I’m standing in front of an almost full-scale reproduction of Raphael’s extraordinary School of Athens, identifying Euclid and Pythagoras, and joining Plato and Aristotle’s discourse on the nature of reality…
Was Kyosai, in truth, no more than an illustrator? Ephemeral, a commentator in the style of Rowlandson or Gillray? A man of the people. Great art on the other hand belongs in cathedrals, churches, great houses…
Museums and galleries have opened Raphael’s world to ordinary folk, and he’s become part of our wider cultural heritage. Kyosai belongs to his time, his imagination is in your face, he’s a crazy acquaintance, not, maybe, a companion for the long term. If Raphael is for quiet and private contemplation, Kyosai is for sharing – ‘hey, look at this, check it out!’ Not that Kyosai is all comedy, all parody. There’s a sinuous grace to ‘Egret over Lotus Pond in the Rain’. But a minute or two later you’re looking at ‘Fart Battle’, which is just that.
The day ends with coffee in the café in the crypt in St Martin in the Fields. No-one pitching you out 5.30 or 6. Graves beneath your feet, brick-vaulted ceiling above. Then the tube and Paddington. Back to open spaces, commons and hidden valleys, where I can run or walk without seeing a soul.
Only the rumble of a distant train, heading to … London.