National Gallery, London
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The National Gallery
Established
1824
Collection Size
2,300 paintings
Museum Area
46,396 m2 [1]
Location
Visitor figures
Director
Nearest tube
station(s)
Website
Trafalgar Square, WC2, England, United
Kingdom
4,600,000 (2006) [2]
Charles Saumarez Smith
Charing Cross, Embankment, Leicester
Square
www.nationalgallery.org.uk
The National Gallery is an art gallery in London, located on the north side of Trafalgar Square.
It houses Western European paintings from 1250 to 1900 from the national art collection of
Great Britain.[a] The collection of 2,300 paintings belongs to the British public, and entry to the
main collection is free, although there are charges for entry to special exhibitions.
Despite having been founded without an existing royal collection on which to build, the National
Gallery has grown to be a collection of international renown since its foundation in 1824. It was
shaped mainly by its early directors, including Sir Charles Lock Eastlake, and by private
donations, which comprise two thirds of the collection.[2] Although small in comparison with
other national art collections such as the Louvre, the National Gallery is notable for covering a
broad art-historical scope with paintings of consistently high quality, making it possible to trace
every major development in Western painting from the Early Renaissance to the Postimpressionists through its collection. The Gallery's 19th-century origins have, however, resulted
in particularly strong holdings of the Italian and Dutch schools, while historically it was slow on
the uptake of modern art.
The present building on Trafalgar Square is the third to house the National Gallery, and like its
predecessors has often been deemed inadequate for its purpose. The façade is by William
Wilkins, and is the only part of his original building of 1832–8 that remains essentially
unchanged, while the structure as a whole has been altered and expanded in a piecemeal manner
throughout its history. Notable additions to the building have been made by E. M. Barry and
Robert Venturi. The Gallery's current director is Charles Saumarez Smith.
Contents
[hide]









1 History
o 1.1 Founding bequests and early history
o 1.2 Growth under Eastlake and his successors
o 1.3 The early twentieth century
o 1.4 The Gallery in World War II
o 1.5 Post-war developments
2 The building
o 2.1 William Wilkins's building
o 2.2 Alteration and expansion (Pennethorne, Barry and Taylor)
o 2.3 Extensions to the West and North
o 2.4 The Sainsbury Wing and later additions
3 Controversies
4 Collection highlights
5 Directors
6 Associate artists
7 Notes
8 References
9 External links
[edit] History
[edit] Founding bequests and early history
Compared with the majority of European nation states, Great Britain was a late starter in
establishing a national art collection open to the public. Whereas the great galleries of
continental Europe, such as the Uffizi in Florence or the Prado in Madrid, were built on royal or
princely art collections that had been nationalised, the British Royal Collection remained in the
possession of the sovereign, dispersed across various royal palaces. An opportunity for the
government to buy a private collection of international stature had arisen in the late 18th century,
but was not acted upon. The collection in question was that of Sir Robert Walpole, which his
descendants were considering putting up for sale in 1777. John Wilkes, speaking to the House of
Commons, called for "a noble gallery... to be built in the spacious garden of the British Museum
for the reception of that invaluable treasure".[3] The government paid no heed to Wilkes's appeal
and 20 years later the collection was bought in its entirety by Catherine the Great; it is now to be
found in the State Hermitage Museum in St Petersburg. Later, in 1811, London became home to
a collection intended for a never-realised national gallery of Poland when it was bequeathed in
the will of one of one of the men who had assembled it, Sir Francis Bourgeois, to Dulwich
College (it now resides in the Dulwich Picture Gallery). But with the college being a private
institution in a South London suburb, the British capital remained without a state-owned national
gallery in a central location until after the Napoleonic Wars.
The Raising of Lazarus by Sebastiano del Piombo, part of Angerstein's collection and officially
the first painting to enter the National Gallery.
The unexpected repayment of a war debt by Austria finally moved the hitherto reluctant British
government to establish a National Gallery, just as the art collection of John Julius Angerstein, a
Russian émigré banker who had died the previous year, appeared on the market. On April 2,
1824, the House of Commons voted to purchase 38 of Angerstein's paintings, including works by
Raphael and Hogarth's Marriage à-la-Mode series, for £60,000. The National Gallery opened to
the public on May 10, 1824, housed in Angerstein's former townhouse on No. 100 Pall Mall.
Angerstein's paintings were joined in 1826 by those from the collection of Sir George Beaumont,
which he had offered to give to the nation three years previously on the condition that a suitable
building would be found to house them, and in 1828 by the Reverend William Holwell Carr's
bequest of 34 paintings. Initially the Keeper of Paintings, William Seguier, bore the burden of
managing the Gallery, but in July 1824 some of this responsibility fell to the newly-formed
board of trustees.
100 Pall Mall, the home of the National Gallery from 1824 to 1834.
The National Gallery at Pall Mall was frequently overcrowded and hot and its diminutive size in
comparison with the Louvre in Paris was the cause of national embarrassment. Subsidence in
No. 100 caused the Gallery to move briefly to No. 105 Pall Mall, which the novelist Anthony
Trollope called a "dingy, dull, narrow house, ill-adapted for the exhibition of the treasures it
held".[4] In 1832 construction began on a new building by William Wilkins on the site of the
King's Mews in Charing Cross, in an area that had been transformed over the 1820s into
Trafalgar Square. The location was a significant one, described by the trustee Sir Robert Peel as
being "in the very gangway of London" and thus equally accessible by people of all social
classes. Later, in the 1850s, there were calls for a change of location, due in part to the pollution
of central London and partly because of the failings of Wilkins's building, but it was felt that
moving the National Gallery from Trafalgar Square would undermine public access.
[edit] Growth under Eastlake and his successors
15th- and 16th-century Italian paintings were at the core of the National Gallery and for the first
30 years of its existence the Trustees' independent acquisitions were mainly limited to works by
High Renaissance masters. Their conservative tastes resulted in several missed opportunities and
the management of the Gallery later fell into complete disarray, with no acquisitions being made
between 1847 and 1850.[5] A critical House of Commons Report in 1851 called for the
appointment of a director, whose authority would surpass that of the trustees. Many thought the
position would go to the German art historian Gustav Friedrich Waagen, whom the Gallery had
consulted on previous occasions about the lighting and display of the collections. However, the
man preferred for the job by Queen Victoria, Prince Albert and the Prime Minister, Lord Russell,
was the Keeper of Paintings at the Gallery, Sir Charles Lock Eastlake.
The new director's taste was for the Northern and Early Italian Renaissance masters or
"primitives", who had been neglected by the Gallery's acquisitions policy but were slowly
gaining recognition from connoisseurs. Eastlake made annual tours to the continent and to Italy
in particular, seeking out appropriate paintings to buy for the Gallery. In all, he bought 148
pictures abroad and 46 in Britain,[6] among the former such seminal works as Paolo Uccello's
Battle of San Romano. Eastlake also amassed a private art collection during this period,
consisting of paintings that he knew did not interest the trustees. His ultimate aim, however, was
for them to enter the National Gallery; this was duly arranged upon his death by his friend and
successor as director, William Boxall, and his widow Lady Eastlake.
The third director, Sir Frederick William Burton, laid the foundations of the collection of 18thcentury art and made several outstanding purchases from English private collections, including
The Ambassadors by Hans Holbein the Younger. The last decisive influence in the shaping of
the Gallery was the founding of the National Gallery of British Art, or the Tate Gallery as it was
already being called, in 1897. The stipulation that paintings by British artists born after 1790
should be given to the Tate allowed the National Gallery to shed many of the superfluous works
in its collection, while keeping those by Hogarth, Turner and Constable. As the building at the
time was still comprised of only 15 rooms, this de-cluttering exercise proved to be a boon to the
Gallery, allowing it to display its paintings by the British School with better focus than was
previously possible.
[edit] The early twentieth century
Venus at her Toilet (The Rokeby Venus) by Diego Velázquez
In 1906 Velázquez's Rokeby Venus, the first high-profile acquisition by the National Art
Collections Fund, was the first of many artworks bought by the Fund for the National Gallery. In
a rare example of the political protest for which Trafalgar Square is famous occurring in the
National Gallery, the canvas was slashed on May 10, 1914 by Mary Richardson, a campaigner
for women's suffrage, in protest against the arrest of Emmeline Pankhurst the previous day. Later
that month another suffragette attacked five Bellinis, causing the Gallery to close until the start
of the First World War, when the Women's Social and Political Union called for an end to
violent acts drawing attention to their plight.[7]
The bequest of 42 paintings given by the chemist Dr Ludwig Mond in 1909 was one of the
largest ever received by the gallery and strengthened its holdings in the Italian old masters.[8]
During the 19th century the National Gallery contained no works by a contemporary artist, but
this situation was belatedly amended by Sir Hugh Lane's bequest of Impressionist paintings in
1917. A fund for the purchase of modern paintings established by Samuel Courtauld in 1924
bought Seurat's Bathers at Asnières and other notable modern works for the nation; in 1934 these
transferred to the National Gallery from the Tate.
[edit] The Gallery in World War II
At the outbreak of World War II the paintings were exiled to safety in Manod Quarry, near the
town of Ffestiniog in North Wales. Originally the director Kenneth Clark hoped to ship the
paintings from Wales to Canada, but he received a telegram from Winston Churchill exhorting
him to “bury them in caves or in cellars, but not a picture shall leave these islands”.[9] In the
meantime the pianist Myra Hess gave daily recitals in the empty building to raise public morale
at a time when every concert hall in London was closed. In 1941 a request from an artist to see
Rembrandt's Portrait of Margaretha de Geer resulted in the "Picture of the Month" scheme, in
which a single painting was removed from Manod and exhibited to the general public in the
National Gallery each month.
[edit] Post-war developments
In the post-war years acquisitions have become increasingly difficult for the National Gallery as
the prices for Old Masters – and even more so for the Impressionists and Post-impressionists –
have risen beyond its means. Some of the Gallery's most remarkable purchases in this period
would have been impossible without the major public appeals backing them, including The
Virgin and Child with St. Anne and St. John the Baptist by Leonardo da Vinci (bought in 1962),
Titian’s Death of Actaeon (1972) and Raphael’s Madonna of the Pinks (2004). Other campaigns,
such as that to acquire Titian's Portrait of a Young Man for the nation in 2005, have been
unsuccessful.[10] Private individuals have continued to give their support, the most generous of
whom was the late Sir Paul Getty, who in 1985 gave the Gallery £50 million towards
acquisitions.[11] Ironically, the institution that posed the biggest threat to the Gallery's
acquisitions policy was (and remains) the extremely well-endowed J. Paul Getty Museum in
California, established by Getty's estranged father. Also in 1985 Lord Sainsbury of Preston
Candover and his brothers, the Hon. Simon Sainsbury and Sir Timothy Sainsbury, made a
donation that enabled the construction of the Sainsbury Wing.
In 1996 it was decided that 1900 would be the 'cut-off date' for paintings in the National Gallery
and the following year more than 60 post-1900 paintings from the National Gallery collection
were given to the Tate on a long-term loan, in return for works by Gauguin and others. The
agreement was remarkable for marking an end to a century of cool relations between the two
galleries. Future expansion of the National Gallery may see the return of twentieth-century
paintings to its walls.[12] Another gap in the collection was addressed by a bequest from Sir Denis
Mahon in 1999, an art historian and collector of Italian Baroque paintings at a time when they
were considered beyond the pale by most in the profession. This prejudice extended to the
National Gallery trustees, who declined the offer to buy a Guercino from his collection for £200
in 1945 (in 2003 it was evaluated at £4m).[13] Mahon left the National Gallery 26 of his
paintings, including works by Guido Reni and Correggio, on the condition that it will never
deaccession any of its paintings or charge for admission.[14]
[edit] The building
First floor plan of the National Gallery, showing the piecemeal way in which galleries have been
added
[edit] William Wilkins's building
The first suggestion for a National Gallery on Trafalgar Square came from John Nash, who
envisaged it on the site of the King's Mews, while a Parthenon-like building for the Royal
Academy would occupy the centre of the square. A competition for the Mews site was
eventually held in 1832, for which Nash submitted a design with C. R. Cockerell as his coarchitect. Nash's popularity was waning by this time, however, and the commission was awarded
to William Wilkins, who was involved in the selection of the site and submitted some drawings
at the last moment.[15] Wilkins had hoped to build a "Temple of the Arts, nurturing contemporary
art through historical example",[16] but the commission was blighted by parsimony and
compromise, and the resulting building was deemed a failure on almost all counts.
Wilkins's façade, illuminated at night
The site only allowed for the building to be one room deep, as a workhouse and a barracks lay
immediately behind.[b] To exacerbate matters, there was a public right of way through the site to
these buildings, which accounts for the access porticoes on the eastern and western sides of the
façade. They incorporate columns from the demolished Carlton House (the reuse of which was
yet another stipulation of the commission) and their relative shortness result in an elevation that
was deemed excessively low, and a far cry from the commanding focal point that was desired for
the northern end of the Square. Also recycled are the sculptures on the façade, originally
intended for Nash's Marble Arch but abandoned due to his financial problems.[c] According to a
famous 20th-century critique, the fussy arrangement on the roofline, comprising a dome and two
diminutive turrets, is "like the clock and vases on a mantelpiece, only less useful".[17] Even the
space given to the National Gallery inside the building was ungenerous as the eastern half was
occupied by the Royal Academy until 1868, when it moved to its present home in Burlington
House.
The building was the object of public ridicule before it had even been completed, as a version of
the design had been leaked to the Literary Gazette in 1833.[18] Two years before completion, its
infamous "pepperpot" elevation appeared on the frontispiece of Contrasts (1836), an influential
tract by the Gothicist A. W. N. Pugin, as an example of the degeneracy of the classical style.[19]
Even William IV thought the building a "nasty little pokey hole".[20] Opinion on Wilkins's façade
has, however, mellowed considerably since the 19th century. The extent of this acceptance can
be seen in the remarks of another royal commentator, the current Prince of Wales, who referred
to it in a well-known speech of 1984 as a "much-loved and elegant friend". (See below)
[edit] Alteration and expansion (Pennethorne, Barry and Taylor)
The first significant alteration made to the building was the single, long gallery added by Sir
James Pennethorne in 1860-1.[d] Ornately decorated in comparison with the rooms by Wilkins, it
nonetheless worsened the cramped conditions inside the building as it was built over the original
entrance hall.[21] Unsurprisingly, several attempts were made either to completely remodel the
National Gallery (as suggested by Sir Charles Barry in 1853), or to move it to more capacious
premises in Kensington, where the air was also cleaner. In 1867 Barry’s son Edward Middleton
Barry proposed to replace the Wilkins building with a massive classical building with four
domes. The scheme was a failure and contemporary critics denounced the exterior as "a strong
plagiarism upon St Paul's Cathedral".[22]
With the demolition of the workhouse, however, Barry was able to build the Gallery's first
sequence of grand architectural spaces, from 1872 to 1876. Built to a polychrome NeoRenaissance design, the Barry Rooms were arranged on a Greek cross-plan around a huge central
octagon. Though it compensated for the underwhelming architecture of the Wilkins building,
Barry's new wing was disliked by Gallery staff, who considered its monumental aspect to be in
conflict with its function as exhibition space. Also, the decorative programme of the rooms did
not take their intended contents into account; the ceiling of the 15th- and 16th-century Italian
gallery, for instance, was inscribed with the names of British artists of the 19th century.[23] But
despite these failures, the Barry Rooms provided the Gallery with a strong axial groundplan.
This was to be followed by all subsequent additions to the Gallery for a century, resulting in a
building of clear symmetry.
The Staircase Hall, designed by Sir John Taylor.
Pennethorne's gallery was demolished for the next phase of building, a scheme by Sir John
Taylor extending northwards of the main entrance. Its glass-domed entrance vestibule had
painted ceiling decorations by the Crace family firm, who had also worked on the Barry
Rooms.[e] A fresco intended for the south wall was never realised, and that space is now taken up
by Frederic, Lord Leighton’s painting of Cimabue's Celebrated Madonna carried in Procession
through the Streets of Florence (1853–5), lent by the Royal Collection in the 1990s.[24]
From 1928 to 1952 the landing floors of this vestibule were relaid with a new series of mosaics
by Boris Anrep. The scheme can be read as a satire of Victorian conventions for the decoration
of public buildings – unsurprisingly, as Anrep was close to the Bloomsbury Group and shared its
distaste for 19th-century sentiments.[25] In place of the 'pantheons' of historical figures typified
by the Albert Memorial's sculptural programme, Anrep's "philosophical cycle" is full of
recognisable contemporary faces, each in an appropriate allegorical guise.
[edit] Extensions to the West and North
Later additions to the west came more steadily but maintained the coherence of the building by
mirroring Barry’s cross-axis plan to the east. The use of dark marble for doorcases and skirtingboards was also continued, giving the extensions a degree of internal consistency with the older
rooms. The classical style was still in use at the Gallery as late as 1929, when the Duveen gallery
with its coffered, barrel-vaulted ceiling was built. The symmetry of the building was broken by
the North Galleries, an unloved modernist extension which opened in 1975. "Ill proportioned
[sic], poorly lit, and lack[ing] a positive architectural character" according to the 1997 National
Gallery Report,[26] these galleries were refitted in the 1990s in a style closely mimicking that of
their 19th- and early 20th-century neighbours. This was part of a larger programme of
refurbishing the principal floor that had begun in 1985-6 with the restoration of the Barry
Rooms.
[edit] The Sainsbury Wing and later additions
The Sainsbury Wing as seen from Trafalgar Square
The most important addition to the building in recent years has been the Sainsbury Wing,
designed by the leading postmodernist architect Robert Venturi to house the collection of
Renaissance paintings and built in 1991. Building on the site had been delayed after Prince
Charles infamously denounced a still evolving design for a modernist extension to the gallery by
the architects Ahrends, Burton and Koralek as "a monstrous carbuncle on the face of a muchloved and elegant friend".[f] The proposed extension then under consideration would have
included a block of offices under the galleries. This proposal went as far as the display of a scale
model at the Royal Academy in 1983. Only after the 1985 donation by John Sainsbury, Baron
Sainsbury of Preston Candover and his brothers did a building exclusively for use by the
National Gallery become financially feasible. Given the sensitivity of the site it is unsurprising
that the Sainsbury Wing is subdued by Venturi's standards, superficially blending in with the
Wilkins façade whilst offering a quirky comment on classical architectural idiom.
In contrast with the rich ornamentation of the rooms that either date from or emulate the 19th
century, the galleries in the Sainsbury Wing are deliberately pared-down and intimate, to suit the
smaller scale of many of the paintings. Sir John Soane's toplit galleries for the Dulwich Picture
Gallery are the main inspiration for these rooms, and the white walls with grey pietra serena
stone details (for door surrounds etc.) are a nod to the Florentine Renaissance architect Filippo
Brunelleschi. The northernmost galleries align with Barry's central axis, so that there is a single
continuous vista down the whole length of the Gallery. Looking towards the Sainsbury Wing
from the main building, this prospect is given added drama by the use of false perspective as the
paired columns flanking each opening gradually diminish in size until the visitor reaches the
focal point of the vista (as of 2006), an altarpiece by Cima of The Incredulity of St Thomas.
Venturi's postmodernist approach to architecture is in full evidence at the Sainsbury Wing, with
its stylistic quotations from buildings as disparate as the clubhouses on Pall Mall, the Scala
Regia in the Vatican, Victorian warehouses and Ancient Egyptian temples.
Following the pedestrianisation of Trafalgar Square, the Gallery is currently engaged in a 'master
plan' to convert the vacated office space on the ground floor into public space. The plan will also
fill in disused courtyards and make use of land acquired from the adjoining National Portrait
Gallery in St Martin's Place, which it gave to the National Gallery in exchange for land for its
2000 extension. The first phase, the East Wing Project designed by Jeremy Dixon and Edward
Jones, opened to the public in 2004. This provided a new ground level entrance from Trafalgar
Square. The main entrance was also refurbished, and reopened in September 2005. Possible
future projects include a "West Wing Project" roughly symmetrical with the East Wing Project,
which would provide a future ground level entrance, and the public opening of some small
rooms at the far eastern end of the building acquired as part of the swap with the National
Portrait Gallery. This might include a new public staircase in the bow on the eastern façade. No
timetable has been announced for these additional projects.
[edit] Controversies
The restoration of Titian's Bacchus and Ariadne from 1967 to 1968 was one of the most
controversial ever undertaken at the National Gallery, due to fears that the painting's tonality had
been thrown out of balance.
One of the most persistent criticisms of the National Gallery, alongside the perceived
inadequacies of the building, has been of its policy regarding the conservation of paintings. The
Gallery's detractors accuse it of having an over-zealous approach to restoration and of turning a
deaf ear to criticism. The first cleaning operation at the National Gallery began in 1844 after
Eastlake's appointment as Keeper, and was the subject of attacks in the press after the first three
paintings to receive the treatment – a Rubens, a Cuyp and a Velázquez – were unveiled to the
public in 1846.[27] The Gallery's most virulent critic was J. Morris Moore, who wrote a series of
letters to The Times under the pseudonym "Verax" savaging the institution's recent cleanings.
While an 1853 Parliamentary Select Committee set up to investigate the matter cleared the
Gallery of any wrongdoing, criticism of its methods has been erupting sporadically ever since
from some in the art establishment.
The last major outcry against the use of radical conservation techniques at the National Gallery
was in the immediate post-war years, following a restoration campaign by Chief Restorer
Helmut Ruhemann while the paintings were in Manod Quarry. When the cleaned pictures were
exhibited to the public in 1946 there followed a furore with parallels to that of a century earlier.
The principal criticism was that the extensive removal of varnish, which was used in the 19th
century to protect the surface of paintings but which darkened and discoloured them with time,
may have resulted in the loss of "harmonising" glazes added to the paintings by the artists
themselves. The opposition to Ruhemann's techniques was led by Ernst Gombrich, a professor at
the Warburg Institute who in later correspondence with a restorer described being treated with
"offensive superciliousness" by the National Gallery.[28] A 1947 commission concluded that no
damage had been done in the recent cleanings, but some in conservation circles remain unhappy
that the Gallery's attitude towards restoration has changed little since Ruhemann's time.
The National Gallery has also come under fire for misattributing paintings for various reasons.
Kenneth Clark's decision in 1939 to relabel a group of paintings by anonymous artists in the
Venetian school as works by Giorgione (a crowd-pulling artist due to the rarity of his paintings)
caused an outrage and made him deeply unpopular with his own staff, who locked him out of the
library. More recently, the attribution of a 17th-century painting of Samson and Delilah (bought
in 1980) to Rubens has been contested by a group of art historians, who believe that the National
Gallery has not admitted to the mistake to avoid the embarrassment of those who were involved
in the purchase, many of whom still work for the Gallery.[29]
[edit] Collection highlights
The Wilton Diptych
Caravaggio
J. M. W. Turner
Paolo Uccello
Boy Bitten by a Lizard,
The Fighting
The Battle of San
Supper at Emmaus,
Temeraire, Rain,
Romano
Salome with the head of
Steam and Speed
Piero della Francesca
John the Baptist
John Constable
The Baptism of Christ Peter Paul Rubens
The Hay Wain
Jan van Eyck
Le Chapeau de Paille, The Paul Cézanne
The Arnolfini Portrait
Judgement of Paris (two
Les Grandes
Sandro Botticelli
versions), Landscape with
Beigneuses
Venus and Mars
Het Steen
Claude Monet
Leonardo da Vinci
Diego Velázquez
The Water-Lily Pond,
The Virgin of the Rocks,
The Rokeby Venus
The Thames Below
The Burlington House Anthony van Dyck
Westminster
Cartoon
Equestrian Portrait of
Pierre-Auguste Renoir
Michelangelo
Charles I
The Umbrellas,
The Entombment, The Rembrandt
Boating on the Seine
Manchester Madonna
Belshazzar's Feast, two Georges Seurat
Raphael
self portraits
Bathers at Asnières
Portrait of Pope Julius Canaletto
Vincent van Gogh
II, The Madonna of the
A Regatta on the Grand
Sunflowers, Van
Pinks, The Mond
Canal, The Stonemason's
Gogh's Chair, A
Crucifixion
Yard
Wheatfield, with
Titian
William Hogarth
Cypresses
Bacchus and Ariadne,
Marriage à-la-Mode
The Death of Actaeon George Stubbs
Hans Holbein the Younger
Whistlejacket
The Ambassadors
Thomas Gainsborough
Wikimedia
Agnolo Bronzino
Mr and Mrs Andrews
Commons has
Venus, Cupid, Folly and Joseph Wright of Derby
media related to:
Time
An Experiment on a Bird
National Gallery,
in the Air Pump
London