The shipper picked up our two boxes today. In the photo the big one, containing clothes, is in the truck and the little one with books is on the dolly. They should arrive on our doorstep in New York before we get home. This move is starting to become a reality.

I took the #91 bus to Somerset House (only it was a yellow double decker bus, not a red one). I got off a stop too early, but the walk was short.

I first checked out their skating rink, then walked through all of Fortnum and Mason's Christmas Arcade, which covered the main floor of one wing of the building. It took me a while, but I finally made it to the exhibition Malick Sidibé The Eye of Modern Mali. This is the first solo exhibition in the UK of the photographer, who died this year. I liked his work a lot and found it hard to believe he took these photos with a Kodak Brownie camera and a flash. He traveled around Bamako, the capital of Mali, capturing the youth culture at play, in nightclubs, at beaches, and parties. The exhibition was divided into three sections, Nightlife in Bamako (1963-1965), Beside the Niger River (1970s), and The Studio (1960s-2001). He wasn't recognized internationally until the 1990s, but was awarded the Golden Lion in Venice in 2007. The exhibition was accompanied by an interesting soundtrack.

I then went to the north wing of Somerset House, to the Courtauld Gallery. I can't believe I almost missed getting here this time. I started on the top floor with their collection of impressionism and 20th century art, as well as their temporary exhibition space. I had forgotten how nice a collection it is. Of course, the first photo I took was of a painting on loan from a private collection, so it isn't representative, but I still liked it and others they had by the same artist, Maurice de Vlaminck.

Reclining Nude 1905, Maurice de Vlaminck (1876-1958)

This painting by Georges Braque surprised me by the colors, until I learned that he painted in the Fauvist style prior to his Cubist period. I much prefer the former.

The Port of l'Estaque, 1906, Georges Braque (1882-1963)

And I do like Walter Sickert.

The Iron Bedstead, Around 1906, Walter Sickert (1860-1942)

For some reason, today I was drawn to the paintings with the heavy buildup of paint. These two by Leon Kossof are good examples. The first one was of a scene near our flat. The third photo is a detail of the lower right section of the second, to show the amount of paint used.

York Way Railway Bridge from Caledonian Road, Winter, 1966-67, Leon Kossoff (born 1926)

Head of Seedo, 1964, Leon Kossoff (born 1926)

Detail of Head of Seedo

I still love this Manet.

A Bar at the Folies-Bergere, 1881-82, Edouard Manet (1832-83)

The temporary exhibition Rodin and Dance: The Essence of Movement was interesting. It focused on his exploration of movement through drawings and terracotta and plastic sculptures. It bothered me no end to notice that one of the drawings was hung upside down. I'm not sure if it was done in error or was intentional, but I can't imagine why it would be the latter. I can't imagine it is the former, either, since the show has been up since October 20. I sent them a friendly inquiry to find out and I'll add an update if I hear back. No photos were allowed.

I then went down to the first floor (what we call second floor) to see their 16th through 19th century collection. They had a startling collection of Peter Paul Rubens paintings.

It was dark when I left for home, and spitting rain, but the ice rink in Fountain Court looked lovely.

The view from the front of the top deck of the bus home was nice as well.

I had about an hour at home before Gord and I walked to get our last meal of fish and chips.

Watching: Black Books