The Daily Norm

Nov 9

Paths of Glory

As millions gather across the globe today around war memorials and in reflective places holding poppies in remembrance of the horrors and losses of the First World War which began 100 years ago, I have chosen to reflect in the way I know best: through art.

Few bodies of paintings have ever captured with such visceral power and unhindered emotion the horror of war as artwork capturing the Great War. In the past, we have been used to heavily state controlled glory paintings depicting wars as valiant great history paintings full of patriotism and honour; glinting uniforms and massed weaponry; flags flapping in the wind besides stormy seas and atop galloping horses. But depictions of the First World War were always startlingly different. Instead, the emphasis was on the stories of the individuals fighting in the fields; those who had come from small villages and towns across the world without military training to face a monster of conflict never seen on the earth before. The paintings focus on the futility and the waste; the continuous struggle to a pointless end. They show landscapes ravaged and lives likewise; a world torn apart; lives treated as mere playthings.

The reason for the difference is almost certainly down to timing. WW1 came along at a time of great movement in the history of art. The impressionists had been replaced by emotionally vivid expressionism, wildly colourful fauvism, and starkly mechanical vortism. So when the greatest conflict ever known to man came along, it can be no surprise that the artists either commissioned, or inspired to reflect it on canvas or paper did so with an intensely felt emotional reaction which is as roar today as it was 100 years ago.

Christopher Nevinson, Paths of Glory (1917) Oil on canvas (Imperial War Museum, London)

Chief amongst them is Paths of Glory by British artist Christopher Nevinson, which for me is the most perfect artistic manifestation of the pointlessness of war. Against a conflict-ravaged landscape devoid of anything but barbed wire and the detritus of war, the bodies of two British soldiers lay face down in the mud, deprived of a proper burial, of the mourning of their families, of any honour. This is a painting depicting life as a mere instrument of war – pawns in a wider political game, laid to waste on fields of human detriment.

There can be no denying the power of the painting. And that power was equally startling at the time of its creation, so much so that it was censored by the British Government who thought it may hinder the war effort, and exhibited in 1918 with censored labels affixed across the dead bodies. Thank goodness that at that time, the Imperial War Museum saw the great value of the painting and incorporated it into their startling collection of war art. For as years go by, and not a single survivor remains alive to remember it, the horrors of war will only ever be truly visible to our generation through art such as this.

Nov 6

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Rembrandt’s Late Works: Better seen, and never forgotten

While the works of Rembrandt, Dutch master and one of the most applauded artists in the history of art, are instantly recognisable for their energetic brush strokes, moody lighting, undeniable intensity and rich umber colour palate, there is nothing like seeing his paintings in reality to truly appreciate the virtuosity of his work.

The National Gallery London’s new blockbuster on Rembrandt, The Late Works, provides just the opportunity to do that. In the dark bowels of the Sainsbury Wing of galleries, in rooms purpose-designed with dark walls and sharp focused lighting perfectly offsetting the brilliance of Rembrandt’s mastery over light, one enters the exhibition to come face to face with not one, but a whole room of Rembrandt self-portraits. Each demonstrates a startling honesty in self-examination, as the artist becomes visibly older and more saggy. But in as much as this room shows that a Rembrandt self-portrait is far from a rareity (he made some 80 painted, drawn or etched self portraits in the course of his career), it immediately demonstrated that there is nothing like seeing these famous works in reality: for only then can you appreciate the brilliant layering of the paint, and the masterful use of brushwork to build an aging texture of skin which appears so realistic as it catches the light against a dark mocha background, that it almost feels as though Rembrandt has cast himself in three dimensions, ready to climb out of the frame when the many visitors to the exhibition have gone home.

Self-Portrait (1669)

Self Portrait with Two Circles (1665-9)

Such was the main impression that this excellent new exhibition left on me as I departed. I felt thrilled to have had the opportunity to see so many brilliant works executed at the tail end of Rembrandt’s career, when his personal fortunes were in decline, but when the product of his paintbrush was more fantastic than ever. But so too was I struck by the breadth and significance of the collection on show, testament no doubt to the National Gallery’s partnership in organising the exhibition with the Rijksmuseum in Amsterdam, who either own or have access to much of the works on show. The result is the chance to come face to face with famous works such as the Jewish Bride – a subtly romantic painting which held Van Gogh so spellbound that he declared he would give up 10 years of his life for a few moments before the painting – and the masterful group portrait, The Syndics, a superb work on a huge scale, surely surpassable only by The Night Watchmen, perhaps Rembrandt’s most famous work.

The Syndics (1662)

The Jewish Bride (1665)

A Woman Bathing in a Stream (1654)

The Consipiracy of the Batavians under Claudius Civilis (1661)

The other thing that struck me was how bloody popular this exhibition is. Even when you have a timed ticket, you need to queue. Admittedly I went along at the weekend, but that does not mean to say that this show will be any quieter during the week, such is the appetite no doubt for a sensational London art show after a year consisting largely of flops and unknowns (I do not include Tate Modern’s brilliant Matisse or Malevich shows in this otherwise scathing review). What this then means is something of a struggle throughout the show, something which is felt less when gazing upon huge works such as the rather questionable Conspiracy of the Batavians under Claudius Civilis, a portion of Rembrandt’s less than successful painting for Amsterdam’s new Town Hall. It is however annoying when trying to study the stunning intricacies of Rembrandt’s print works. I never knew that he was such a skilled printmaker, and his drypoint etchings were, in particular, worth elbowing the odd visitor out of the way.

The Three Crosses (1653)

Christ Presented to the People (1655)

Christ Presented to the People

Christ Preaching (1652)

But what these crowds all go to show is how superb this show is – a final hurrah for 2014, and the first great show to come out of The National Gallery, in my view, since the Da Vinci sensation in 2011/2012. Whether it be the intense forlorn gaze of Lucretia at the point of her honour suicide, the sensationally melancholic Man in Armour thought to be Alexander the Great, or the knowledgeable calm grace of Margaretha de Geer depicted wearing her ginormous lace ruff, there are masterpieces aplenty to keep you hooked to this show, and resilient to the many crowds around you.

Portrait of Margaretha de Geer (1661)

A Man in Armour (Alexander the Great?) 1655

Rembrandt, the Late Works is on at the National Gallery until 18th January 2015.

Nov 1

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Two Weekends: Thinking about Cappuccino

It only takes a mere moment for your life to change forever. December 2012 taught me that much – a life obliterated – or May 2008 – when another’s mistake had irreversible consequences for the rest of my days. Yet if those moments of change taught me anything, it was that life is too short to stay where you are comfortable but unhappy, where monotony sets in and where you feel as though your train is trundling steadily up the wrong path.

Earlier this autumn the chance to change paths and find happiness in change occurred to me very suddenly. It only took an email to set the new track in motion, and only two weekends for a decision to be made. For it was in those two weekends that I both attended an interview that would take me on a new path, and in which I made the ultimate decision, standing at the crossroads, that this new path was right for me.

Two weekends: Thinking of Cappuccino is my newest oil painting, and it tells the story of how my life is all about to change: how I have accepted the offer to become Artistic Director of a global company bearing the name of Cappuccino and stationed within the sunny shores of Mallorca in Spain, and how in taking that offer it will mean moving from London, to Palma.

Two Weekends: Thinking about Cappuccino (2014 © Nicholas de Lacy-Brown, oil on canvas)

But the painting came to me in Italy, sitting by the seaside in Donoratico in Tuscany, home of my partner’s family. Sitting at a cafe by a sea so still it might have been a photo, with our own breakfast of cappuccino and crostata (jam tart) on the table, all we could think about was a move to Mallorca, despite breathing the pine tree perfumed air of Tuscany, and drinking in the beauty of that Tuscan beach before us.

The obvious symbols came to mind: the lifeguard’s hut was the new sanctuary that a home within the medieval streets of Palma de Mallorca would offer us; through the window we looked onto the famous skyline of Palma seen behind the green shutters that are famous in both Tuscany and Mallorca. The lifeguard’s ring has given salvation to the artist within me, represented by the manakin sitting on the sand: it is not so comfortable a position as the crostata tart sitting securely on a blanket, but this tart is the law, and within the confines of its pastry lattice, the blood of my life and career development is congealed and imprisoned, like a soul left out of the fridge too long.

And of course at the heart of it all is the Cappuccino. No longer just froth and espresso…

I think it was in that moment, and in that second weekend of two, that we finally made up our minds to go, to take the leap of faith, to have an adventure and to change our lives. Now the move is in full swing, and by the end of this month we should be reinstalled in Mallorca. Which just goes to show that life can change in a moment.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2014. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content. For more information on the work of Nicholas de Lacy-Brown, head to his art website at www.delacy-brown.com

Oct 30

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Radical and a little racy… Schiele’s nudes at the Courtauld

They’ve done it again! Short, sweet, brilliantly focused, the Courtauld Gallery in London has once again mounted a brilliant temporary exhibition with a sharp focus on a particular artist and theme. And following on from the gallery’s scintillating study of the single most important year in the development of Picasso’s career, this time the Courtauld is looking at the prolific work of an Austrian artist who sadly never lived out the full career his talent so obviously deserved: Egon Schiele. Instead, almost as though he had a premeditation of the Spanish flu that would kill him at the end of the First World War at the age of only 28, Schiele worked frantically, producing in the few short years of his career such a virtuosity of artwork that even after that short time he has been declared a pillar of Austria’s Expressionist art movement.

Such was Schiele’s prolific output that the Courtauld had the luxury of being able to chose to focus in on one distinct element of his work: his depiction of the nude. And in doing so they have surely touched on perhaps the most memorable and striking chapter of his oeuvre. For in his depictions of the nude, Schiele was indeed very much the radical, just as the show suggests. Depicting his models with an angular and uncomfortable frame, and raw and visceral colouring, Schiele’s nudes are at once uncompromising and vulgar, while being completely fascinating and electric to the eye.

Standing Nude with Stockings, 1914

Egon Schiele, Male Lower Torso, 1910

Nude Self-Portrait in Gray with Open Mouth, 1910

Squatting Female Nude, 1910

Schiele wasn’t exactly one to keep with the confines of classical approaches to depicting the nude. Far from it. As well as colouring in his heavily lined nudes with a raw almost skinless muscular palate of dark bloody pinks and bruised purples and ambers, he also strayed very close to the pornographic frontier, depicting women in an unflinchingly abrupt and exposed fashion. I don’t think I ever saw so many views of what lies between a woman’s thighs on a gallery wall! And yet these paintings are not porn. They do not depict a promise of pleasure, but a deeply exposed portrait of the sitter. Yes these women look seductive and often slutty, but it’s as though Schiele is inviting us to read that as part of their story rather than to have an aroused response at what they are offering.

And of course this exhibition is far from being about the naughty bits. For what these 30 or so paintings demonstrate is the brilliance and apparent confidence of Schiele’s line work as well as the originality of his depiction. These are bodies like we have never seen them before. Distorted, and occasionally out of proportion, bulging and contorting where they shouldn’t and often with sharp edges where supple skin should be, these are nudes taken up a level to an almost abstract exploration; poses which are almost impossible to hold; limbs seemingly amputated from the torso in order to focus the audience on a particular present part of the body; and expressions which are both exposing and intensely emotional: this is uncompromising portraiture.

Seated Female Nude with Raised Arm (Gertrude Schiele), 1910

Crouching Woman with Green Kerchief, 1914

Two Girls Embracing (Friends), 1915

Erwin Dominik Osen, Nude with Crossed Arms,1910

So is this small but perfectly formed show worth braving the growing queues for? It undoubtedly is. For this is an unprecedented chance to focus in on the bold feverish creative output of a quickly lost genius and almost certainly one of the most important shows of London’s artistic year. The only complaint you may have is that this sharp focus doesn’t go on longer.

Egon Schiele: the Radical Nude runs until 18 January. But beware – the show contains some explicit images and may not be deemed suitable for all.

Oct 28

Tahini Marbella: Dedication to the Sea

As the name of the town suggests, the sea is the heart and soul around which the whole of Marbella is Southern Spain revolves. Its calm cerulean waters sensuously stroke and steadily sculpt the length of long sandy beaches which attract thousands of visitors to the town every year; its sparkling steady waves reflect lovingly on the gleaming white sides of the super-chic yachts which habitually pack Marbella’s various marinas; and it provides the wealth of super-fresh, mouth wateringly delicious seafood which is at the apex of Marbella’s breadth of superb gastronomic offerings.

And of course few would disagree that the best way to sample that seafood is barely cooked and fresh out of the waters, served simply and elegantly so that its full flavours and textures can shine through. Consequently, it would be hard to find a cuisine better able to capitalise upon this fresh Mediterranean cuisine than sushi, but until now, few restaurants in Marbella have managed to create sushi which offers a fitting tribute to the wealth and quality of Marbella’s seafood offerings. Until now.

Marbella Tahini

Following hot on the heals of the unrivalled success of Grupo Cappuccino’s first Marbella Cappuccino Grand Cafe in 2011, set within the lush surroundings of pine tree covered gardens at the foot of the Gran Melia Don Pepe hotel, the group have now opened their first Tahini restaurant, a mere stone’s throw from Cappuccino, in the same Eden of pine trees, palms and unbeatable Mediterranean views. Situated just above Cappuccino, Tahini is the younger sister of the sensational Mallorca restaurant of the same name. Nestled just off the harbour side of the fashionable Puerto Portals, the Mallorca Tahini is like a secret garden paradise. My first visit there in May 2013 opened my eyes so wide as I took in the magical wonder of its low lit restaurant and picture-perfect candlelit garden, and tantalised my mouth so thoroughly with the exquisite freshness of its cuisine, that it has remained utterly unrivalled by all subsequent sushi experiences both in Spain and around the world.

The interior

But happily, Tahini’s success is now being replicated a second time, with the same stunning quality of sushi being offered to diners in Marbella in so spectacular a setting that each of their senses will be tickled and enticed with equal measure. Outside on the terrace, polished minimalist tables reflect the abundance of palm trees which hang proudly over the marble-lined paseo maritimo just outside the restaurant, while every seat provides that perfect sea view overlooking the Straights of Gibraltar to Africa. Inside the restaurant, a cosy elegance suffuses the atmosphere, as diners eat alongside walls loaded with Mediterranean pottery of every shape and size, while a glass cube at the heart of the restaurant offers an unrivalled view of the Tahini chefs, plying their trade and ensuring that every detail of this note-perfect menu is taken care of. And don’t miss the corridor out to the toilets at the back of the restaurant: lined with crates and boxes filled with what looks like ice and every variety of fresh fish, it is in fact a clever recreation of a market scene, with glass ice and ceramic fish, emphasising that only the best and freshest of ingredients will be used by the chefs at Tahini. And was it my imagination or could I hear the bustle of a market subtly sounding in the background as I walked through this make-believe fish market?

The Tahini “market”

But beyond this incredible setting, Tahini’s success comes down to that food – cuisine which is not only apt dedication to the sea from where it came, but a brilliantly sophisticated take on the sushi concept, with fish so fresh that it melts on the tongue, and food so beautifully presented that, like me, you will probably spend more time taking photographs than enjoying the flavours as they dissolve so lovingly into every corner of your mouth.

A true dedication to the sea

Tahini’s new family member more than lives up to the standards set down by its Mallorca sister, and is a glittering new jewel standing proudly in Marbella’s ample gastronomic crown. For more information, see the Tahini website.

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2014 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

Oct 27

Marbella: After the Rain

Come October, Marbella, Spanish seaside destination of the rich, famous and unfortunately also the cast of TOWIE, takes on a different air. Gone is the exasperating closeness of balmy sunny days (my absolute favourite) when the heat envelopes like an all encompassing electric blanket. In its place, a slightly fresher air, with shorter but still sunnier days that remind of the summer just past, often with temperatures getting almost as close, but with that total immersive heat now absent. In a way, for someone as obsessed with the summer as me, an October late summer has something of a melancholic air about it, although it remains entirely welcome for an English visitor who, back at home, is already well used to the onset of cold winds, dark mornings, yet darker evenings and a pavement littered with half decomposing leaves.

After my busy weekend braving the crowds and pandaemonium of the Fiesta del Pilar in Zaragoza, we took the fast train all the way down the Iberian peninsula to Malaga in an impressive four hours. From there it was a short bus journey to Marbella where we were joined by my father in mass celebration of my mother’s “big-0”.

There followed a weekend of wining, dining, dodging the rain and basking in the sun. And as the title of this post suggests, these photos were taken just after the rain, a feature of a typical Spanish October, when wall to wall sunshine is no longer guaranteed, and it pays to have a brolly about one’s person. But as these photos show, the rain did nothing to dissipate the inherent beautiful of this most aesthetic of Andalusian towns, bringing a new freshness and vitality to the plants, places and people already tired after the demise of the long hot summer.

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2014 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

Oct 23

The Zaragoza files: Photos that didn’t fit anywhere else

Sunny mornings reflecting on glistening damp cobbles and fountains playfully dancing in the soaring glint of the light; a modern bridge’s reflection making a perfect ‘X’ in the River Ebro, and an old tower’s noticeable lean giving rise to the question why Pisa is so famously unique across the world; bonze statues and balloon sellers, curly pillars and chocolate coloured leaves, and the charismatic lottery seller who plies his trade on wheels – these are the photographs of Zaragoza which didn’t quite fit into my other posts of the city; a miscellaneous study of the spirited old town in the early mornings and late at night, when the roaring Fiesta del Pilar was not otherwise shaking the city with its party beat.

These photos are about reflection: from the ancient church tower reflected in a modern mirrored glass window to the Basilica del Pilar so perfectly captured in my mother’s sunglasses. They are also about the buildings which may go overlooked besides the vast four towered-spectacle of Zaragoza’s main Basilica, and about the Basilica itself, its four towers soaring skywards in the twilight. They are about the overlapping layers of history portrayed in a photographic composition – with ancient Visigoth walls in the foreground and a modernist market behind; and they are about the sheer beauty of the colours of the streets and the trees stood alongside them which looked so stunning in the sunny autumn light.

I give you: Zaragoza.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2014. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content. For more information on the work of Nicholas de Lacy-Brown, head to his art website at www.delacy-brown.com

Oct 22

Zaragoza – Day 2: La Ofrenda de Flores

Looking out of the window in the city of Zaragoza on Sunday the 12^th October was a bizarre experience. On the streets there was not a single car or vehicle which resembled modern times, but instead, passers by and groups of people walked along and gathered in the otherwise empty streets wearing incredible period costume. Decked out in heavy silken dresses, embroidered cloaks, wooden clogs, extravagantly frayed shawls and floral headdresses, the inhabitants of Zaragoza looked either like they had gone back in time, or were appearing as extras in a Hollywood blockbuster. But before I could conclude that I had somehow awoken in a dream, scenes from local television flashing up on the television screen at the end of my bed betrayed the truth: that this was no Hollywood blockbuster, but an event surely worthy of the live film reel remitting images of the event onto TV screens all over Spain. Showing extraordinary images of the streets of Zaragoza packed to the rafters with locals wearing traditional costume and carrying bouquets of flowers, the cameras had captured the very centre point of the Fiestas del Pilar – the Offering of the Flowers.

Floral dedications being carried by traditionally dressed locals towards the Plaza del Pilar

La Ofrenda des Flores (the offering of flowers) is a great demonstration of the people’s devotion to the patron saint of the city, the Virgen del Pillar, during which hundreds of thousands of people, dressed in the traditional costume of Aragon or of any other region in Spain, bring flowers to the Virgin, a statue of whom is placed in the centre of the Plaza del Pilar. Around the statue stood on high, an army of volunteers slot the flowers offered into a vast pyramidal structure, tiling a huge sloping flower mantle around the Virgin, which remains in the square for the rest of the festival so that all the people in the city can see it. From an early beginning, when the first bouquets filled the area of the mantel immediately below the glinting gilded statue, we were lucky enough to see this vast floral cape as it gradually filled with floral tributes, while thousands more offers flooded into the square, brought by locals queuing patiently in their lavish local costumes and entertained by a wide variety of superb traditional dancing and music shows.

Handing over the flowers and the vast floral mantel built around the Virgen del Pilar

It was an incredible event to watch and be part of, from regarding the vast human river of flower-carrying locals slowly winding its passage all the way down from the main thoroughfares North of the city to the vast Plaza del Pilar, to seeing the great floral mantel slowly develop flower by flower. The air was filled with human spirit, with shared happiness and with a tangible expression of positivity and celebration, and was certainly an unmissable event in all of my adventures in Spain.

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2014 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

Oct 21

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Zaragoza Focus – All the fun of the fiesta

From the moment we arrived in Zaragoza in North Eastern Spain, continuing right up to (and no doubt beyond) the time we left, the city was tangibly pumping with the rhythm of fiesta. The leafy squares and vast piazzas standing amidst Zaragoza’s world-famous cathedrals were alive with open air concerts playing throughout the day and evening; the streets were packed so full of people that it took 10 minutes to make one’s way even down the shortest; the skies periodically erupted with the pop and crackle of a distant firework display; tapas bars and restaurants were full to over brimming; and the air was filled with helium balloons of every shape and size and bubbles blown by children. And despite all of the inconvenience and noise that this festival inevitably created, there is no denying the magical atmosphere that filled the air, as the whole city seemed bound by an intangible electricity of celebration, and almost the entirety of its population came out to enjoy the party, to stroll in the crowds, to listen to the live music, to dance in the streets.

This selection of photographs attempts to convey something of the atmosphere which filled every inch of Zaragoza when we made a visit the weekend before last. The reason for the festival was the Fiestas del Pilar, an annual ten day celebration, centred around a religious festival when huge crowds pay homage to the patron saint of the city: the Virgen del Pillar, but actually incorporating a packed programme of traditional music, modern pop, excuses to dance, and occasions to get out, eat and meet with loved ones and friends. And no wonder it was so crowded: for this annual festival is not only the biggest in Zaragoza, but one of the largest in all of Spain attracting thousands from outside of the city, and indeed the country: like us. It certainly was something unique, and made our visit to Zaragoza a hundred times more memorable.

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2014 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

Oct 20

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Zaragoza – Day 1: Cultural Calm before the Fiesta

The city of Zaragoza, the 6th largest in Spain and the capital of the landlocked region of Aragon to the West of Catalonia and Northeast of Madrid, has always drawn me with promises of its majestic river setting along the banks of the Ebro (the longest river in Spain don’t you know) and it’s vast Basilica del Pilar, a church so grand they had to give it four bell towers. But because direct flights from the UK are not all that common, and largely involve braving the distinct downgrade to comfort-stripped Ryanair, I had never made it there despite visiting Spain with the same frequency as the changing seasons. But this year, what with it’s being my Mother’s big birthday (don’t worry I won’t betray which one) I considered that it was time to give Zaragoza a go, even if it meant suffering Ryanair’s cushionless cramped flight to get there.

And to be fair to Ryanair, they got us there with the full efficiency of carefully oiled machine, all the earlier then to gain our first views of the much promised Basilica del Pillar which was every bit as stunning as its reputation suggested, as well as enabling us to get a feel for the buzzing electric spirit filling the city. For by sheer coincidence, we happened to be visiting the city during the high point of its annual calendar: the Fiestas del Pilar – 10 days of unrivalled partying, street concerts, traditional costumes and religious devotion. Despite the excitement on the streets, we were keen to sleep after our night time arrival, and all the sooner to wake up to our unbeatable hotel room view: not one, not two but all four of the stunning bell towers of the Basilica del Pilar creeping up from behind the residential street opposite. And as if this scenic view needed to get any more picture perfect, there was even a hot air balloon rising high into the sky besides the great church. What a start to our Zaragoza story!

Breakfast did not keep us from seeing the city for long, and walking out into the warm autumn sunshine, we made our way to the Basilica, stopping en route to delight our senses in the local market, where every kind of fruit, vegetable, sweet and savoury treat were on view to delight and entice, although some products were perhaps more enticing than others – I should warn you that those sensitive to gruesome sights may want to look away now!

After the market and an amble through Zaragoza’s old town streets, we were able to get a fuller view of the majestic Basilica from the very best viewpoint – across the River Ebro to the gardens which line the riverbank opposite the old town; gardens whose sun-bleached auburn leaves provided the perfect frame for this most wonderful of city views.

Having satisfied ourselves with the ultimate view of the city, and having enjoyed the basilica from all angles, we soon discovered that the city of Zaragoza, asides from being a city bustling with festivals and containing one of the most architecturally magnificent of all Spanish churches, is also a city of considerable cultural offerings. As we traversed the characterful streets of its old town, we literally stumbled upon museums without having to so much as open our guide book.

The first cultural event we found ourselves wandering into was the exhibition of Enrqiue Larroy – Chapa y Pintura – held in La Lonja. Like many such “Lonjas” in other Spanish cities, La Lonja of Zaragoza is a former merchants hall constructed in a palacial gothic style with soaring ceilings and pillars reaching darlingly up to the vertiginous height of its lofty stone latticed ceiling. But this beautiful architectural site was perfectly set off by the contrasting bright colours of Larroy’s acrylic works, which not only presented wonderfully dynamic, zinging paintings in their own right, but as an artistic installation worked fantastically as they were reflected into the shiny stone floors of this important historical space.

Just up the road from La Lonja is the Museum of local sculptor Pablo Gargallo. Sculpting in the height of the roaring 20s, Gargallo’s work is a wonderful mixture of avant garde figuration and cubism, as the sculptor managed to create three dimensional portraits with only a few hard cast features, allowing the interplay of light and shadow to fill in all of the missing details.As with so many of the art museums I have visited in Spain over the last decade, the Gargallo museum is yet another which is set amidst a stylishly renovated palace, meticulously conceived creating a seamless and highly polished exhibition space.

But having had our fill of art for one day, we found ourselves ending this first day in Zaragoza back where we started – at the magnetic nuclei of the city: the Basilica del Pilar, where excitement for the oncoming festival was tangibly building. Inside the great Basilica, large queues were forming of pilgrims wishing to catch a closer sight or even kiss the pillar on which Mary was supposedly once sighted and around which the entire church was built. Meanwhile outside, huge stages were being constructed in the main squares, people were out dancing in the streets, and more and more visitors seemed to be pouring into the city.

Amongst all this excitement, we took refuge in the charmingly old fashioned Grand Café Zaragoza. Reminding me of Florians in Venice, it provided the perfect sanctuary from the madness on the city’s streets, as well as a throwback to the past which seems to be so prevalent in this city where tradition and folk law is enthusiastically celebrated. As for us, we ended our day contenting ourselves with our own tradition – a welocme cup of earl grey tea and a chocolate covered palmera pastry: the perfect way to look back and reflect on this first exciting day in Zaragoza.

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2014 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.