There’s rather a lot riding on the Toulouse-Lautrec blockbuster at the National Gallery this summer.
Large sums of taxpayer money, the kickoff for the Centenary, and of course a failed blockbuster would have serious implications for the Gallery’s bottom line.
On one level it seems like a no brainer. Pretty much every intense young woman for the last forty years has hung a Latrec on their bedroom wall to show they are SENSITIVE and ARTISTIC. Just in case you missed the copy of The Bell Jar prominently displayed on the book case or (in extreme cases) the box cutter on their desk.
If the highly strung women are coming out in droves then those of us who enjoy their company will be sure to follow.
But on another level it’s going to take some doing to put on a show significantly better than the average framing shop for a poster artist who’s work has been mass produced for well over a century.
Which brings me to my concern from the photograph above, taken in Turner over the weekend.
About five years ago the recycling shops at the tips (IIRC it was Revolve back then) filled up quite remarkably with canvas prints of Allanis Morissette as the same sort of intense young woman gradually realised that rain on their wedding day is not, in point of fact, ironic.
Is this just a one off? A statistical blip that can be ignored? Or is it the start of something as the SENSITIVE and ARTISTIC women move on after all this time?