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Spitfire: Second World War fighter plane crashes in Kent, but pilot and passenger 'uninjured'

Spitfire: Second World War fighter plane crashes in Kent, but pilot and passenger 'uninjured'

Sky News04-05-2025

A Second World War Spitfire fighter plane has crashed in a field in Kent.
The plane, owned by Fly A Spitfire, went down "in the vicinity of Hythe on 03/05/2025 (Saturday)", the company said in a statement on its website.
In a statement, the firm said: "We are aware of an incident involving one of our Spitfire aircraft.
"We can confirm that a precautionary landing was made at a non-airfield site. The pilot and passenger are uninjured and at this stage we have no further information."
Witnesses told local media the plane "misfired above a caravan park" and "narrowly" missed trees before it crashed in a field.
Video of the incident showed the plane heading towards the ground, but no evidence of an explosion was filmed.
The crash happened in the build-up to the , but although some reports said the plane was rehearsing for them, this has not been confirmed.
Fly A Spitfire, which charges between £450 and £1,800 for an outing in one of its aircraft, said its Spitfire flight operations "will continue as planned".
This Thursday, 8 May, marks exactly 80 years since victory in Europe following the Second World War, was declared.
Thousands of people are expected to line the streets of central London on Monday to see a military procession and a flypast as well as a performance of Sir Winston Churchill's 1945 victory address, read by actor Timothy Spall, who played Britain's wartime leader in the 2010 film, The King's Speech.
Spitfires played a huge role in the eventual victory during the Battle of Britain, by "defending British airspace against the German Luftwaffe from July to October 1940," Spitfires.com said.

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Blenheim Palace replaces stolen gold lavatory with £10 substitute
Blenheim Palace replaces stolen gold lavatory with £10 substitute

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timea day ago

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Blenheim Palace replaces stolen gold lavatory with £10 substitute

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Edward Burra's tour of the 20th century
Edward Burra's tour of the 20th century

New Statesman​

time2 days ago

  • New Statesman​

Edward Burra's tour of the 20th century

John Deth (Hommage a Conrad Aiken) by Edward Burra, 1931 The art of Edward Burra is also the art of popping up in unlikely places. He was in the audience in Paris when Josephine Baker made her debut at La Revue Nègre in 1925 and in New York during the Harlem Renaissance; he visited Mexico with Malcolm Lowry and was in Spain as tensions bubbled towards the Civil War; he lived in coastal England during the Second World War witnessing troops departing – and sometimes returning – from the continent and captured the incursion of A-roads and pylons into the ancient landscapes of Cornwall and Wales in the early 1970s. If Burra was Zelig with a paintbrush he was also part of a strand of eccentric English art that, had its origins in William Blake and ran through Richard Dadd, Aubrey Beardsley, Percy Wyndham Lewis and Stanley Spencer. 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It was a technique he employed in teeming images: tight-suited sailors at a bar ('Everyone was sailor mad,' said Ashton), burlesque reviews on stage and riotous Harlem ballrooms. Burra moved in a gay milieu and in such places he found a liberating sense of sexual freedom and cross-class slumming. The pictures are peopled with 'types', from heavy-on-the-make-up women and lascivious and sinister men to simple beefcakes and beauties. Some are white-eyed, as if the headiness of the bars and clubs were acting as a narcotic. It is as if Bruegel or Jan Steen had wandered from the Low Countries into seedier and more cacophonous climes. In these paintings he is the English equivalent of Otto Dix and George Grosz but without the bitter edge. If the Germans showed the inequality of the postwar years – fat and seedy plutocrats made rich by profiteering contrasted with mutilated army veterans – Burra was more interested in communities, whether dancers, musicians or trufflers after sex – licit or illicit. Subscribe to The New Statesman today from only £8.99 per month Subscribe Burra's style and subject matter changed with the onset of the Spanish Civil War. He travelled to Spain in 1933 in search of an Iberian version of Harlem, a place of music and dance and, while he found flamenco and colour, he also found burgeoning violence. Unlike so many other British artists and writers, however, he was no Republican sympathiser. His own politics were ambiguous at best, and in 1942 he told John Rothenstein, director of the Tate Gallery, that he was pro-Franco, although this may have been mere provocation. In fact, he seems to have disliked both fascists and communists equally. The paintings he started to make were larger – multiple sheets glued together – and stuffed with rippling and bulbous figures, cloaked and faceless figures among ruins. These were characters of some indeterminate medieval past rather than modern-day combatants, with the sinister mood of Goya's Los Caprichos etchings and the atrocities depicted in his Disasters of War prints transposed into a present that was nevertheless timeless. Indeed the melons-in-a-sack nature of his figures, where shoulders, buttocks and calves bulge alarmingly, are more akin to the Mannerist frescoes of Giulio Romano for the Palazzo del Te in Mantua from the 1530s than anything Burra's contemporaries were producing. The Estate Of Edward Burra, Courtesy Lefevre Fine Art, London / Bridgeman Images What war in Spain and then across Europe awoke in him was a generalised disgust at violence and destruction. Witnessing the soldiers massing at Rye to fight across the Channel unnerved him. Even as they climb into a troop lorry in Soldiers' Backs (1942) there is malignity in their movement, and when he painted Soldiers at Rye (1941), showing a troop dozing, he gave them beaked plague masks that make the men both theatrical and menacing. In 1945 he described to a friend (in prose that was as idiosyncratic as his pictures) the feelings the times released in him: 'The very sight of peoples faces sickens me I've got no pity it really is terrible sometimes ime quite frightened at myself I think such awful things I get in such paroxysms of impotent venom I feel it must poison the atmosphere.' The cartoonist and author Osbert Lancaster astutely observed that, 'What Burra is trying to do… is not to select and record some single aspect of the modern tragedy… but to digest it whole and transform it into something of permanent aesthetic significance'. Nevertheless, Burra's impotent venom stayed with him. Sometimes he found release from it in designing costumes and theatre sets for Carmen and Don Quixote for the Royal Opera House and Sadler's Wells, but it remained lurking. From the late 1930s into the 1970s Burra also painted rural scenes, spurred by a new interest in gardening and by the car trips he took around Britain. Some are pure landscapes, such as a bewitching view of clouded hilltops, Near Whitby, Yorkshire (1972), and some introduce folklore into real views, such as Landscape with Birdman Piper and Fisherwoman (1946). In others, however, he took aim at the encroachment of modernity: a man at a petrol station is enveloped in the coils of his fuel pipe that has turned into a snake, a stream of cars and lorries invades the countryside like an army, and in Skeleton Party (1952-54) a cluster of ghouls, fresh from Mexico's Día de los Muertos, make merry in an industrial landscape. Burra once responded to a question about his art by stating: 'I never tell anyone anything… I don't see that it matters.' He didn't need to: it seems clear that that joyous Harlem jazz had turned into a danse macabre. Edward Burra Tate Britain, London SW1 Until 19 October [See also: Jarvis Cocker at 61: Is this hardcore?] Related

Fron male voice choir performing in Buckley this weekend
Fron male voice choir performing in Buckley this weekend

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