Renowned photographer Cecil Beaton is said to have declared: 鈥淧erhaps the world鈥檚 second-worst crime is boredom; the first is being a bore.鈥 It is an accusation that could never have been levied against Beaton. He was a titan of the 20th聽century creative scene, as versatile as he was innovative. His photographs first graced the pages of Vogue April 1924, where he would go on to capture stylized, elegant portraits of British royalty, Hollywood stars and socialites 鈥 including Audrey Hepburn, Greta Garbo and Queen Elizabeth II. The dawn of WWII saw him turn the lens on the war effort, life on the homefront and the destruction wrought by the Blitz, working as official photographer for the British Ministry of Information. Beaton鈥檚 talents also included stage and screen, and costume design earned him two Academy Awards. This was a figure whose reach and influence extended from Palaces to Broadway, through literature, art and design. Now, a new exhibition considers an aspect of Beaton鈥檚 life that influenced almost every aspect of his practice, but until now has remained largely overlooked: his garden. The Garden Museum traces Beaton鈥檚 horticultural journey, comprising photographs, paintings, drawings, costume and set design, many of which have never been publicly displayed before.聽
The exhibition asks viewers to look at some of Beaton鈥檚 most iconic photographs with fresh eyes. It doesn鈥檛 take long to realise that floral arrangements are in almost every one. It鈥檚 a pattern so glaring that, once seen, it鈥檚 impossible to ignore. The 1927 staged portrait of poet and patron Edith Sitwell sees her laid on a checkerboard floor, posed like a figure out of mythology. There is something about the scene that echoes John Everett Millais鈥櫬翱辫丑别濒颈补听(1851), a bunch of lilies in full bloom placed on her chest. Elsewhere, a picture of model Penelope Tree is framed by an orangery full of huge plants and dense leaves. In his infamous diaries, Beaton wrote about the preparations for photographing the Queen Mother in 1953, considering: 鈥渕aking some pictures in the [German court portraitist] Winthalter manner, with real country flowers on a side table instead of the usual Palace display of hydrangeas and gladioli.鈥 The trend of bringing nature into his work is unwaveringly strong throughout Beaton鈥檚 career, an influence that guided his creative hand.聽
The use of florals extends to Beaton鈥檚 legendary costumes. Take the outfits worn in My Fair Lady.聽Garden Museum curator Emma House writes in the exhibition catalogue: 鈥淔lowers flow throughout the musical from the opening scenes of the busy flower market to embellishments on individual costumes to Eliza Doolittle鈥檚 sheer chiffon dress from the final act, its fabric twisted into a flower.鈥 The show traces the evolution of these original designs, and features famous costumes worn by Audrey Hepburn in the 1964 Hollywood film inspired by the stage production. The elaborate creations earned Beaton two Academy Awards, for Art Direction and Costume Design. Also on display are the original illustrations for Ashton鈥檚 ballet Les Sir猫nes,聽as well as a headdress worn by ballerina Margot Fonteyn in聽础辫辫补谤颈迟颈辞苍蝉听and a outfit worn in聽Marguerite and Armand.聽
Beaton is not the first artist to use the garden as a creative outlet. Perhaps the most famous is Derek Jarman鈥檚 Prospect Cottage. The artist moved to the Kent coast in the aftermath of both his father鈥檚 death and a HIV diagnosis.聽聽The location was both a personal sanctuary and method of artistic expression, described by Jarman as 鈥渁s therapy and a pharmacopoeia.鈥 The former fisherman鈥檚 hut is surrounded by hardy plants, as well as sculptures made from driftwood and flotsam. For Beaton, it was Ashcombe House, where he moved in 1930, that was the catalyst for his green-fingered fascination. As with Jarman, it began as a personal solace that became a piece of art, taking on a life beyond its creator. The garden provided flowers to decorate dinner parties and weekend social gatherings. The Garden Museum鈥檚 display features Beaton鈥檚 personal diaries, which illustrate the special relationship he developed with the location. It was the backdrop and inspiration for 鈥淔锚te Champ锚tre鈥 in 1937, a theatrical fancy dress summer party attended by 300 guests, including many of the illustrious 鈥淏right Young Things.鈥 The grand gathering was a pastoral pleasure group, with waiters in animal masks and a marquee decorated with flowers. Visitors to the exhibition will be able to step inside the event, observing photography of the party from the National Portrait Gallery and the Cond茅 Nast archive, as well as the Surrealist rose coat designed and worn by the host. In bringing these lavish parties to modern audiences, Garden Museum showcases the centrality of nature to the 20th聽century creative scene.聽
Cecil Beaton鈥檚 Garden Party聽is a playful, vibrant romp through the life and work of a visionary figure. It is emblematic of a growing interest in gardens as an opportunity for creative innovation and expression. Saatchi Gallery鈥檚 recent exhibition considers how countless artists have been inspired by flowers, whilst the touring show聽Garden Futures聽reconciles these domestic spaces with political, social and economic justice. Far from forgotten hanging baskets or weed-ridden plant pots, gardens are an extension of the self.聽
Cecil Beaton’s Garden Party is at Garden Museum from 16 May – 21 September:
Words: Emma Jacob
Image credits:
1&4. Bianca Jagger by Cecil Beaton1978漏 Cecil Beaton Archive, Cond茅 Nast.
2. People in costume at Cecil Beaton鈥檚聽Ashcombe Housefor the聽Fe虃te聽Champe虃tre by Cecil Beaton, 19 漏 Cecil聽Beaton Archive, Cond茅 Nast.
3. Cecil Beaton by Cecil Beaton聽1960s聽漏 Cecil Beaton Archive, Cond茅 Nast.
