Last night, in a study in contrasts, we visited M&M’s World on the way to the Leonardo exhbition at the National Gallery.
M&Ms world is terrifying. M&Ms are, basically, sweets. And not particularly exceptional sweets at that. Smarties are more pleasant. Revels are more interesting.
This entire shop – all four floors of it, in some of the capital’s most expensive real estate, and with a staff of dozens – is based on anthropomorphising those sweets. Making them cool. Making their purchase and consumption an experience. It is a triumph of marketing over sanity. You can buy hairclips, toys, clothes, teapots, plates, bedlinen, photoframes, basketballs, notebooks and playing cards with the M&M logo and “characters” plastered all over them. Everything is cheap, but nothing is inexpensive.
If you really feel like it, you can even buy some of the wretched sweets. From giant silos. In different colours. You choose! Make your own unique mix! Personalise! But M&Ms come in, er, a whole two flavours. So it’s a pretty thin veneer of choice, at best. I was glad to leave.
At the heart of Leonardo exhbition are some glorious paintings – including La Belle Ferroniere and the Lady with the Ermine – but I was particularly struck by the notebooks and the sketches. The paintings are all about the divine, and the mysterious, and the calm. The sketches and notebooks are much more lively, and fun, and human. They suggest a sense of humour and lightness of touch that isn’t evident elsewhere.
I also like the way the exhbition played up the cold hard politics behind the art. If you’re painting the mistress of the most powerful man in the state, you’d better make her a symbol of purity itself. If you’re painting the Last Supper in a society with some dubious prevailing racial attitudes, you’d better make sure Judas is darker and curlier-haired than the other disciples. And if your longstanding patron gets knocked off, never mind – do some commissions for his conqueror instead.







