The BBC’s anti-Israel bias

Readers of this blog will have heard me criticise the BBC’s v. obvious anti-Israel bias in its reportage of the Israel-Hamas conflict.

Living in the UK, I see it all the time. They won’t call them “terrorists” ... they’re quick to jump on Israel but have to then backtrack their “inaccuracies” (by which time, damage was done).

And the most common approach is to focus on what Israel does but scarcely address what Israel is responding to.

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Camilla Turner, in “BBC ‘breached guidelines 1,500 times’ over Israel-Hamas war” (The Daily Telegraph):

The BBC breached its own editorial guidelines more than 1,500 times during the height of the Israel-Hamas war, a damning report has found.

The report revealed a “deeply worrying pattern of bias” against Israel, according to its authors who analysed four months of the BBC’s output across television, radio, online news, podcasts and social media.

The research, led by British lawyer Trevor Asserson, also found that Israel was associated with genocide more than 14 times more than Hamas in the corporation’s coverage of the conflict.

The Asserson report analysed the BBC’s coverage during a four-month period beginning Oct 7, 2023 – the day Hamas carried out a brutal massacre in southern Israel, killing around 1,200 people and taking another 251 into Gaza as hostages.

Researchers identified a total of 1,553 breaches of the BBC’s editorial guidelines, which included impartiality, accuracy, editorial values and public interest.

“The findings reveal a deeply worrying pattern of bias and multiple breaches by the BBC of its own editorial guidelines on impartiality, fairness and establishing the truth,” the report said.

It also found that the BBC repeatedly downplayed Hamas terrorism while presenting Israel as a militaristic and aggressive nation.

It claimed that some journalists used by the BBC in its coverage of the Israel-Gaza conflict have previously shown sympathy for Hamas and even celebrated its acts of terror.

Jeremy Bowen, the BBC’s international editor, is accused of excusing Hamas’s terrorist activities and comparing Israel to Putin’s Russia, while Lyse Doucet, the BBC’s chief international correspondent, is also cited for allegedly “downplaying” the October 7 attacks on Israel.

The report singles out the BBC’s Arabic channel, saying that it is one of the most biased of all global media outlets in its treatment of the Israel-Hamas conflict.

I do not pay the TV license fee.

Masaccio - The Virgin and Child

In art history, Masaccio is important.

He is regarded as the greatest of the early-Renaissance Florentines.

Real name: “Tommaso Giovanni di Simone” ... AKA: “Masaccio” = “big ugly Tom”.

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The Virgin and Child (1426) by Masaccio

In this egg tempera on wood, the Virgin and Child are seated on a stone throne with classical columns.

Masaccio’s Virgin and Child is an affecting picture which seeks to stir both the basic &  profound in human emotions. 

This is especially clear if, for example, you compare it to Giotto’s Maestà of an earlier Florentine generation. Masaccio revolutionised the art of painting during his lifetime & formed a bridge between Giotto and Michelangelo.

Giotto - Maestà

Not only did Masaccio paint a very believable, rather sweet, humanist and dignified Christ — but he imbued the painting with feeling and emotion ... and, as with the Renaissance, it is clear that the human is the central measure of all things.

Angels playing lutes, and Christ eating grapes.

And yet, the Christ is still god-like with the grapes referring to the blood of Christ.

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Two panels from the Santa Maria Maggiore Altarpiece (1428-9) by Masaccio & Masolino

Masaccio painted the right-hand panel. It shows St John the Baptist and St Jerome. Jerome in his red cardinal robes.

Masolino painted the left-hand side with Pope St Gregory and St Matthias.

The earliest known original colour film of London in 1924 - hundred years ago

I came across a Daily Mail article about this video which says it was “made by Claude Friese-Greene, a cinema technician and son of moving-image pioneer William.”

It’s a funny thing to see so many people smiling and waving at us ... a hundred years ago.

Trafalgar Sq and the National Gallery behind it.

There is a McDonalds today where that oncoming omnibus is positioned.

I noticed people showing their respects with flowers at the Cenotaph.

Very touching. The Great war ended - at that point - only 6 years ago.

It was “unveiled on Armistice Day, 11 November 1920. 

The memorial became a central point for all those whose family and friends had died during the First World War with no known grave.”

The Quaratesi Madonna (1425) by Gentile da Fabriano

Gentile da Fabriano was an artist who worked during the fusion of gothic Northern European art and its later Italian styles.

It was the centre of an altarpiece for the
church of San Niccolò Oltrarno, Florence.

This masterpiece is in the National Gallery. 

“Gothic” usually describes the style of architecture common to Northern Europe between 1100—1500. But, it also refers to the art of the period. It was highly ornamental with realistic detail, but without any overall scheme of representation.

In its later years, Gothic art became increasingly decorative and elegant with sophisticated patterns and rhythms, and the fusion between Italian and Northern European styles is known as “International Gothic”.

In this beautiful egg tempera, the Virgin and Child are enthroned with rich fabrics and angels on either side.

Details:

Utterly exquisite garments and drapery, and especially the way they fold and bend.

It is warm and sumptuous, fitting for the enclothing Child within.

The Christ Child is handing a daisy (symbol of innocence) to an angel.

The Christ child in such luster of gold. He practically shines in blissful gold.

His rubicund cheeks and sweet demeanor means all we can only but adore him.

The sweet affection of his mother’s arms.

Very exciting new blockbuster Van Gogh exhibition

The National Gallery is celebrating its 200 year anniversary this year.

They have organised a “once in a century” Van Gogh celebration for his major works from across the world!!

I saw the exhibition guide the other day at the shop — but dare not open it and spoil the excitement. 😆

Will post a deep-dive after I’ve visited!!

Fra Filippo Lippi - The Annunciation & Seven Saints

When I came across the Carmelite priest Filippo Lippi at the NG, I was amazed by his masterpieces.

I think he might be my favourite of the early renaissance👌. 

It is a true stylistic jump from his predecessors and so v. beautiful to look at.

According to Vasari, he was a pupil of Masaccio. He forms the bridge between Masaccio and Botticelli.

As with the Renaissance in general, his art was informed with the aesthetics of the classical world & a renewed humanism. 

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The Seven Saints (1450-3)

In the centre, John the Baptist  ... he sits between Cosmas and Damian, the physician saints and patrons of the Medici family (Medici means “doctors”).

On the far left, sits St. Francis. His stigmata subtly indicated in gold. Next to him, St Lawrence with the grill on which he was martyred. 

On the far right, St. Peter Martyr with a hatchet (with which he was bludgeoned to death), and “Anthony the Great” with his hermit’s staff.

Such an engaging humanist face - chubby, frizzy curled hair, slight beard and compel eyes.

 

Beautiful mastery of perspective, and Lippi’s angled sedentary position of St. John’s feet is skillful;

also lovely details, incl. robes folds and internal colouring and the castle in the background behind trees.

 

Beautiful long flowing hair, what a hat (!), and St. Francis stigmata as “fizzing” with electricity. 

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The Annunciation (1450-3)

Wow.  

I really love this. Da Vinci’s version of the “Annunciation” has similar a perspective and landscape. This was commissioned by the powerful Medici family.

In this egg tempera, the Angel Gabriel announces the future birth of Christ.

Both heads bowed — for the presence of God (through his dove). There is a lot being communicated in this painting.

The walled garden alludes to mother Mary’s virginity.

 

Such outstanding and intricate detail against vibrant colours.

The Angel’s hair’s delineation is just so life-like and sumptuous (compared to earlier gothic traditions).

The radiant & vibrant patterns of the peacock feathers as wings complements the halo’s coruscation.

Peacock feather pattern! What a majestic bird.

Beautiful garden-like foliage and grass, exquisite plinth. No detail is too much.

And such carefully drawn drapery which folds so effortlessly on the grass.

The hand of God (which can be seen at the top) sends the dove (symbol of the Holy Spirit). 

Mary is reading the Holy Book, head lowered, exquisite drapery around her head and neck. 

And the dove is in a shimmering hagiographic spiral flying towards her. Presumably her womb?

“Hockney and Piero: A Longer Look” - National Gallery exhibition

Earlier this week, I went to the new NG exhibition: “Hockney and Piero: A Longer Look”. 

All change going on at the NG, as they renovate and restore parts of the gallery with the Sainsbury wing being closed. (See the recent news about Lord Sainsbury’s letter buried in the pillars at the Sainsbury wing foyer).

I thought it was a wonderful sense of what makes Hockney an esteemed artist and a beautiful pean to his artistic and paternal pedigree. 

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Looking at Pictures on a Screen by Hockney

This painting is about looking at art. 

It contains direct references to Piero’s Baptism, Van Gogh, Degas and Vermeer ... I quite like the way they’re all cello-taped onto boards for viewing. 

Not sure who this contrapposto-ed man is supposed to be.

The colour and textures on the flooring, the small couch (with its criss-crossing reds and grey-blues), and its reflective crosses on the polished floor. 

A stunning sense of colour and immaculate technique. 

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The Baptism of Christ by Piero della Francesca

Piero was a giant of the Renaissance masters. He will have his own post soon.

This painting depicts Christ being baptised, and the acknowledgment (through the dove) as the son of God.

A small bucket of water poured over Christ. 

A beautiful dignified face, and the beard is so detailed.

The hillside reflected in the water, and

Christ’s robes’ edge of the lining is subtly decorated. 

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My Parents by Hockney

I love this painting. 

Hockney is a true colourist. The intensity of the colours gives the painting a rather striking force, a certain freshness.

In “My Parents”, Hockney pays tribute to his mother and father, as well as his artistic inspirations.

Piero in the mirror, and the flowers and the vaze are intensely exquisite.

The wall also has a complementary luminance.

The colours are (again) such a lovely harmony - from the carpet to the floor.

I love the way Hockney paints a glimmering light in his mother’s slippers, and 

the way her right foot tilts inwards.

A nod to “Jean Siméon Chardin” ... who was a “French painter of still lifes and domestic

scenes remarkable for their intimate realism and tranquil

atmosphere and the luminous quality of their paint”.

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Other bits and bobs

Entrance, at the NG.

Poster of the exhibition.

The Great Wave off Kanagawa by Katsushika Hokusai

Just so captivating.

I went to the V&A museum especially to see this woodblock print (rest can be seen in my fuller review). 

It is an alluring and beautiful painting - and the wave is thrilling and fearsome.

The fishermen are rowing *into* the waves, not escaping it.

It is really gorgeous. And no wonder it is one of the most enduring and striking works of Japanese art in the world. The Great Wave off Kanagawa was published around 1830 as the first in the series “36 Views of Mount Fuji”. 

I think it speaks to our ability to overcome obstacles — even those beyond our control. It is an interpretation of resilience.

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I recently watched a BBC documentary on this painting.

The Great Wave of Kanagawa was published after the period of time during which Japan was closed off to trade, which made their art more appealing and exotic to Europeans. It was also published during the Enlightenment, when Western European countries were pursuing discovery for the sake of furthering knowledge. 

What is fascinating is that Hokusai became inspired by Dutch paintings and art that arrived in Japan (notwithstanding its isolation). He imbued “European techniques” into the traditional Japanese woodblock prints. Then, later, the Impressionists gets inspiration from Japanese and Hokusai’s prints ... and then imbue “Japanese techniques” into the European paintings … 

The ukiyo-e style was completely new to Europeans. Elements of its composition included the use of so much negative space in the background, the lack of any clear focal point as well as perspective and the emphasis on ephemerality. In Hokusai’s wave, one gets the distinct feeling of the fugacious changing nature of life. Similarly, Monet’s Impressionist canvasses evoke the feeling of him laying down hurried brush strokes to capture a fleeting moment. There was also lack of the traditional high degree of illusionism in art. All these contributed so much to Impressionism.

Renaissance to a modern Impressionist style.

Hokusai’s wave is like a conversation across time in which people share their life views.

“Japan: Myths to Manga” - exhibition on Japanese Ukiyo-e woodblock prints

I recently went to the V&A exhibition on Japanese Ukiyo-e art. I thoroughly enjoyed it.

The term Ukiyo-e (I think pronounced: you-kay-ohh-way (?) ) refers to the “floating world pictures” that emerged in Japan (esp. among the merchant class) in 17th century and flourished in the 18th to 19th-century.

For a long time, Japan was closed off from the world. They relied on traditional and strict social order. Samurai at the top ... followed by artisans and farmers ... and then the lowly merchant class at the bottom of the social order. Social mobility between the class was prohibited. And since tax rates were arbitrarily fixed in a period of relative peace, the merchant class benefited most from the city’s rapid economic growth.

This class developed the Yoshiwara (pleasure quarters) and they relished pictures of geishas, courtesans, and the kabuki theatre — especially featuring female beauty. However, by the 19th century, artists such as Hokusai, made landscape images popular too. 

Ukiyo-e is originally a Buddhist term referring to the transitory and ephemeral nature of life. It was applied to the “Yoshiwara district” (red light) of ​​the city of Edo (modern-Tokyo) during the Edo period (1603-1868). It housed brothels, theatres and tea houses. Edo became the seat of government for the military dictatorship in the early 17th century. 

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Sunrise at Susaki on New Year’s Day - Utagawa Hiroshige

Utagawa Hiroshige was one of the famous masters of the Ukiyo-e woodblock printing tradition.

He created thousands of prints of everyday life and landscape in Edo period Japan with colourful & saturated ambience.

Here, it is clear that blazing sun is deeply connected to Japanese culture. The country’s name in Japanese, “Nihon”, means “origin of the sun”. Moreover, it is considered good luck to see the first sunrise of the year, aka “Hatsuhinode”.

Hiroshige wanted the rising sun to saturate the background of the buildings ... but he also wanted to bring us closer to the 2 ladies on the bridge.

According to the V&A:

This is the first of a set of three designs unusual for the way in which the distance between viewer and subject progressively decreases, so that the focus of attention shifts from the overall view of this design to a stylishly clad woman in the third. 

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Star Festival at Yanagishima - by Utagawa Hiroshige

The woman designed by Hiroshige is sitting in a roofed pleasure boat.

The bridge is the “Yanagishima Bridge” (which looks like still stands today?). This is supposed to depict a religious festival (the “Tanabata Festival”) in which stars prefigure the culture in terms of stories and guidance.

As before, I noticed women’s’ line of sight towards our right-hand space. Very stylish too, and the spatial depth engaging (if not at all in line with Brunelleschi).

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The Seventh Month (from the series “The Five Festivals”) - by Utagawa Kunisada

Magical. Utterly beautiful.

The dresses colouring is astonishingly vibrant and fantastical. Mixed with the dancers motions, it creates a breathtaking dynamism.

These transfixing women are gliding and dancing to celebrate the “Tanabata festival” (see above) on the seventh day of the seventh month.

According to legend, when the stars Vega and Altair are aligned, two lovers are reunited. He herds cows, and she weaves fine silk.

The surface of a lake over which fly? The wind is clearly blowing through.

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The Origins of Sacred Dance at the Heavenly Rock Cave - by Utagawa Kunisada

“Amaterasu no Ōkami” is the goddess of the sun who brings light to the world.

When her brother misbehaves, Amaterasu is frightened and hides in a cave. But, when she seals herself in, darkness falls on everything.

In this painting, gods and goddesses gather at the cave. They sing, dance and drum ... to tempt Amaterasu out of the cave.

What is interesting is the luminous lines of gold which transect the painting & remind me of Gauguin’s use of colours. The ground is abstracted and we have drapery behind the woodblock’s sun rays.

It’s also interesting how the aesthetic transformation of depth in a distinctly three-dimensional scene turns it into a playful, dynamic two-dimensional plane.

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The Former Emperor from Sanuki Sends Allies to Rescue Tametomo - by Utagawa Kuniyoshi

Wow!

What a chilling fish (those scales, teeth and eyes!) and the incredible blue waves and ghost-like goblins saving the epic Samurai warriors.

Under Japan’s waves, the seas are packed with life. Japan’s folklore is about encounters with their sea creatures.

The gigantic terrifying fish has mouth wide open with razor teeth. The goblins straddle the fish and rescue warriors.

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Urashima Taro and the Dragon Palace in the Sea - by Ogata Gekko

This is the tale of “Urashima Taro”:

One day, a fisherman called Urashima Taro saves a turtle. In thanks, the turtle takes him to the underwater palace of the dragon king. There she magically transforms into a princess. She gives Urashima Taro a beautiful box but tells him never to open it. Homesick, he returns to dry land, only to discover that many years have passed. Despite the princess’s warning, Urashima Taro opens the box. The missing years catch up with him and in an instant, he becomes an old man!

The city life blends into clouds as Taro flies.

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Treasure Ship - By Utagawa Hiroshige

Colours are so vibrant. Beautiful crests on the waves ...

At the New Year, many Japanese used to place pictures of the Seven Gods of Fortune on a treasure ship under their pillows for a happy year ahead.

In Japanese mythology, there are Seven Gods of Good Fortune. They ride together in a glittering treasure ship & each god brings good luck to people in different jobs. Fishermen, farmers, dancers etc..

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The Whirlpools in Awa Province (from the series Famous Places in the Provinces) - by Utagawa Hiroshige

Waves are v. beautiful. Love the crepuscular sunshine on the horizon.

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Woman and Children by the Sea - by Utagawa Hiroshige

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The Eighth Month - by Ishikawa Toyomasa

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The Great Wave off Kanagawa - by Katsushika Hokusai

Discussed in a following blog post here.