A new sculpture of Oscar Wilde is set to be erected in Chelsea, London, reigniting debates about the quality of public art. The work, created by the late Sir Eduardo Paolozzi, features a blackened bronze bust with a segmented head, drawing criticism from Wilde's grandson, Merlin Holland, who describes it as "absolutely hideous."
This latest memorial is not the first of Wilde's effigies to spark controversy. The writer's tombstone in Père Lachaise cemetery, designed by Jacob Epstein, initially faced censorship due to its anatomical features. In 2010, a glass barrier was installed to protect the tomb from lipstick-wearing admirers.
Public statuary has faced increasing scrutiny in recent years. The Maggi Hambling sculpture of Wilde near St Martin-in-the-Fields, unveiled in 1998, received mixed reviews. Similarly, recent memorials to Diana, Princess of Wales and Queen Elizabeth II have been criticized for their artistic execution.
Critics argue that modern clothing poses a significant challenge for sculptors. This view echoes the sentiments of philosopher Georg Wilhelm Friedrich Hegel and Wilde himself, who lamented the loss of "nobility of dress" in modern times. The incongruous representation of contemporary attire in sculptures, such as Diana's pencil skirt or the Queen's quilted gilet, often detracts from the overall aesthetic.
In contrast, animal sculptures tend to receive more positive reception. Notable examples include Sir Edwin Landseer's Trafalgar Square lions, installed in 1867, and Andy Scott's Kelpies in Scotland. These works demonstrate that public art can successfully combine beauty with emotional impact.
As plans for a memorial to Queen Elizabeth II, marking the centenary of her birth in 2026, are underway, artists and commissioners are advised to consider these critiques carefully. The challenge lies in creating a lasting tribute that captures the essence of the subject while avoiding the pitfalls of contemporary representation.
"My wallpaper and I are fighting a duel to the death. One of us has got to go."
The article concludes with a reflection on political pets, prompted by the recent addition of a Siberian kitten named Prince to the household of Sir Keir Starmer. This lighthearted topic serves as a reminder of the ongoing debate between cat and dog preferences, echoing the complexities of public opinion on art and politics alike.