As exhibitions continue to showcase his work and speculation rises around the release of Madfabulous, Rex Whistler’s murals offer a deeper look into his blend of art, personal history, and fantasy, revealing more than what just meets the eye.
Seven years ago, when I was fourteen, I stood before the grand façade of Plas Newydd, an 18th-century estate nestled on the edge of the Menai Strait in North Wales, having never heard of Rex Whistler. Once home to the lineage of the Marquesses of Anglesey, the manor's sweeping views and elegant interiors have long attracted visitors eager to explore its storied past. Yet beneath the home's stately charm lies a certain artist with a history shaped by fortunes and a penchant for romance.
Rex Whistler, born Reginald John Whistler, was a British artist from London who holds a rather tragic tale, something he didn't live long enough to illustrate. In his early life, he attended the Royal Academy of Arts, where he was dismissed because of his resistance to the modernist style that dominated the curriculum at the time; later continued his studies at the Slade School of Fine Art, under the leadership of surgeon-turned-painter Henry Tonks. His flair for visuals and passion for design, matched with a keen eye for detail, took him to North Wales to work closely with the Anglesey family and enabled him to complete several notable works, now dotted across the United Kingdom, including The Expedition in Pursuit of Rare Meats at Tate Britain, last housed in the restaurant, and many others at his temporary residence of Plas Newydd. His elegant, whimsical, and fantastical murals garnered him widespread recognition throughout his early life.
Lately, there's been news of a release early next year for Madfabulous, directed by Celyn Jones, known for Six Minutes to Midnight and The Almond and the Seahorse. Madfabulous is a historical drama that dives into the life of Henry Cyril Paget, the 5th Marquess of Anglesey, and his flamboyant lifestyle. The film, which dramatises the life of Henry Cyril Paget, the outrageously fabulous 5th Marquess of Anglesey, promises to shine a spotlight on his theatrics that defined the lives of the Paget family and what essentially went on to spoil the fortune due to his lavish necessities. For Whistler, blurring the boundaries between art and life in his work was a daily occurrence. This cinematic interpretation of the house’s history may provide a fresh lens for audiences to visually explore the foreshadowed life of the artist. Whistler's role at the estate was to immortalise the chronicle of the estate through his art. The film will set the scene for Rex Whistler, where he merges onto the scene some decades later to create his own artistic legacy at Plas Newydd.
Rex Whistler’s legacy and talent sit right at the intersection of performance and fashion, where the boundaries between art and life experiences are often blurred. His work at Plas Newydd epitomises the panache of his artistic expertise and is where his love for painting went beyond mere decoration and has become an immersive experience, now for the masses to enjoy, all thanks to the National Trust.
“The Dining Room at Plas Newydd is of extremely high significance,” describes Liz Green, Senior National Curator at the National Trust. Whistler's mural, “The Siege of Troy”, transforms the dining room into a whimsical landscape of classical ruins and romantic, theatrical vistas. It’s pure escapism, designed to elevate the surroundings of an already privileged life. Painted between 1936 and 1938, the 58- foot-long depiction of an amalgamation of a fantastical, imagined landscape displays Whistler's ability “to blur reality,” Dominic Chennell states, the National Trust's Cultural Heritage Curator. The work creates an optical illusion showcasing how the intricate techniques of Rex and his brush were able to emulate the lavish decorations of a stately home, all while maintaining the illusion that the walls remain completely two-dimensional. Chennell describes Whistler’s work as capturing “fantasy, whimsy, and relaxing views,” reflecting the essence of 'Capriccio'—using a reverie of scenes as a form of escapism.
Whistler's work at Plas Newydd invites us to consider his legacy as more than just a fixture in British aristocratic homes but a reflection of the social allure of the Bright Young Things movement and his profound relationships with the Anglesey family. The realist sensibilities of Whistler's work mixed with modern contemporaries of the current zeitgeist simultaneously reimaged the works of the 18th century; often infusing touches of comedy or whimsy into his designs.
The mural contains even finer details, “Rex was also more realistic than many of his contemporaries with an acknowledgement of the need to do commercially viable work like advertising and illustration,” indulges Emma Lipscombe, the house and collections manager. It is known that Whistler hid subliminal messages to be found throughout the mural in connection to his infatuation with Lady Caroline Paget, Henry Cyril Paget's (7th Marquess of Anglesey) sister. Clues alluding to these hidden motifs were written in love letters dedicated to Caroline at the time the two lived together at Plas Newydd. However, as Lipscombe describes, “There are very specific references in the mural to favourite locations and family members, although the stories around some of these have developed over time and in the telling.” One particularly striking image is the lit cigarette left resting on the edge of the step, just at the foot of the esplanade, marking the final moments of the mural's stretch. He had told her he "would return before it went out," though the horrors of war took Whister's life from him on his first day upon the battlefield, another mastermind taken too soon. Lipscombe remarks on these personal touches, noting how “specific references in the mural” reflect “favourite locations and family members,” creating a deeply personal narrative in his artistic expressions, using his emotions to fuel his hand. Showcasing that his mural is not only a visual tour de force but also a testament to his affection for Lady Caroline Paget, with whom he shared an intimate, albeit unfulfilled, love.
The 80th anniversary of Whistler’s death has recently reignited interest in his works, sparking conversations on the increasing appeal of his art and place within British cultural heritage. “We’ve received research requests around his relationships with the Anglesey family,” says Liz Green, underscoring how Whistler’s connections with his patrons have become an integral part of his story. As the National Trust continues to showcase his work, particularly with "a recent acquisition of four drawings of the four seasons," explains Lipscombe. "The drawings are rejected images from 'The New Forget- Me-Not A Calendar”, illustrated by Rex Whistler with contributors including Maurice Baring and Max Beerbohm," she added.
Recently, Whistler's work has come under fire and garnered some unfortunate attention after observations of his work depicted racially motivated. In 2020, Tate's ethics board announced that they "were unequivocal in their view that the imagery of the work is offensive," subsequently shuttering the room from the public. Black individuals are seen enslaved and depicted in subservient roles, rightfully causing a stir within the art community and visitors, unsettling the praised narrative of Whistler. However, contrary to popular belief, artist Keith Piper, in collaboration with the 'Whistler x Piper' exhibit at the Tate, has spoken out in interviews about his stance as a person of colour on the Whistler debacle. "Engaging with offensive and traumatic imagery can be important in keeping a clear sense of history," says Piper as he defends the mural's 'undeniably racist' motifs in an interview with The Guardian. Sharing, “I know there is an argument among young people now that these images re-traumatise, but I think we either look or forget. We are very good at forgetting nowadays, and things that are out of sight go out of mind. To keep a clear sense of history, we need to see these things." This was supported by Tate Britain’s director, Alex Farquhar, who stated that the work "should not be altered or removed," though he acknowledged the "uncomfortable juxtaposition" between the mural and the dining area.
Whistler’s work - whether in the playful costume designs for The Tempest or the intricate murals at Plas Newydd - captures a unique historical moment and ensnares it into a timeless piece of fantastical art which lives on to tell the story. He, through his medium, expressed an era that was, at once, rife with the decadence and frivolity of the British elite, with sombre inklings of a war-torn Europe. As we have discovered, Rex Whistler’s story finds contrasts of whimsy, interwoven with realism, and the blatant need for escape, though held back by the boundaries of his time. Now, as his legacy unfolds in exhibitions, films, and scholarly work across The United Kingdom, Whistler’s Plas Newydd remains not just an estate but a living testament to his art, his relationships, and his unquenchable vision.
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