Rex Whistler, British Artist and War Hero.

Rex Whistler has been in the news recently for all the wrong reasons. His mural titled “The Expedition in Pursuit of Rare Meats” which he was commissioned to paint in 1927 and which adorns the walls of the recently opened Rex Whistler restaurant in Tate Britain, is the subject of controversy. It has attracted the ire of the Cult Of The Permanently Offended for his depictions of black people, considered to be racist. Until now, many people had lunched in the restaurant, even the esteemed Labour MP Dianne Abbott, without noticing anything amiss about the mural. But somebody has noticed something they don’t like and, as always with these matters, the sight of the mural is too offensive to remain in place. It must be covered, removed from sight, or, preferably destroyed. A petition is doing the rounds, demanding such an outcome. Fortunately, the restaurant remains closed for now, owing to Covid-19, and is not likely to open in the foreseeable future. Probably just as well. I imagine the Tate management are hoping it may blow over. In the meantime, they have offered this cringing apology: “It is important to acknowledge the presence of offensive and unacceptable content and its relationship to racist and imperialist attitudes in the 1920s and today.” As it is part of a Grade 1-listed historic interior, I would guess any “removal” might run into significant legal problems as other organisations are finding.

The charge of racism is a curious one, given that Rex Whistler enlisted to fight the biggest racist of the 20th century, Adolf Hitler and his band of Nazis, knowing that he might lose his life fighting fascism and racism, which lamentably he did. Actually fighting on the battle field with all it entails involves more commitment to defeating racism than signing a petition, scribbling on statues, or shouting “racist” at casual passers by in the street. Moreover, there has not been one reference to racism about the mural up until now. A review of the newly opened restaurant in 2014 written in the arts magazine “Apollo” described the mural as a “whimsical scene, typical of the work produced by “the Bright Young Things” of the era………while its subject matter and frivolously gallant style are almost unutterably camp, there’s a sombre sobriety to the tones of paint that renders it an impressive work. Even The Guardian which is usually quick to sniff out the least whiff of racism gushed enthusiastically about the restaurant’s wine list but failed to notice anything unusual in the mural.

Having looked at it myself, I find a certain satirical element to the painting. He appears to be mocking his subjects. Certainly nothing that could be viewed as racist.

The offending image is in the background of a slave being dragged along behind a carriage. If anything, the aristocrats in this painting are being mocked, viewed as feckless, while a peasant man labours in the foreground, his back bent in solitary, hard work. As we have learned, the people who want to ban things, rarely understand nuance or satire.

Rex Whistler was familiar with the aristocracy and even friends with some of them, though never really one of them. His origins were modest but he showed phenomenal artistic talent from an early age and was encouraged to pursue art by his mother. At the age of 16, he gained entrance to the prestigious Slade School of Art under the tutelage of the distinguished teacher Henry Tonks, who is himself famous for his pastel renditions of disabled war veterans. Whistler obtained the commission to paint the mural while still at art school and went on to become one of the most famous mural artists of his time. He moved in the same circles as Cecil Beaton which undoubtedly helped him gain recognition and commissions. His style for his murals could be called neo-classical and, like many other artists, he visited Rome and was overwhelmed by the beauty of the classical ruins he saw.

Through his friend Stephen Tennant, Rex became acquainted with Edith Olivier, a writer and woman some 30 years his senior who became his confidante and mentor, a relationship that would last until his death. There is no evidence of a physical relationship between them, though Edith was almost certainly in love with Rex. He became a frequent visitor to her home Wilton House and through her circle met the Earl and Countess of Pembroke and would soon receive a commission to paint a mural for the Marquess of Anglesey at Plas Newydd, brother of the Countess of Pembroke. Rex was to fall hopelessly in love with Lady Caroline Paget, daughter of Lord Anglesey, a love which would remain unrequited.

In 1926, through the help of Edith, Rex set up in his own studio in Fitzroy Street in Bloomsbury, London. After his success with the mural at the Tate Gallery Refreshment Room, now the Rex Whistler restaurant at Tate Britain which is at the heart of the current scandal, the Slade granted Rex a bursary to travel to Rome and attend the British School. For an artist who was as inspired as Rex by ancient, classical ruins and architecture, it couldn’t have been a better setting. Rex wrote to Edith: “The school faces across the road the heavenly Borghese gardens….full of such lovely things….innumerable exquisite statues, vases and sham ruins and such beautiful absurd Rococo gateways, delicious little lakes and fountains and legions of busts on pedestals.” The influence of Rome can be easily seen in his murals and his later successful stage designs inspired by his hero Palladio.

We know precisely where Rex was when war broke out as he was painting a mural at Mottisfont Abbey in Hampshire and made a reference to it in a painted message: “I was painting this Ermine curtain when Britain declared war on the Nazi Tyrants. Sunday, Sept 3rd 1939.” There didn’t seem to be the least doubt in his mind that he should join the war effort and he declared himself eager to see active service. A logical route and one that would probably have saved his life was to serve as a war artist but he didn’t put his name forward, unlike other artists and he wasn’t recommended. His biographer Hugh Cecil thinks this was because Kenneth Clark, director of the National Gallery who was responsible for drawing up the lists of recommendations viewed Rex as a successful society artist and not in need of the money as were others. Rex applied to join and was admitted to the Welsh Guards. Not being Welsh was not an obstacle to joining. He continued to paint portraits of other servicemen or scenes and it is notable how sombre the colours of his paintings become, quite different to the lighthearted approach and, indeed, frivolity in previous work. It is a pity that his name cannot be added to the canon of the other superb second world war artists we have.

The Welsh Guards were known for their particularly tough training regime, so it cannot have been easy for Rex to adjust, also being considerably older than many of his young comrades in arms but he appears to have been a popular and respected member of the Regiment. The Regiment were based at Sandown Park race course throughout the war and Rex managed to establish a studio in the upper room of the grandstand. He continued to receive civilian commissions, among them one which would be his last, – the scenery and costumes for the Sadler’s Wells ballet Le Spectre de la Rose, starring Margot Fonteyn, due to open in February 1944.

At last, the day arrived when Rex would face the battlefield on 28th June, 1944 and his regiment embarked by night to land in France near Arromanches on the northern coast of France. Rex expressed a desire to a companion that should he be killed, he would like to be buried on the exact spot where he died. It wouldn’t be unusual for anyone in his situation to have thoughts of mortality. Rex was not to be separated from his art materials, however, and had a specially made metal box containing his paints and small canvases welded to the back of his tank. On the evening of 17th July, his battalion went into action. It was his first day in action and his last. A companion described the death in graphic details: “I saw him dive into the dip of the railway. He crawled along the hedge on my side and dashed to the cover of my tank. How he made it will always be a mystery to me. He clambered on to my tank and gave me the position of the enemy and ordered me to call in the other tank so that we could get to support one another and shell the wood. Then he his crew could get in and get away. He then jumped to the ground, and as he landed on his feet a mortar shell exploded under him. He was blown about ten feet into the air and was killed instantaneously.”

Rex was buried where he was killed, as requested but his body later moved to an official cemetery at Banneville where he is now at rest. Another companion remembered hearing the news of his death and how it shook him. “It darkened my horizon and made my heart ache, for all of us, for Caroline Paget, for his brother Laurence, for Edith Olivier and for all those many people who loved and admired him…..the tragic waste of a young artist, who could give such beauty to the world. His work, bequeathed to all who cherish beauty, style and elegance, will ensure his immortality.”

RIP Rex Whistler, 24th June 1905 – 18th July 1944.

References: Apollo Magazine, “Lunch with Rex Whistler,” Digby Warde-Aldam, 7th January 2014.

“Rex Whistler. Inspirations.” Hugh and Mirabel Cecil. Published by Pimpernel Press, 2015.