The Paris exhibition showcasing medieval treasures from the V&A carries a timely message, whether intentional or not. It serves as a reminder of a dark period in England’s artistic heritage when an uncompromising ideology led to the ruthless decimation of its cultural treasures. As James Robinson, the exhibition curator, aptly puts it, “it seemed that every person was intent upon… spoiling what he could.” However, it also offers a glimmer of hope, as it highlights the shift towards a more rational approach to the arts and culture.
Marie Lavandier of France’s National Monuments Centre suggests that the exhibition speaks to the rich and complex relationship between France and England. Could it possibly signify a shared desire on both sides of the Channel to put an end to the ongoing damage caused by the Brexit ideology?
The recognition of England’s artistic achievements during the Middle Ages is not a novel discovery. Herbert Read, in his 1931 book “The Meaning of Art,” noted the difficulty in distinguishing between the arts of France and England during the 12th and 13th centuries. However, subtle differences eventually emerged, with English art adopting a quality he described as “sweetness” – a delicate appreciation for the beauty of the small and intimate.
Regarding the impact of the Reformation, Read lamented the immeasurable loss suffered by English painting, poetry, music, and dancing due to the dreadful and vindictive plague of the spirit. Fortunately, the Wilton Diptych showcased at London’s National Gallery continues to captivate audiences, generating considerable interest.
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