    TH E April  – March  NATIONAL GALLEY

TH E NATIONAL GALLEY     April  – March 

            Contents

Introduction 5 Director’s Foreword 6

Acquisition 8 Loans 10 Conservation 16 Framing 20 Exhibitions and Display 26 Education 42 Scientifi c Research 46 Research and Publications 50

Private Support of the Gallery 54 Financial Information 58 National Gallery Company Ltd 60 Trustees and Committees of the National Gallery Board 62 Figurative Architectural Decoration inside and outside the National Gallery 63

For a full list of loans, staff publications and external commitments between April 2010 and March 2011, see www.nationalgallery.org.uk/about-us/organisation/ annual-review        –   

The Trustees and Director of the National Gallery da Vinci), increased corporate membership and have spent much of the year just past in making sponsorship, income from donations or otherwise. plans to enable us to deal with the implications of The Government has made it clear that it cuts to our income Grant in Aid, the government wishes to encourage cultural institutions such as funding on which we, to a large extent, depend the National Gallery to place greater reliance on to provide our services to the public. private philanthropic support, and has this year At an early stage in the fi nancial year our income taken some fi rst steps to encourage such support, Grant in Aid was cut by %; and in the autumn we through relatively modest fi scal changes and other were told that we would, in the period to March initiatives. We hope that further incentives to , be faced with further cumulative cuts to our giving will follow, and we continue to ask for the income amounting to % in real terms. While removal of some current impediments (in the form no such cut is ever welcome, we do recognise and of government controls over the spending of our welcome the fact that the level of public funding own self-generated income) to our ability to rely which we continue to receive enables us to on private funding. maintain our fundamental commitment to free As well as undergoing a substantial cost-cutting admission, and that the Government itself has exercise this year in relation to areas which least expressed its commitment to the preservation of affect our service to the public, the National free admission and of our front-line public services. Gallery has also had to impose a pay freeze on The National Gallery is still able to open its doors, many staff and to plan for some staff reductions. free of charge, seven days a week, and no reduction The Board wish to thank the Gallery’s staff for of opening hours has occurred or is expected. their continued loyalty and hard work through The challenge for the Gallery, in planning to diffi cult times. meet the cuts, has been and will be to ensure that they have as little impact as possible on the   () National Gallery’s strategic aims and objectives,   which were agreed by the Board during the course   of the year. All of these focus on the public service   we are here to provide. They include the   preservation, enhancement and development of   the potential of our outstanding collection of Old   Master paintings; the broadening of our appeal and   provision of an exceptional visitor experience;   and the inspiring of learning and engagement   (for those of all ages) through the collection. We   are also committed to increasing our self-generated   income, to help replace that which we have lost   from Government, whether through our exciting exhibition programme (which in the year ahead will include what promises to be an extraordinary exhibition focusing on the paintings of Leonardo         –  ’ 

During the course of the year work has continued advance of the exhibition devoted to that artist in the Wilkins building, removing false ceilings (see pp. –) and also in advance of the long- and restoring original plasterwork in ooms , ,  awaited catalogue of our sixteenth-century and . In addition, after considerable experiment, Netherlandish paintings. This seemed worth fi rst in the National Portrait Gallery and then in singling out because it is a painting with astonishing our own galleries, low energy lighting has been compositional intricacy and minute detail as well adopted for these rooms – and others – in as great beauty. Meanwhile Dillian Gordon’s conjunction with more natural light than has catalogue of our earliest Italian paintings has also previously been possible. These improvements been published (see pp. –) and material from have for the most part been made possible because that will also soon be available online. of the support we have received from private Looking sideways as well as forward we are individuals and foundations. Their names are in concerned as a national institution to share our some cases inscribed in gold in the rooms resources and expertise with regional museums themselves. Among the great philanthropists thus and galleries. There will be more to say on this recorded in our galleries, three – Dr Mortimer topic in next year’s eview but we must here Sackler, Lord Wolfson and John Sunley – died express our gratitude to the offi cials in the MLA last year. We remember them with gratitude. who have made it possible for us to develop the We celebrated Sir Denis Mahon’s one- Subject Specialist Network: European Paintings hundredth birthday on  November in the pre- programme. company of the spectacular paintings from his   collection which are on loan to the National Gallery. Soon after the end of the year recorded here he died. There will be a proper tribute to him in next year’s eview. Here it is suffi cient to note that he was not only a great champion of Italian Baroque painting, but also a tireless advocate of the rights of the deceased – of founders and benefactors who put their trust in the Gallery’s offi cials to remain faithful to the purpose for which the Gallery was founded. Looking at the future, we must be concerned to ensure that the National Gallery’s website has an eminence to match that of the Gallery itself. esearch has revealed that those who use it are exceptionally pleased with it, so our efforts are now focused on supplying more than is expected and attracting a still larger and more diverse public. Deeper content has been initiated, most notably in the form of Lorne Campbell’s catalogue entry for Jan Gossaert’s Adoration of the Kings published in One of four marble statues of Victory by E.H. Baily (1788–1867) One of four marble statues Victory on the front of Wilkins Building (see pp. 62–3).

        –      

Peder Balke could not make a commercial success Twenty-eight oil sketches survive in the Louvre. of landscape painting during his lifetime and died Balke’s career did not develop as he hoped. In the forgotten. ecognition in the twentieth century face of stagnating sales, by the s he was turning was slow to develop and restricted to Scandinavia. his attention to politics and land development in and In the twenty-fi rst century, however, Balke is around Oslo. He continued to paint for himself, coming to be seen as one of the most innovative however, including envelope-size inventions on Norwegian artists of his age. His paintings are Norwegian landscape themes. As here, they often increasingly sought after by connoisseurs and admired show nature at its most violent. Sometimes Balke by critics. The Tempest is the fi rst Balke to enter a worked on canvas, but more often on thick chunks British public collection. Two ships, one emitting of wood, planed and primed, the priming then a trail of black smoke into a thunderous sky, polished to a slick, even surface. Finished pictures struggle to stay afl oat on a storm-tossed sea. Jagged look like etchings or lithographic stones rather than rocks present a looming danger. It is a bleak image traditional paintings. They are the work of a few of impending doom executed in a radically minutes, the artist’s hand moving rapidly across the restricted palette of black, white and grey. picture surface, turning accidents in the distribution Balke was born in rural poverty. His family of pigment into recognisable forms. While much supported his artistic interests, however, and saw more needs to be learned about Balke’s energetic to it that he was educated at art school in Christiania techniques, it is clear that, in their informality and (now Oslo), and then at the academies of emphasis on paint handling, these works introduce Stockholm and Dresden. Early on, he determined a new expressivity into Scandinavian art. This would to be a landscape painter and walked across much be explored further in generations to come by artists of southern Norway in search of motifs. In  such as Edvard Munch and August Strindberg. he visited the so-called North Cape of rugged, The gift of this small work in late  isolated northern Norway. It provided him with anticipated the display at the National Gallery in images of brutal nature, and of man’s impotence in summer  of the Norwegian and Swiss landscape its face, which would continue to preoccupy him paintings assembled by Asbjørn . Lunde in New throughout his life. Balke also travelled widely, and York. That collection contains four paintings by in Paris in  he attracted the attention of King Balke, including a slightly larger canvas on a related Louis-Philippe who, remembering his own visit theme. Thus, the National Gallery is proving to the North Cape decades earlier, commissioned instrumental in introducing this remarkable artist some thirty Norwegian views from the artist. to the British public.         –  

Provenance Peder Balke (1804–1887) Private collection, Norway; auction, Oslo, 2007; The Tempest, about 1862 acquired there by Danny Katz, London; presented to Oil on irregular wood panel, 12 x 16.5 cm the National Gallery by Danny and Gry Katz, 2010. Unsigned Presented by Danny and Gry Katz, 2010, NG6614 Reference Christopher Riopelle, Forests, Rocks, Torrents: Norwegian and Swiss Landscapes from the Lunde Collection, London 2011, p. 24, fi g. 7.         –          (- -)

When Van Gogh arrived in Paris early in  he was excited to discover the many painting styles progressive French artists were then exploring. Anxious to learn all he could about the avant- garde, he set about experimenting with these various modes, including pointillism, or painting in dots of colour, of which a new artist friend, Georges Seurat, was the champion. Painted a year later, in early spring , this delicate three- quarter-length portrait of a young mother, animated by fl icks, dots and dashes of paint over an underlayer of thin colour, refl ects the formal impact Seurat, six years his junior, was having on Van Gogh. Conversely, the maternal and domestic theme evokes Impressionist painting, not only the work of Claude Monet but also of leading female painters like Berthe Morisot and Mary Cassatt. The sitter was the niece of an art-dealer friend and the setting was the dealer’s fl at, further evidence of the Dutchman’s eclectic, inventive immersion in the Parisian art world. For more than a decade now, the National Gallery and the Van Gogh Museum, Amsterdam, Vincent van Gogh (1853–1890) have exchanged paintings on an annual or biannual Mother by a Cradle (Léonie-Rose Davy-Charbuy), 1887 basis, and this is the most recent Dutch loan. Oil on canvas, 61 x 45.5 cm Woman seated in a Garden On loan from the Van Gogh Museum, Amsterdam Toulouse-Lautrec’s (Vincent van Gogh Foundation), L1099 (NG) has travelled to Amsterdam in its place. The exchange allows the Gallery to show Van Gogh in greater depth – there are, for example, no portraits in the permanent collection – while the Amsterdam museum broadens its presentation of Impressionist or Post-Impressionist painting.         –              

Jan Brueghel was the second son of Pieter Bruegel countryside that was slowly starting to prosper the Elder but he barely knew his father. Unlike his again after the Twelve-Year’s Truce agreed brother, Pieter Brueghel the Younger, who made in . The arguable wealth of the travellers, a living from recycling his father’s compositions, however, is contrasted with the bleak detail of a Jan developed his own style and became best horse’s skull and leg bone in the left foreground. known for his small-scale paintings on copper of Jan Brueghel’s carefully observed and fi nely fl oral still lifes and landscapes depicting allegorical wrought paintings were sought after by collectors and religious scenes as well as peasant life. like Federico Borromeo in Milan or the rulers of Landscape with Travellers and Peasants on a Track the Spanish Netherlands, the Habsburgs in Spain. shows a convoy of travellers in horse-drawn ubens often collaborated with Jan Brueghel carriages coming from a village church, which is by adding fi gures to his compositions, thus just discernible in the background. The carriages acknowledging his unique gifts as a landscape are accompanied by a group of peasants including painter. Jan Brueghel’s signature brushwork three couples dancing to the music of a violin. consists of a thick impasto, even when working To the right, a cowherd with a horn is moving his on the smooth copper surfaces, which he preferred cattle and, further back, a shepherd is watching his for his jewel-like creations. The bursts of sunlight sheep. The trees show the fi rst hints of autumnal illuminating the distant landscape are a typical leaves, suggesting that the scene may take place in feature of his paintings and remind us how late September or early October. The landscape evocative they are. One can almost hear the in the background, showing a bridge, a mill and chattering of the magpies fl ying above, the blast of further churches, is characteristic of the Flemish the cow horn and the music of the violin. /

Jan Brueghel the Elder (1568–1625) Landscape with Travellers and Peasants on a Track, 1610 Oil on copper, 33 x 50.2 cm On loan from the Peter Meyer Collection, L1097         –      . ,    ’ 

The National Gallery’s retrospective exhibition of spring , Christen Købke: Danish Master of Light, included a little-known work by the great Danish artist painted in the fi nal year of his life. Portrait of P. Ryder entered a private British collection as recently as . Generously loaned to the exhibition, fi rst in London and then at the National Gallery of Scotland, Edinburgh, the painting returned to the National Gallery in October  as a long-term loan to the permanent collection. It hangs in oom , a compelling example of Danish Golden Age portraiture. Købke was raised in the Citadel of Copenhagen where his father ran the bakery, employing a large staff including members of his extended family. For his part, Købke often turned to family members as sitters for his intimate and psychologically penetrating portraits. Here, he depicts a cousin who was also a baker in his father’s employ. Indeed, yder is shown in his button-fl y work clothes, casually smoking as he rests from his labours, a basket of baked goods behind his shoulder. Købke’s affection for his cousin and the pride the latter took in his occupation are both Christen Købke (1810–1848) evident in this rare example from the fi rst half Portrait of P. Ryder, Son of the Artist’s Cousin, 1848 Oil on canvas, 74.5 x 53.5 cm of the nineteenth century of a formal portrait of On loan from a private collection, L1101 a skilled worker. Notable too are the restricted palette the artist has employed and, for Købke, whose earlier portraits tended to be small, the relatively large format. The painting suggests the innovative and ambitious direction in which Købke’s portraiture might have developed had his life not been cut short.         –  

      

Previously displayed at the National Gallery from composition was clearly successful because Strozzi July  to January , Strozzi’s Incredulity produced several versions. This one is shown in of Saint Thomas is one of the few works by this oom  with Guercino’s depiction of the same important Baroque painter in the United Kingdom. subject, painted around the same time. The Dating from the early s, the elegant fi gural development of Strozzi’s style and his handling of composition shows Strozzi strongly infl uenced by paint is illustrated by comparing Saint Thomas with Van Dyck’s presence in his native Genoa. Christ the artist’s Personifi cation of Fame (NG), made proves the truth of his esurrection to ‘doubting’ in the mid-s after his move to Venice.  Thomas: ‘each hither thy hand, and thrust it into my side: and be not faithless but believing’ (John : Bernardo Strozzi (1581–1644)  The Incredulity of Saint Thomas, about 1620 ). The essence of the subject is expressed with Oil on canvas, 89 x 98 cm Christ’s bright aura fi lling the darkness, and the On loan from Compton Verney, L903       competitive situationclearlyinspired of fourleadingcontemporaryartists,andthe wanted toinvitecomparisonbetweentheworks Albani andGuido other EvangelistsbyNicolas displayed inhispalacealongwithdepictionsofthe patrons, MarcheseVincenzoGiustiniani,andwas was commissionedbyoneof true sourceofinspirationinheaven.Thepainting arrested andhiseyesraisedfromthebooksto represented atamomentofrevelation,hispen conception. Theauthorofthefourthgospelis is outstandingforitslargesizeandgrandeurof figures inspiredbyGod, Among Domenichino’smanydepictionsofsingle     eni. Giustinianiseemingly Saint JohntheEvangelist –    égnier, Francesco ome’s leading Gallery fromJuly every five years.Itwaspreviously loanedtothe will beshownattheGalleryforeighteenmonths the provisionsof sought andsavedtheworkfromexport.Under was abletobuythepicture,aprivatebuyer  Gallery representsatriumphfortheExport della Valle, famous pendentivefrescoesinSanAndrea perfected theposeofsaintinonehis the Evangelist other paintingshavebeenlost.In Domenichino, soitisunfortunatethatthe On loanfromaprivatecollection,L601 Oil oncanvas,259x199.4cm Saint JohntheEvangelist Domenichino (1581–1641) eviewing Committee.Asnopublicinstitution The presenceofthepaintingatNational  , Domenichinodistilledand ome (   , late1620s  idley toApril –  ). ).  ules, thepainting  Saint John . 

Detail of the plaster relief of Michelangelo with the clay model of the dome of St Peter’s by Edward William Wyon (1811–1885) in Room 35 (see p. 63).

       –  

Niccolò di Pietro Gerini (documented 1368; died probably 1415, certainly by 1427) Baptism Altarpiece, 1387 Egg tempera on wood The National Gallery, London, NG579.1–5        ’   The recent practice of organising summer The egg tempera technique and extensively exhibitions drawn from the National Gallery’s gilded backgrounds of such paintings pose particular permanent collection allows the public to share the challenges to the restorer. Although works of this insights of curators, scientists and conservators in type were probably always intended to be varnished, new interpretive contexts. In the summer of , at least in the painted areas, the egg medium’s the exhibition Devotion by Design: Italian Altarpieces relatively leanly-bound paint fi lms can leave the before  will examine the development and picture surfaces open to a number of problems. For function of Italian altarpieces from the thirteenth example, the distinctive intense red colour produced to the fi fteenth centuries, including consideration by vermilion pigment is vulnerable to the action of of their construction, techniques, style and airborne pollution, excessive light, humidity, or iconography. The exhibition will include a major mechanical action upon the paint surfaces, resulting fourteenth-century work attributed to Niccolò di in a marked colour change from bright red to grey Pietro Gerini, the Baptism Altarpiece (NG.–). or black particles – a phenomenon studied in detail The Baptism no longer possesses all of its original by the National Gallery’s Scientifi c Department in constituent parts, the format of the original . In addition, coarsely ground pigments, such as altarpiece having been reduced and reframed in azurite or ultramarine, tend to be more susceptible later centuries. Nonetheless, together the surviving to darkening caused by the accumulations of dirt elements convey much of the impressive qualities and discoloured surface layers which can be closely of the original assembly. Its recently completed bound within the relatively porous tempera paints. treatment was lengthy and complex, and provides The cleaning of the Baptism was therefore an excellent example of how the Gallery’s curators, informed by a detailed study by the Scientifi c scientists and conservators work together to Department of the composition and layer structures achieve a successful restoration. of the paint and accumulated surface coatings, which         – 

in turn informed the conservator’s choice of cleaning methods and materials. These were chosen to work on specifi c surface layers in particular areas of the painting. For example, solvent gels were formulated to remove most of the more recent surface coatings over much of the picture, but not to affect an older surface coating applied only to the painted areas – a layer with a distinctive fl uorescence in ultraviolet light that might suggest the remnants of an original or very early application of varnish. The vulnerable vermilion- containing colours (fi gs  & ) were more selectively cleaned, leaving a greater amount of older material on their surfaces in order to reduce their exposure to any atmospheric pollutants. X-radiography of the predella panel confi rmed that it had been cut and re-joined, with a central narrative scene probably removed – presumably as part of a larger dismemberment of the altarpiece into separate elements for sale. The additional width of the predella when it incorporated the missing scene in turn suggests that the main tier of the altar would probably have included two more panels of fl anking saints. The reduced, reconstituted altarpiece was then given a unifi ed framing arrangement, probably in the nineteenth century, which has been preserved in the recent restoration. The Baptism was acquired by the

1 & 2 Degraded vermilion before and after restoration, detail of predella.

3 Example of cangiante effects in St Paul’s robe.

4 & 5 Detail of fi sh before and after restoration.        –  

National Gallery in , and the manner of its the central panel has been executed on top of an changed format and the style of its reframing is older restoration, allowing both a more plausible consistent with nineteenth-century practice in new reconstruction while preserving the older the marketplace. While clearly not original, this interpretation beneath it (fi gs  & ). reframing is nonetheless broadly suggestive of the The restored work is thus a rare and convincing original arrangement of the altarpiece, as well as evocation of a large-scale late fourteenth-century providing important and interesting information altarpiece, even in its somewhat compromised about the picture’s history. format. The Baptism will be given a new prominence Painted in Florence in the late fourteenth within the permanent collection after the close century, the technique of the Baptism altarpiece of the summer exhibition.  is entirely in keeping with the practices described in Cennino Cennini’s nearly contemporary treatise, the Libro dell’arte – itself a kind of compendium Pictures cleaned and restored in the of traditional Florentine trecento practice. The Conservation Department 2010–2011 Gossaert A Young Princess (Dorothea of Denmark?), picture is for the most part very well preserved, NG2211 allowing the viewer to appreciate the skilful use Follower of Gossaert The Magdalen, NG2163 of green underpainting and verdaccio modelling in Leonardo da Vinci The Virgin of the Rocks (The Virgin with the Infant Saint John adoring the Infant Christ the fl esh tones, or rich cangiante shot-colour effects accompanied by an Angel), NG1093 within the draperies (fi g. ) precisely as laid out Style of Bernaert van Orley The Virgin and Child in Cennino’s instructions. A few larger losses and in a Landscape, NG714 Steen A Man blowing Smoke at a Drunken Woman. damages in the work required some reconstruction Another Man with a Wine-pot, NG2555 during restoration, for the most part based on older Zoffany Mrs Oswald, NG4931 reconstructions or other contemporary works. Other paintings treated These areas have been brought to a high level of Guercino The Angel appears to Hagar and Ishmael, L612 completion in the present restoration, which is consistent with the general level of preservation of the panels as a whole. One larger reconstruction of a large loss within the water at the lower left of         – 

    

The National Gallery has developed a variety of to the picture. The parallels with the sitter’s dress approaches to improve the quality of its frames. are obvious. We would generally not seek to fi nd ather than selecting a particular painting for frames that echo the painting, but the result here reframing, we have been successful in locating is exceptionally happy. suitable antique frames and matching them with paintings of the same period and often even of the Canon Ludovico di Terzi same size. It is not possible to meet every Gallery Cassetta frames with Latin texts in the frieze were reframing priority in this way, but there are four relatively common in sixteenth-century Italy and recent examples where available frames have Spain. They were mostly intended for religious been paired with suitable paintings. paintings and often refer to a particular subject, The National Gallery’s fi ne group of Moroni such as the Virgin and Child, or Christ on the portraits had all ended up with more or less Cross. On this frame is an inscription from Paul’s unsatisfactory frames. We made a fi rst signifi cant fi rst letter to the Corinthians ( Corinthians : ): improvement in  when we found a beautiful Nec auris auvidid / Nec oculus vidit / walnut cassetta frame for the Portrait of a Lady Nec in cor hominis ascendit / (‘La Dama in Rosso’) (NG) and this year we Qua preperavit dues dilligentibus se. have been able to reframe both the Portrait of a Gentleman (‘Il Gentile Cavaliere’) (NG) and What no ear has heard / What no eye has seen / the portrait of Canon Ludovico di Terzi (NG). What has not entered into the heart of men/ That God has prepared for those who love him. Portrait of a Gentleman This Northern Italian reverse cassetta (a frame The date, weight and colour of the frame suit the where the inner edge is higher than the outer one) picture perfectly. Although the text is appropriate with carved and gilded ornament (rosettes at the for a portrait of a cleric, we cannot be sure of its corners and pearls at the inner edge) is contemporary original intention.        –  

Giovanni Battista Moroni (1520/4–1579) Portrait of a Left-Handed Gentleman with Two Quartos and a Letter (‘Il Gentile Cavaliere’), about 1564–5 Oil on canvas, 100.4 x 81.2 cm The National Gallery, London, NG2094         – 

Giovanni Battista Moroni (1520/4–1579) Canon Ludovico di Terzi, about 1559–60 Oil on canvas, 101.5 x 82.7 cm The National Gallery, London, NG1024        –  

Garofalo (about 1481–1559) The Agony in the Garden, probably about 1520–39 Oil on canvas, transferred from wood, 49.2 x 38.7 cm The National Gallery, London, NG642

Two Italian frames from the second quarter of The Agony in the Garden the sixteenth century were acquired for Garofalo’s This reverse cassetta with carved scrolling foliage Agony in the Garden (NG) and his Holy Family centred on cherubim complements the symmetry (NG). Like the two Moroni frames, both were of the painting’s composition and suits its sacred almost exactly the right size. Uniting unaltered character. It is in itself an almost perfectly preserved frames with paintings of the same period not only collectable object of artistic merit, and yet it does preserves their proportion and value, it also reduces not detract from the calm and serious tone of the infl uence of transient contemporary aesthetic the picture. judgement on long-term framing solutions. The NationalGallery,London,NG170 Oil oncanvas,60.3x47.8cm Zacharias and(?)Francis The HolyFamilywithSaintsJohntheBaptist,Elizabeth, Garofalo (about1481–1559) as wellmuch-neededfinancial support. Gallery willattractmoreinterest inthisactivity and hopethatsuccessfulreframings attheNational individual donationsforparticular framingprojects purpose. Wehavebeenveryfortunatetoattract importance ofareadilyavailablebudgetforthis in thepicture.Theframe’spurchaseunderlines the plinthevenresembleornamentoncradle view beyond.Thestylisedcherubiminthefriezeand a spaceforthefi gures aswellgreaterdepthforthe columns echotheonesinpaintingandcreate sgrafi tto decorationontheantependium.The This architecturaltabernacleframehasbeautiful The HolyFamilywithSaints , about1520  Basil SamuelCharitableTrust Timothy &MadeleinePlaut Dr DavidR.IvesF.R.C.P. Miss ElizabethFloyd Supporters 2010–2011 Style ofBernaertvanOrley Altobello Melone Lippo diDalmasio Guercino Attributed toPietervanConinxloo Attributed toPietervanConinxloo Frederick CayleyRobinson4x Canaletto Attributed toBernardinodaAsola Bellotto Frame reproductions North Italian Elsheimer Framed from Gallerystock Leonardo daVinci Frame r Workshop ofRogiervanderWeyden Ruysch Pisanello Moroni Moroni Judith Leyster Le Sueur Le NainBrothers Le NainBrothers Gossaert Vincent vanGogh Garofalo Correggio Champagne Balke Framed withnewlyacquired antiqueframes Paintings reframed in2010–2011 a Landscape NG2613.1 NG2613.2 Child (Zuan Zulian) an Angel) Infant SaintJohnadoringtheChristaccompaniedby (Saint Ivo?) Two QuartosandaLetter(‘IlGentileCavaliere’) Virgin MaryandSaintJohntheEvangelist The Tempest , NG2907 Flowers inaVase econstructed withnewlyacquired antiqueparts Portrait ofaLeft-HandedGentlemanwith Canon LudovicodiTerzi Santa MariadellaSalutefromthePiazzetta Christ ontheCross A YoungPrincess(DorotheaofDenmark?) The AgonyintheGarden The VisionofSaintEustace The AngelappearstoHagarandIshmael CampoSantaMariaFormosa Baptism ofChrist Christ takingleaveofhisMother , NG1093 Triple PortraitofCardinalRichlieu , NG6394 The ProtonotaryGiovanniGiuliano , NG714 A BoyandaGirlwithCatanEel , NG1105 A WomanandFiveChildren Three MenandaBoy The RoadtoEmmaus Long GrasswithButterflies The MadonnaofHumility The VirginoftheRocks , NG6614 , NG6425 , NG3904 The VirginandChildin

with theMagdalen, Acts ofMercy , NG1024 , NG642 The Madonnaand Philip theHandsome Margaret ofAustria , NG1436 A ManReading , NG4857 , NG753 , X6468

(The Virginwiththe , X6942–5 , NG4255 , NG6548 NG752 , NG1425 ,

NG4169 , NG798 , NG2094 , NG612 , NG2211 , NG5417 , X6464 , ,

Tondo with plaster portrait relief of Raphael in the Central Hall. The portrait is modelled on the artist’s self portrait in the Uffi zi, Florence (see p. 63).

        – 

    : ,      –   

Close Examination: Fakes, Mistakes and Discoveries was Deceit’, included paintings that were made with the fi rst in a series of non-charging Sainsbury Wing the deliberate attempt to deceive, as well as pictures summer exhibitions designed to contextualise the that were later ‘upgraded’ or misrepresented as National Gallery’s permanent collection in ways that original works of art. ‘Transformations and are not possible in the main fl oor galleries. Supported Modifi cations’ examined some of the many ways in part by a grant from the Engineering and Physical paintings have been altered over time, whether by Sciences esearch Council, Close Examination was the artist himself, or by later restorers seeking to conceived to bring wider attention to the pioneering mask damage or responding to prevailing taste or research performed by the National Gallery’s market conditions. For example, when the National Scientifi c Department since its founding in , Gallery acquired the Portrait of Alexander Mornauer in and specifi cally, how the close interaction of the , the sitter’s hat fi tted closely to his skull and the Scientifi c, Curatorial and Conservation departments background was a deep blue. Scientifi c investigation has resulted in remarkable – and often surprising – revealed that these changes had been carried out insights into paintings in the collection. The forty in the eighteenth century, probably to make the works in the exhibition (including three loans) were painting resemble a work by the more famous drawn from across the Gallery and demonstrated the Hans Holbein the Younger. A few of the Gallery’s breadth, depth and innovation of the technical less glorious moments were revealed in ‘Mistakes’: research that is carried out here. Most of the paintings although the initial optimistic attributions might were newly researched for the exhibition; the most have fallen by the wayside, many of these pictures signifi cant discoveries were published in the National have turned out to be fascinating works in their Gallery Technical Bulletin, vol.  (; also available own right. oom , ‘Secrets and Conundrums’, online) and in The Burlington Magazine (June ). explored the workings of the artist’s studio, from Each of six rooms in the exhibition addressed the production of copies and replicas to working a single broad theme. The fi rst, ‘Deception and practices and questions of attribution. ‘Being        –  

Master of the Mornauer Portrait (probably active about 1460–1488) Portrait of Alexander Mornauer, about 1464–88 Oil on wood, 45.2 x 38.7 cm The National Gallery, London, NG6532 Before and after cleaning

After Francesco Francia (about 1450–1517/18) The Virgin and Child with an Angel, probably second half of the 19th century Oil on wood, 58.5 x 44.5 cm The National Gallery, London, NG3927

Botticelli’ enabled visitors to follow a case study Fascinating discoveries continue to be made. in connoisseurship by juxtaposing two paintings Subsequent to the exhibition closing, National acquired as by Botticelli from the same nineteenth- Gallery esearch Curator Giorgia Mancini was able century sale. The fi nal room of the exhibition, to identify the nineteenth-century artist who painted ‘edemption and ecovery’, presented several The Virgin and Child with an Angel, a meticulous copy instances in which technical examination has been after an original work by Francesco Francia that was crucial in confi rming the authenticity of a painting. then in the hands of an important Bolognese family An innovative and dynamic installation design (the original is now in the Carnegie Institute of Art, enclosed each painting within a separate ‘dossier’ that Pittsburgh). The details of this exciting discovery will provided visitors with information and comparative be revealed in a forthcoming publication.  material to understand the research behind the discoveries and put it in context. Descriptive texts and comparative images – including technical images such as cross-sections, X-ray photographs, infrared refl ectograms and photomicrographs – accompanied each painting, and a glossary handout was available at the exhibition entrance. In-depth information on each of the paintings in the exhibition is available via the website (www.nationalgallery.org.uk/paintings/research/ close-examination/), and a more general overview and selected case studies are included in the book A Closer Look: Deceptions and Discoveries, which accompanied the exhibition.         – 

Frederick Cayley Robinson (1862–1927) Acts of Mercy: Orphans II, about 1915 (detail) Oil on canvas, 199 x 339 cm Wellcome Library, London        –     :      –   

Frederick Cayley obinson’s decorative cycle, in Florence in , where he studied in depth Acts of Mercy, was originally commissioned for the the Italian enaissance masters and their tempera Middlesex Hospital, London, in . Completed technique. He was particularly infl uenced by in , the four paintings hung in the hospital’s Sandro Botticelli, whose Four Scenes from the entrance hall for over eighty years, their quiet, Early Life of Saint Zenobius (NG) was included. still presence haunting generations of patients and But signifi cantly the monumental fi gures and medical staff. The hospital no longer exists, and, pale chalky tonality of Piero della Francesca’s thanks to the intervention of the Art Fund and The Baptism of Christ (NG) was available for Tate, the paintings now belong to the Wellcome study in the National Gallery long before his Trust, in whose library they normally hang and trip to Italy. Cayley obinson’s other formative to whom we are indebted for the loan of the infl uence was Pierre-Cécile Puvis de Chavannes, paintings and generous support of the exhibition. whose great decorative schemes he encountered Their collective title derives from the seven as an art student in Paris in the early s. Puvis’s Corporal Works (or Acts) of Mercy, (Matthew : freize-like compositions, peopled with statuesque –), which formed the guiding principles on fi gures painted in fl at pale colours, was represented which the early work of hospitals was based. The by Summer (NG), a study for an idealised artist chose to depict in one pair the care of orphan classical landscape. girls, and in the other the treatment of convalescent Other works by Cayley obinson included in soldiers returned from the First World War. All the exhibition featured a similar continuation of four paintings, which, although on canvas are the topical and the timeless, the mundane and the reminiscent of architectural decoration, are painted symbolic. These pictures of solemn domesticity in the fl at, matt colours of fresco and the fi gures are and the cycle of life often made use of the same deliberately posed, creating a sense of arrested time. props – simple modern jugs and patterned fabrics The National Gallery has agreed not to acquire for example – and themes – of silent waiting, paintings made after  but this policy makes it the comfort of lamp and hearth. The exhibition more important that temporary exhibitions feature elicited unusually thoughtful reviews and public modern art (whether created soon after  or reactions, which included the recollections of near to ) which draws its strength from the nurses formerly employed in the Middlesex permanent collection. Cayley obinson settled Hospital.          –  :        –   

Considering the leading role of British patrons in panoramic views of the Bacino di San Marco by encouraging the production of views of Venice by a the two artists demonstrated that Marieschi would variety of artists, it is surprising that no major survey have developed into Canaletto’s most signifi cant of the subject had ever been staged in this country. rival were it not for his untimely death in . ather than treat each artist separately as in prior The third room was devoted to Canaletto in exhibitions, it was decided to structure the show, the s, when his principal rivals were his young organised in collaboration with the National Gallery nephews, Bernardo and Pietro Bellotti. By showing of Art, Washington DC and sponsored by Credit the apprentices copying their uncle’s work, it was Suisse, around the relatively familiar career of made clear that Canaletto encouraged them to Canaletto, the only painter of views whose fame develop their own artistic personalities. has never diminished. His paintings were displayed Views depicting Venetian festivals and in roughly chronological order and were juxtaposed ceremonies were shown in the large central room. with those of contemporary ‘rivals’. Guest curator Compositions for commemorating the arrival of Charles Beddington, the leading British expert on ambassadors, for depicting regattas, and for showing view painting, sought works of the highest quality the state barge on the Feast of the Ascension, were and, wherever possible, paintings depicting the developed by Carlevarijs and these evolved in the same view were shown side-by-side to emphasise hands of all the view painters who followed. the particular qualities of each artist. This enabled The last two rooms considered Canaletto and visitors to follow Canaletto’s development and Francesco Guardi, an artist with distinct sensibilities, see how he inspired and was inspired by others. who provided a glorious fi nal chapter in the history The fi rst room charted Canaletto’s beginnings of views of Venice. Guardi was not interested in in the s and showed his sources in the works topographic accuracy, but in the atmospheric of his precursors. A Dutch artist, Gaspar van Wittel qualities of a scene, and his greatest works were not (called Vanvitelli), brought the Northern European of the built environment, but of the Lagoon. These tradition of accurate topographical cityscapes to the works approach the spirit of pure landscape and depiction of Italian sites. Thereafter, a local painter, made Guardi a hero to later artists. Luca Carlevarijs, established basic compositional By coincidence the earliest painting by Canaletto types for depicting Venice’s grand public spaces, in the show, a view of the Lagoon, lent by the Dallas and Johan ichter, a Swedish artist, produced views Museum of Art, was also a painting of sky and water, of less well-known aspects of the city. The room in which the light on the distant buildings was more demonstrated Canaletto’s rapid advance to his fi rst important than topographical precision, reminding masterwork, The Stonemason’s Yard (NG), one us of the artist’s training as a painter of stage sets. of the Gallery’s best-known paintings. We learned from the exhibition not only how The second room treated Canaletto in the s, Canaletto differed from his rivals but also how when he began to dominate the market. A major varied his own production was.  rival emerged in Michele Marieschi, whose bold, animated compositions contrast with the solidity and serenity of Canaletto’s views. In particular, Canaletto (1697–1768) San Cristoforo, San Michele and Murano from the Fondamenta Nuove, about 1722 Oil on canvas, 143.5 x 151.1 cm Dallas Museum of Art, TX Foundation for the Arts Collection, Mrs. John B. O’Hara Fund (1984.51.FA)

Francesco Guardi (1712–1793) The Lagoon towards Murano from the Fondamenta Nuove, about 1762–5 Oil on canvas, 31.7 x 52.7 cm The Fitzwilliam Museum, Cambridge (NO.0189)         – 

      –         –   

The eighteenth-century cityscapes of the Venice: on to a fl at surface – Head uses photography Canaletto and his Rivals exhibition were complemented as a tool to gain visual information that is then by two consecutive oom  displays, Modern manipulated to produce works that are utterly Perspectives, which showed the work of two convincing and yet impossible to replicate with contemporary painters of urban landscapes whose the single fi xed point of a camera lens. methods relate to those used by Canaletto. For example, Haymarket has a dynamic sense of Clive Head showed three paintings, together space that is akin to the way in which we perceive with a selection of drawings and photographs that the world as we move through it. It presents a span he takes when preparing his compositions. In the of nearly  degrees and encompasses views that same way that Canaletto made use of a camera cannot be seen from one single spot. Furthermore, obscura – a device with a lens that projects images Head’s treatment of the neglected peeling paint        –  

Clive Head (b. 1965) Haymarket, 2009 Oil on canvas, 158.1 x 281.9 cm Marlborough Fine Art, London and the textures of the walls recalls Canaletto’s depictions of the shabbier side of Venice. According to Clive Head: ‘My experience of exhibiting at the National Gallery was entirely positive and hugely rewarding. The public response was remarkable and at the heart of this was an interest in representational paintings based on our modern world, but made with the same materials, tools and aesthetic ideals, not just of Canaletto but of the Western tradition of painting in general.’ Ben Johnson works in an entirely different way. He also exploits photography but the execution of his paintings is an elaborate process that the artist has refi ned over the course of his career, with the paint applied using spray guns and stencils that are cut by a computer. Like Head, Johnson also showed three paintings. One of them was completed in public once the exhibition had opened, with the painter and his team of assistants answering questions from the many visitors curious to see an artist at work. The composition of this painting, Looking Back to Richmond House, was inspired by a visit Johnson made to the roof of the Ben Johnson (b. 1946) at work on National Gallery overlooking Trafalgar Square, Looking Back to Richmond House, 2010 Acrylic on canvas, 183 x 274.5 cm where he noticed how similar the view was to that Private collection seen in Canaletto’s great Stonemason’s Yard (NG). After the exhibition the artist commented: ‘My six weeks at the Gallery were exhausting, humbling and deeply stimulating. A truly reaffi rming experience that makes one realise how art is important not just to artists, scholars and academics but to a vast range of personalities who are not only engaged with art but are full of questions that express both curiosity and diversity. It has certainly set me on the next stage of my life with added commitment.’          – 

 :        –   

Bridget iley’s exhibition Paintings and Related wall itself into an agent, entering the painting Work, sponsored by Bloomberg, included two and becoming one of the active shapes within it. murals. One of these Arcadia I of  is illustrated The artist gave the whole Sunley oom and its here with a canvas painting Blue (La Réserve) of  antechamber a carefully plotted and perfectly – waiting, as it were, for the large public which spaced variety which served both as a retrospective enjoyed them every day and consisted both of those (including studies and fi nished work of the s who came specifi cally to admire them and those and s) and as a testament. iley’s copy of Jan who were surprised to come upon them in the van Eyck’s Portrait of a Man (Self Portrait?) made in centre of the National Gallery. In the painting the  was included as well as paintings by Seurat, great sweeping shapes are both contained by, and Mantegna and aphael. For the latter’s twisting overlap with, a border, whereas in the mural the Saint Catherine of Alexandria, with its supporting similar pattern has no frame and no border, but halo and wheel, the artist supplied the Gallery it is not merely on the wall. ather it turns the with the following text (on colour).         –  

Bridget Riley (b. 1931) View of the exhibition showing Blue (La Réserve) on the left and Arcadia I (Wall Painting 1) on the right.

aphael uses a subtle harmony of modulated yellows and blues as the mainspring of this composition, tying the colours of the fi gure into the supporting ground of the landscape behind. A bold curve of strong yellow twists around the blue violet of the right hip of Saint Catherine, vanishes and reappears over her left shoulder. The yellow theme continues, softened into golden fl esh tones, through her upturned face and fair hair to Raphael (1483–1520) the celestial light in the heavens above, registered Saint Catherine of Alexandria, about 1507 Oil on poplar, 72.2 x 55.7 cm as a patch of uncompromising yellow paint. Yellows The National Gallery, London, NG168 of modulated earth tones account for the landscape and the wheel, which is the saint’s symbol. Simultaneously blues descend from their strongest pitch in the sky by way of distant mountains, refl ections in light and water culminating in the violet blues of Saint Catherine’s robe. This harmonic envelope of the two principal colours contrasts sharply with the dark green and red of her arms. We gradually realise that we have been directed by the artist through a slowly unfolding circular movement. We return to the point of our departure on this visual journey enriched and rewarded by all that we have encountered.           –   ’    –   

Jan Gossaert’s Renaissance, organised in association landscape painter of great originality as well as with the Metropolitan Museum of Art in New York a master of composition. (where it was shown from  October  to  Gossaert’s highly innovative representations January ), and supported at the National Gallery of Adam and Eve were explored in the same room, by the Flemish Government and Sir Simon and culminating in the life-size painting in the oyal Lady obertson, was the fi rst exhibition dedicated Collection, on long-term loan to the Gallery, and to the artist for over forty years. It provided an again not exhibited in New York. Outstanding excellent opportunity for a better understanding examples of drawings as well as paintings of the National Gallery’s exceptional collection demonstrated Gossaert’s deep engagement with of seven works by Gossaert and his circle, as well the psychological narrative of the biblical story, and as two long-term loans. the sensuous bond between the couple, which was The largest and best known of the Gallery’s contrasted with Dürer’s more rational exploration paintings by Gossaert is The Adoration of the Magi, of the proportions of the nude fi gures. signed twice by the artist. The London showing Further examples of Gossaert’s treatment of the of the exhibition provided a unique opportunity nude in paintings, drawings, prints and designs for to consider its place in his artistic development. stained glass, along with prints and small sculptures At the start of the exhibition the beautifully detailed by his contemporaries at the courts of Philip of drawing after the Spinario (Universiteitsbibliotheek Burgundy and Margaret of Austria, were shown in Leiden, Prentenkabinet), made on Gossaert’s visit a small room evoking the cabinet rooms where such to ome in  in the train of Philip of Burgundy, Northern rulers presented their collections. These exemplifi ed his study of antique sculpture. works demonstrated both the eroticism appealing However, in the second room of the exhibition, to Philip of Burgundy in particular, and the the Adoration, painted in the years following his simultaneously playful engagement with the viewer return for Philip’s associate Daniel van Boechout, and with learned subject matter evident in a painting showed the continuity of the early Netherlandish such as Venus and Cupid (oyal Museums of Fine tradition of oil painting in Gossaert’s work, as well Arts of Belgium, Brussels), with its unique survival as a new sense of spatial ambition. It was exhibited of a detachable outer frame inscribed in Latin. adjacent to two panels from the same period – an The remaining rooms of the exhibition, displaying exceptional conjunction of two surviving parts of exceptional examples of Gossaert’s art as a portraitist a triptych, now separated: the eerie moonlit scene and as a painter of religious subjects, proved his of the Agony in the Garden (Gemäldegalerie, Berlin) complete mastery of these genres, making clear and the monochrome Saint Jerome Penitent (National the stature of this underestimated master as one Gallery of Art, Washington DC), with its steep of the most important artists of the enaissance and rocky escarpment. Both show Gossaert as a in Northern Europe.         –  

Jan Gossaert (active 1503; died 1532) Adam and Eve, about 1520 Oil on wood, 168.9 x 111.4 cm The Royal Collection

Jan Gossaert (active 1503; died 1532) Adam and Eve, about 1520 Pen and ink, white heightening on grey paper, 34.8 x 23.9 cm The Duke of Devonshire and the Trustees of the Chatsworth Settlement, Chatsworth         – 

George Bellows (1882–1925) The Big Dory, 1913 Oil on panel, 45.7 x 55.9 cm New Britain Museum of American Art, Connecticut, Harriet Russell Stanley Fund (1944.21)

George Luks (1867–1933) Knitting for the Soldiers: High Bridge Park, about 1918 Oil on canvas, 76.7 x 91.8 cm Terra Foundation for American Art, Daniel J. Terra Collection, Chicago (1999.87)        –     :         –   

American painting has a chequered history at the evoked atmospheric effects, and his highly original National Gallery. Important works by Sargent and sense of colour, all marked him out as a unique Whistler – the latter seen today as vital to French talent capable of transforming American art. Bellows avant-garde art of the late nineteenth century – worked closely with the painters of the so-called were bequeathed to the Gallery over the years but Ashcan School. Its members included obert Henri then transferred to the Tate as having more to do – a charismatic teacher – John Sloan and George with British painting. Nothing by the leading Luks, and like them Bellows committed himself Impressionist Mary Cassatt was ever acquired. to capturing the vulgar energy of American urban George Inness’s Delaware Water Gap of about  life. His Excavation at Night shows the building of (NG), an atmospheric landscape richly indebted Pennsylvania Station, one of the largest and most to Turner, was presented to the Tate in  but, daring construction projects Manhattan had yet for reasons that remain obscure, it was transferred seen. Broad, slashing strokes of paint mimic the to the National Gallery in . Today this work, unforgiving density of the earth into which, day along with Sargent’s Lord Ribblesdale (NG) – as and night, workers dig their way. a trustee, ibblesdale insisted his portrait remain in Bellows and his contemporaries were among Trafalgar Square – are the only American paintings the fi rst American artists who, choosing to make to be seen here, glorious anomalies pointing to their careers at home rather than abroad, at the an absence at the heart of the modern collection. same time invested their work with echoes of With the fi nancial help and encouragement advanced European tendencies. In his patriotic of the Terra Foundation for American Art, based scene of women busy with war work, Luks evinces in Chicago, the Gallery is rectifying the problem. knowledge of the simplifi cation of form and use of If American paintings of the fi rst order are bold, bright colour that contemporaries in Paris and prohibitively expensive, the Terra initiative Germany also were exploiting. An organiser of the now allows the National Gallery to mount loan epochal Armory Exhibition of , Bellows was exhibitions exploring aspects of American painting instrumental in introducing progressive European little known to British, or indeed European, art to sceptical American audiences. His own works audiences. The fi rst such exhibition brought twelve too, including the bold landscapes he painted on major American paintings of the early twentieth Monhegan Island, Maine, where he escaped from century from leading American institutions to Manhattan during the summer, register the thrilling oom . The majority were by the remarkable impact of the avant-garde. Bellows’s infl uence on George Bellows (–) and they were American art might have been even greater if he had seen by some , visitors. lived for longer, nonetheless, his central role in early Almost from the time he arrived in New York twentieth-century American painting has long been from Columbus, Ohio, in , to pursue a career recognised on one side of the Atlantic. Thanks to as an artist, Bellows impressed artists and critics with the opportunities afforded by Terra’s collaboration the audacity of his painting. The freedom with with the National Gallery, perhaps it will come to which he applied paint, the ease with which he be so on the other side as well.          –    :     –   

To complement the Sainsbury Wing exhibition, Jan became Dean of the Antwerp Guild. After February Gossaert’s Renaissance, a small exhibition in oom  , he disappeared from the Antwerp records introduced the painter Jan de Beer, a contemporary and it seems that he died between  and . of Gossaert’s painting in a style that became known The focus of the display was a painted triptych as ‘Antwerp Mannerism’, with which the latter was (private collection, Great Britain), an important also associated in his early career. Artists working new long-term loan for the National Gallery. in this fashion broke with earlier fi fteenth-century Displayed alongside it were fi ve drawings attributed Netherlandish models, introducing fi gures in to the painter lent by the British Museum, including expressive and extravagant poses and setting them the Study of Nine Male Heads, considered the only within elaborate, almost theatrical, architectural signed work of the artist and the cornerstone for spaces. Characteristically, these blended Gothic reconstructing Jan de Beer’s corpus. and Italian enaissance ornamental elements. Diffi culties remain in securely identifying de Beer’s Documentary information about de Beer is works and this selection related to the artist provided lacking but he was surely one of the leading artists a unique opportunity for further discussion, especially of his time in Antwerp. Born around , he since this previously rarely exhibited triptych, even seems to have been apprenticed to the painter if attributed to the artist by Max J. Friedländer since Gillis van Everen during the fi rst half of the s. the beginning of the twentieth century, has been Documented as a Master in , in  de Beer little studied by scholars.

Jan de Beer and workshop (about 1475–before 1528) Triptych: The Virgin and Child with Saints, about 1515–20 On loan from a private collection, L1100.1–3        –  

The National Gallery has no Antwerp painting in its collection comparable to the triptych, and one  of the aims of this display was also to offer a new – perspective on early Netherlandish painting to Take One Picture: An Exhibition of Work by Primary Schools the Gallery’s visitors. Inspired by Renoir’s ‘The Umbrellas’ The triptych is related in style to another 29 April – 19 September 2010 (Pinacoteca di Brera, Milan), considered to be Jan de Room B Supported by The Dorset Foundation and The Tavolozza Beer’s masterpiece, which may have been originally Foundation in the Church of the Servite Order in Venice. The Close Examination: Fakes, Mistakes and Discoveries triptych on loan also came from Venice. It is in a 30 June – 12 September 2010 Venetian eighteenth-century frame and is backed Sainsbury Wing with moulded walnut so that when closed it would Supported by the Engineering and Physical Sciences Research Council (EPSRC) have resembled a wardrobe of that period. On the Frederick Cayley Robinson: Acts of Mercy back of the central panel was discovered the seal 14 July – 17 October 2010 of John Strange (–), a British resident in Sunley Room Venice between  and . Strange was an Supported by the Wellcome Trust important collector and dealer and it was he who Clive Head: Modern Perspectives 13 October – 28 November 2010 exported the painting, which had probably been Room 1 in Venice since soon after it was painted. Venice: Canaletto and his Rivals The exhibition also included the results of the 13 October 2010 – 16 January 2011 National Gallery’s technical examinations of the Sainsbury Wing altarpiece. These researches revealed the participation Sponsored by Credit Suisse of more than one artist: the underdrawing in the Bridget Riley: Paintings and Related Work 24 November 2010 – 22 May 2011 central panel is very precise, including hatching to Sunley Room indicate areas of shadow, while in the shutters the Sponsored by Bloomberg drawing shows more freedom. Ben Johnson: Modern Perspectives With these exciting technical results as well as the 8 December 2010 – 23 January 2011 Room 1 new discoveries on provenance uncovered during the Supported by the Rootstein Hopkins Foundation preparation of this exhibition, the National Gallery Jan de Beer: Antwerp Mannerist hopes to continue to research the enigmatic triptych.  18 February – 5 June 2011 Room 14

Jan Gossaert’s Renaissance 23 February – 30 May 2011 Sainsbury Wing Supported by the Flemish Government and Sir Simon & Lady Robertson

An American Experiment: George Bellows and the Ashcan Painters 3 March – 30 May 2011 Room 1 Supported by Terra Foundation for American Art

The National Gallery would also like to thank The Bernard The seal of John Strange on Sunley Charitable Foundation for their generous support the back of the triptych. of the 2010–11 Sunley Room Exhibitions Programme         –     

‘This exhibition is as much about quality as it is and fi ve-year-olds about the little girl with about innovation ... you leave the exhibition with a hoop in the foreground. renewed faith in the fundamental creativity of The success of the Take One Picture project, children.’ (Times Education Supplement, May ) which is sponsored by The Dorset Foundation The  Take One Picture display transported and The Tavolozza Foundation, has led to the visitors to nineteenth-century Paris via the creative launching of the sister programme, Take One..., imagination of primary school pupils. The focus in regional galleries and museums throughout painting, Pierre-Auguste enoir’s The Umbrellas the country. This has established new networks (NG), painted in about –, inspired between galleries and schools, with exhibitions projects in hundreds of schools across the United of pupils’ work celebrating and illustrating the Kingdom during the preceding year, many of value of such partnerships. which were instigated following the training days Another strand of work with primary schools, for teachers held at the National Gallery. While Out of Art into Literacy, responded to the national the display itself attracted , visitors, the concern for standards in literacy. The project accompanying online exhibition reached culminated in an exhibition of pupils’ oral, written thousands more. and digital storytelling in response to specifi c For some the painting prompted enquiry narrative paintings in the collection following two about the lives of the people in it; for others it year-long projects with local teachers. The work was nineteenth-century fashion which formed from the display and accompanying e-resources, the focus of investigation. The ‘Trashion’ project supported by The Ernest Cook Trust, are now at Stalham Primary School in Norwich involved available online. The executive summary of the recycling unwanted umbrellas to create a whole Cambridge University Evaluation eport stated variety of new fashion items inspired by the that there was powerful evidence that involvement picture. Other exhibits on display included a in the project had transformed pupils’ storytelling. multi-sensory, three-dimensional reconstruction More teachers and their pupils will be getting of the painting and an animated story by four- involved in the coming year.         –        

‘Study therefore, the great works of the great masters forever … consider them as models which you are to imitate, and at the same time as rivals with whom you are to contend.’ These words of Sir Joshua eynolds are as relevant now as when he wrote them in . From the time it opened in  the National Gallery has sought to make itself available as a resource for artists and actively encourages students to use the collection. Reproduced here are drawings by two students, both after paintings by Nicolas Poussin. The fi rst is a rigorously worked yet delicate pencil study of Poussin’s A Bacchanalian Revel before a Term (NG62) made by William Wyld, a student at the Prince’s Drawing School in Shoreditch. ‘This painting seems to emit its own light’, Wyld observes. ‘Every colour-tone raises a question about that which is next to it, so the eye is never able to rest. Everything in the painting is inevitable, because it creates its own context. Studying Poussin clarifi ed what I want to achieve in my own work.’ The second drawing is an evocative charcoal study from the Landscape with a Man killed by a Snake (NG5763) by Harriet Horner of Wimbledon College of Art. It was made as part of a transcription project run by the College together with the National Gallery’s Education Department. The William Wyld artist explains how she ‘was attracted to this Study after Nicolas Poussin’s A Bacchanalian Revel before a Term painting by the strong gravitational weight that it holds, as well as fi nding it strange and compelling Harriet Horner that such a horrifi c act was taking place in such Study after Nicolas Poussin’s Landscape with a Man killed a beautiful landscape’. by a Snake In the near future, the National Gallery will be providing more facilities for students such as those from Wimbledon and the Prince’s Drawing School, which will help them prepare to work in the Gallery spaces and then to assess what they have achieved there.          –   

A horned, fi re-breathing demon emerging from Supporters 2010–2011

fl ames, a debonair, moustached gentleman wearing Access Programme a pork pie hat jauntily balanced at an angle, and a Supported by The BAND Trust young man with tumbling dreadlocks are among Associate Artist Scheme a cast of sculpted characters inspired by Quinten Supported by the Rootstein Hopkins Foundation Massys’s ‘The Ugly Duchess’ (NG) of about Exhibition Colloquia . These imaginative and intricate clay models Supported by The Elizabeth Cayzer Charitable Trust are among the works made by participants in the Friday Lates Sponsored by Credit Suisse National Gallery’s second annual series of Inside Inside Art Art outreach projects at HMYOI Feltham, a Supported by The LankellyChase Foundation juvenile prison and young offenders’ institution Myra Hess Day for young men aged fi fteen to twenty-one. Supported by The Ernest Hecht Charitable Foundation

This three-year collaboration with HMYOI Out of Art into Literacy Feltham is funded by The LankellyChase Online resources supported by The Ernest Cook Trust Foundation from  until . Inside Art Outreach Programme and Ageing Creatively consists of four week-long practical art projects Supported by The John Ellerman Foundation per year and sessions are led by freelance artists The Pigott Education Centre using prints of National Gallery paintings as a Supported by Mr Mark Pigott OBE stimulus for discussion and practical work. Artworks School Tours Supported by The Andor Charitable Trust and from the  projects were displayed at the The Steel Charitable Trust National Gallery from  February to  May . Take Art Thirty young men participated in the  Supported by The John S. Cohen Foundation

programme and drew inspiration from across the Take One Picture collection. Sassetta’s panels from the San Sepolcro Supported by The Dorset Foundation and Altarpiece (–) depicting scenes from the life The Tavolozza Foundation of Saint Francis of Assisi provided a starting point for the creation of large-scale multiple viewpoint compositions based on observational drawings of the prison drama studio, while J.M.W. Turner’s explorations of colour and light inspired students to produce paintings of sunrises and sunsets in settings ranging from a tropical beach to the mountains of Afghanistan. This engagement with the collection helped the young men involved to be more creative, to experience a sense of achievement and to improve their communication skills – all key factors in reducing their risk of reoffending.  Detail from the mosaic in the Staircase Hall of the Awakening of the Muses, completed in 1933 by Boris Anrep Detail from the mosaic in Staircase Hall of Awakening Lopokova) holding a squirrel (perhaps John Maynard Keynes) (see p. 63). (Lydia (1883–1969): Terpsichore

        –       

The Gallery’s long-running serial publication, of interdisciplinary studies of works of art where the National Gallery Technical Bulletin, founded scientifi c analysis and technical evaluation have in  and currently supported by Mrs Charles contributed new dimensions to art-historical Wrightsman through the American Friends of research; this style has been much emulated in the National Gallery, reached its thirtieth volume recent years in other journals. It is hoped that in . To mark the event, an international Studying Old Master Paintings: Technology and conference on a technical theme was held at the Practice will be a durable contribution to this National Gallery in September . The post-print interdisciplinary fi eld and the Gallery is particularly volume that resulted from the conference has now grateful to Elizabeth Cayzer for her generous and been published by Archetype Publications in enlightened support for the book’s publication. association with the National Gallery under the title Public expectation of the speed and quality of Studying Old Master Paintings: Technology and Practice the publication of scholarly research in the arts has (ed. M. Spring et al., London ). It contains forty been changing in the last few years encouraged by articles on the technical history of paintings and a growing faith in the seriousness and reliability related material studies, spanning over  years of of electronic publications. For this reason, volume the development of European painting practice,  of the National Gallery Technical Bulletin was from Guido da Siena to Edvard Munch. Thirty-fi ve published for the fi rst time as an online version on of the articles were presented as papers at the the Gallery’s website (www.nationalgallery.org.uk/ conference by delegates on very diverse subjects, technical-bulletin/technical-bulletin-vol-). It with six further articles contributed to round out appeared in two tranches in June and December some broader aspects of the history of artists’ . In order to serve better a specialist interest materials. Two papers, one on Leonardo’s Virgin in the collection, and a growing public engagement of the Rocks (NG) and the other on Murillo’s with the material study of European Old Master Christ healing the Paralytic at the Pool of Bethesda paintings, the electronic Technical Bulletin is available (NG; fi g s  & ), were presented by National as a download without charge to readers. This form Gallery staff. has a great advantage over conventional print, that is The Technical Bulletin has been infl uential over the facility to link interactive images with the text the course of its lifetime in establishing the value of an article in ways that allow detailed exploration 1 Detail from Bartolomé Esteban Murillo, Christ healing the Paralytic at the Pool of Bethesda, 1667–70 (NG5931)

2 Cross-section at high magnifi cation under the microscope of Saint Peter’s cloak in Murillo’s Christ healing the Paralytic at the Pool of Bethesda, showing paint layers containing earth pigments, red lakes, charcoal black and other materials.         – 

3 Detail from Andrea del Verrocchio and assistant (Lorenzo di Credi), The Virgin and Child with Two Angels, about 1476–8 (NG296)

4 Screen shot of ‘zooming image’ page for Verrocchio’s Virgin and Child with Two Angels with infrared refl ectogram images for the reader to select and explore in the main window.        –   of technical documents, for example X-radiographs and infrared refl ectogram images of paintings. Several articles in the web version of volume  of the Technical Bulletin enable readers to follow a link to an interactive ‘zooming viewer’ page containing technical images (fi gs  & ). The Bulletin was also published in print form, to meet the needs of libraries and those who prefer conventional books and journals. Volume  of the Technical Bulletin is in the planning stage. Scientifi c analysis of paintings remains a signifi cant part of the process of examining the collection for the publishing programme of new systematic catalogues. Work on French nineteenth- century landscapes of the Barbizon School has been a focus during the year, in preparation for a catalogue of this subject scheduled for publication in , which will appear both in conventional printed book form and as selected entries compiled for the National Gallery’s website. Although a 5 Detail from Jean-Baptiste-Camille Corot, The Leaning very well-known group of artists – including Tree Trunk, about 1860–5 (NG2625), showing highlight touches of cadmium orange at the surface. Jean-Baptiste-Camille Corot, Charles-François Daubigny, Jean-François Millet and Théodore ousseau – the techniques of the Barbizon painters have been relatively neglected in comparison with Supporters 2010–2011 much more closely studied Impressionist pictures. Mellon Digital Documentation Project: Detailed analysis of the materials of the paintings The National Gallery’s Ten Paintings by Raphael involved, particularly the use of pigments, has Supported by The Andrew W. Mellon Foundation revealed signifi cant trends that can be applied to the National Gallery Technical Bulletin Supported by the American Friends of the chronology of these works, and in turn feeds back National Gallery with a generous donation into a fuller understanding of the history of French from Mrs Charles Wrightsman painting technique in the nineteenth century. One Research in digital imaging new fi nding is that cadmium yellow and orange Supported by Hewlett Packard Ltd have been identifi ed in late paintings by Corot ( fi g . ), and also much earlier in an unfi nished picture by Paul Huet, possibly from about . Later paintings by Corot have been demonstrated in some cases to contain zinc white, whereas in the earlier works lead white predominates in his palette. The complexity of Corot’s method of painting through his long career continues to emerge.          –       :     

This year has seen the publication of the catalogue illustration is a detail from another predella roundel of The Italian Paintings before  by Dillian on the same painting which contains an image of Gordon, OBE. Dr Gordon, who retired last year, Saint Benedict. It shows the sharp-toothed black wrote the fi rst volume of The Fifteenth-Century hog which is painted over the punched border and Italian Paintings, which appeared in , but before on top of the white habit of the saint. Gordon points that, in , she was responsible for revising the out that it has been added and speculates that this catalogue of these very early Italian paintings which may have taken place after the Cistercian nuns for Martin Davies compiled in  and himself revised whom it had been painted sold the work to a in . Apart from the important new acquisitions confraternity dedicated to Saint Anthony Abbot made since , much new scholarship has, of (whose attribute was a hog) who then converted course, emerged but the most obvious change is in Saint Benedict into their own patron saint. the appearance of the catalogue − a great triumph The third illustration is a black and white for the publications department of the National photograph made of the Apocalyptic Christ painted Gallery Company − with its illustrations not only by Giovanni da Milano in about – (NG.), of National Gallery paintings but also of comparative one of three pinnacle panels formerly attached to the material, details, X-radiograph and microscopic Baptism Altarpiece by Niccolò di Pietro Gerini (see detail (photomicrography), and infrared pp. –). This was made over half a century ago refl ectograms. after cleaning and before restoration. The double Four illustrations selected here represent some line across the mouth is all that remains of a sword. of the topics which are now of concern to the Gordon quotes from the description in the Book scholar researching in this fi eld. The fi rst is a detail of evelation of a man with hair and beard white of the roundel containing the central image of the as wool, ‘girt about the paps with a golden girdle’ Virgin and Child in the predella of Jacopo di (hence the gold band across the chest here). ‘But of Cione’s Crucifi xion (NG) of –, showing his mouth went a sharp two edged sword’ which the the wide range of punches employed for the halo, artist preferred to represent not as a tongue (which framing mouldings and the background to the vine- would have entailed very diffi cult foreshortening) leaf pastiglia relief: at least two sizes of ring punch, but gripped in the teeth, pirate-style. The sword three sizes of dot punch, a four-prong punch for was probably rendered in mordant silver and was stippling, and a six-petal rosette punch. The second perhaps deleted when it turned black or because the        –  

image looked too grotesque. The fi nal illustration shows the painting as it was restored. Gordon has a very informative note on the teeth, which are no longer apparent. A catalogue like this will affect the way that visitors to the National Gallery appreciate these paintings, even if only indirectly. A lecturer might for example encourage students to look closely at the minute punch marks. A label may explain the sword which should be present or the hog which should not. In due course it is to be hoped that these details and many others will be available on the Gallery’s website. Some of the technical observations made here featured in the exhibition Art in the Making: Italian Painting before  mounted in . In some cases new interpretations have been given to them, and no doubt further revisions will be made in the future. Meanwhile work on our catalogues is not the only form of scholarly research being undertaken in the National Gallery. Students of Christianity and the Arts, a collaborative MA course with King’s College, London University, will perhaps be able to trace the entire history of images of the Apocalyptic Christ and fi nd other examples of deleted swords. A student using the provenance index, which is being deepened and extended by the National Gallery in Jacopo di Cione (probably active 1362; died 1398/1400) collaboration with the Getty esearch Institute, may Detail of the punch marks around the roundel with the well discover exactly when and from whom William Virgin and Child in the predella of the Crucifi xion (NG1468) Beckford, one of the greatest of British collectors, Detail of the hog added to the roundel with Saint Benedict acquired Jacopo di Cione’s Crucifi xion. Those in the predella of the Crucifi xion (NG1468) working on the history of display and framing may be able to confi rm that this painting once adorned a sacristry and should also be able to discover where it was displayed in the gothic revival Fonthill Abbey that James Wyatt built for William Beckford around the turn of the nineteenth century, and to consider how it related to the jewelled metalwork which Beckford collected and commissioned. The illustrations chosen here remind us not only of the three main strands of the research which the Suppported byTheDorsetFoundation Harry M.Weinrebe CuratorialAssistant Supported byMr&MrsDanielKatzandChrisRokos Ferrarese Painting Research FellowshipinSixteenth-Century Supported byThePidemFund Pidem CuratorialAssistant Arthur andHollyMagillFoundation Supported byArturo&HollyMelosithroughthe National GalleryCataloguesseries Supported byHorizonAssetLtd Myojin CuratorofSixteenth-CenturyItalianPainting Sir DenisMahonCHCBERBA Society), TheElizabethCayzerCharitableTrust and Supported byThePilgrimTrust (throughtheWalpole Eastlake Research Fellowship Supported byMrStefanoPessina of Research Curator ofItalianPaintingsbefore 1500andHead Supporters 2010–2011 of theGallery’scontributiontoscholarship. all beenforgotten.Itisamilestoneinthehistory exhibition orofthattelevisionprogramme,have declining grant,thepopularityofthisloan collection, theimpactofincreasingfootfalland long afterthecurrentdisplaysofpermanent but alsohowthesethreestrandsareinterlaced. art andreligion,collectingdisplay− materials andtechniques,therelationshipbetween National Galleryseekstofoster−thestudyof The ApocalypticChristafterrestoration. cleaning andbeforerestoration(NG579.6) Detail oftheheadApocalyptic Christafter Giovanni daMilano(active1346–1369?) Scholars will be consulting Gordon’s great work Scholars willbeconsultingGordon’sgreatwork 

Detail of lettering on the Sainsbury Wing staircase, designed by Michael Harvey and cut in Chamesson limestone by Harvey with Annet Sterling, Brenda Berman and Martin Cook in 1990 (see p. 63).

        –       Thanks to the many acts of generosity by individual this year. A grant from the EPSC supported the donors, grant-making trusts and the corporate popular summer exhibition Close Examination: sector, the National Gallery continued to thrive Fakes, Mistakes and Discoveries, and a new partnership during a year of straitened public fi nances. Private with Terra Foundation of American Art resulted in support from long-standing friends and more recent the well-received exhibition An American Experiment: acquaintances offered fi nancial security and a fi llip to George Bellows and the Ashcan Painters. A major grant the Gallery during a challenging year. The activities from The Garfi eld Weston Foundation provided described throughout this eview have been made core funding at a time when support for Gallery- possible as a result of private support, for which the wide activities was greatly needed. Gallery is sincerely grateful. The Gallery continued to benefi t from strong links The National Gallery was particularly fortunate this with the corporate sector, and particularly from its year in receiving two exceptional gifts. In November, successful partnership with Credit Suisse. The third the Education Department benefi ted from a major gift year of this partnership saw their sponsored exhibition, of £ million from Mark Pigott OBE, helping the Venice: Canaletto and his Rivals, and the continuation Gallery to enhance its educational programme and of education initiatives with Credit Suisse’s partner to renovate and improve its teaching facilities. The charities, most notably the Alzheimer’s Society. Gallery has created the Pigott Education Centre in Bloomberg sponsored an exhibition of paintings honour of this outstanding donation. by Bridget iley, providing an opportunity for visitors Later in the year, The Hintze Family Charitable to investigate the relationship between iley’s works Foundation committed a gift of £ million towards and the Gallery’s collection of Old Master paintings. enhancing the collection and enabling the continued The Gallery’s Corporate Membership programme refurbishment of galleries, helping to improve the fl ourished in the year under review. display spaces and environmental conditions Finally, the Gallery wishes to pay tribute to the throughout the Gallery. In recognition of their extraordinary generosity of four great philanthropists, generosity, the recently renovated oom , each of whom has made a lasting difference through displaying works such as aphael’s Madonna of the a lifetime of charitable work. We remember with Pinks and Michelangelo’s The Entombment, has been profound gratitude the friendship and support named the Dorothy and Michael Hintze oom. shown to the Gallery by Dr Mortimer Sackler, Lord In addition to these remarkable gifts, generous Wolfson of Marylebone, Mr John Sunley and Sir contributions from individual donors helped Denis Mahon. The personal contribution made by purchase picture frames and fund curatorial posts, each has, among many other things, enhanced the research projects and publications, as well as collection, transformed the appearance of gallery activities for scholars, schools and those who rooms and sustained the annual programme of benefi t from special access to the collection. exhibitions in a dedicated exhibition space. Their Support from charitable trusts and foundations immense generosity has played a vital role in increased, to the benefi t of exhibitions in particular enriching the collection and ensuring the Gallery        –   continues to inspire, educate and delight millions to those who have chosen to remember the Gallery of visitors every year. in their will, and to those who have chosen to To the lenders of paintings, the individual remain anonymous, the Gallery owes an enormous donors, trusts and companies named in this eview, debt of gratitude. 

Lenders to the National Gallery Major supporters of the Lord Kerr of Kinlochard National Gallery Sir Henry & Lady Keswick The Gallery is pleased to acknowledge Mr Jack Kirkland all those listed below, and those who The Director and Trustees would like to Mr & Mrs James Kirkman choose to remain anonymous, who have thank the following, and those who wish Mr & Mrs David Kowitz lent works to the collection between to remain anonymous, for their generous The LankellyChase Foundation April 2010 and March 2011. support of the National Gallery during Hugues & Emmanuelle Lepic the period April 2010 to March 2011. Her Majesty The Queen Cecil and Hilda Lewis Charitable Trust The Warden and Fellows of All Souls Mr & Mrs Julian Agnew José-Ramón & Mantina Lòpez-Portillo College, Oxford American Friends of the National Gallery, Walter & Barbara Marais The British Museum London The Joseph F. McCrindle Foundation Andrew Brownsword Arts Foundation The Andor Charitable Trust Mr Keir McGuinness Compton Verney House Trust The Fagus Anstruther Memorial Trust The Andrew W. Mellon Foundation Dunrobin Castle Collection The Art Fund Arturo & Holly Melosi through the Arthur The Gere Collection The BAND Trust and Holly Magill Foundation The Government Art Collection Bloomberg L.P. The Millichope Foundation Graff Diamonds Ltd The Estate of Mrs Kathleen Bush The Monument Trust Sir James & Lady Graham The Arpad A. Busson Foundation Museums, Libraries and Archives Council HM Government The Elizabeth Cayzer Charitable Trust The National Gallery Trust The Earl of Halifax Mr L. Chase National Heritage Memorial Fund The Loyd Collection The John S. Cohen Foundation The Marchioness of Normanby Sir Denis Mahon CH CBE FBA The Ernest Cook Trust Mr Stefano Pessina Mauritshuis, The Hague Credit Suisse The Pidem Fund The Peter Meyer Collection DCMS / Wolfson Museums and Galleries Mr Mark Pigott OBE National Museums Liverpool, Walker Improvement Fund The Pilgrim Trust Art Gallery Mr Felix Dennis Timothy & Madeleine Plaut National Portrait Gallery, London Department for Culture, Media and Sport Sir Simon & Lady Robertson Rijksmuseum, Amsterdam The Dorset Foundation Chris Rokos The Trustees of the Duke of Rutland’s The John Ellerman Foundation Rootstein Hopkins Foundation Settlement, Grantham Engineering and Physical Sciences Research Lord & Lady Rothschild The Rector and Churchwardens of St Mary Council (EPSRC) Basil Samuel Charitable Trust Magdalene Church, Littleton Judith Fairhurst Miss Dasha Shenkman The Society of Antiquaries of London The Flemish Government The Steel Charitable Trust The Trustees, Stansted Park Foundation Miss Elizabeth Floyd Sir Angus & Lady Stirling Tate, London (on loan as part of the Tate / The Foyle Foundation The Bernard Sunley Charitable Foundation National Gallery Exchange) Ann and Gordon Getty Foundation The Tavolozza Foundation The Master Governor of Trinity Hospital, Miss Ariadne Getty Terra Foundation for American Art Retford Mr Mark Getty Mr & Mrs Richard Thornton Van Gogh Museum, Amsterdam (Vincent Mr & Mrs Thomas Griffi n The Vivmar Foundation van Gogh Foundation) The Ernest Hecht Charitable Foundation Mr Guy Voyce The Earl of Verulam Christoph & Katrin Henkel The Weinstock Fund Victoria and Albert Museum, London Lady Heseltine Wellcome Trust Hewlett Packard Ltd Patricia Wengraf Ltd The Hintze Family Charitable Foundation The Garfi eld Weston Foundation Horizon Asset Ltd Mrs Mary Weston CBE Dr David R. Ives F.R.C.P. Mr Michael G. Wilson OBE The Jerusalem Trust The Wolfson Foundation Mr & Mrs Daniel Katz Mrs Charles Wrightsman Sir Sydney & Lady Kentridge         – 

If you would like to support the National The George Beaumont Group Sir Nicholas & Lady Bacon Gallery, please contact the Development Sir Jack & Lady Baer The National Gallery would like to thank Offi ce on 020 7747 5875, or email Dr Bettina Bahlsen members of the George Beaumont Group [email protected]. Mr & Mrs Nicholas Baring for their annual contribution towards the The Barness Trust Gallery’s work. Their support of the Group Mr & Mrs Stephen Barry has never been more generous or loyal Corporate Membership Mr & Mrs Sid Bass with many giving above and beyond The Duke of Beaufort The corporate membership programme their annual donation. Mr & Mrs Charles Beddington provides a vital source of income which each The Gallery is grateful to the following Mr & Mrs Robert Berg year helps the Gallery to fund programmes individuals, and to those who wish to Mr Elliott Bernerd across all areas of activity. We would like remain anonymous, who have given to the Mr & Mrs Konrad Bernheimer to thank the following companies for their Gallery through the George Beaumont Mrs Diana Berry generous and loyal support: Group over this past year. Mr & Mrs John Treacy Beyer In particular, the Gallery wishes to Corporate Benefactors Mr & Mrs Benjamin Bonas thank Flavia Ormond for her dedicated CQS Mr David Borthwick & work since taking the role of Chair of the Credit Suisse Mrs Molly Lowell Borthwick George Beaumont Group in March 2010. Eurostar™ Ms Miel de Botton Finmeccanica Life Members Mr Mark Brockbank Grant Thornton UK LLP Mr & Mrs Marcus Agius Mr & Mrs Michael Burrell Hewlett Packard Ltd Lady Alexander of Weedon Mr Toby Campbell Océ (UK) Ltd Mr & Mrs Harold Blatt Mr Charles Cator Mr & Mrs Charles Booth-Clibborn The Marchese & Marchesa Cattaneo Adorno Corporate Contributors Mr Ivor Braka The Marchesa Consuelo Cattaneo della Anglo American plc Mrs Deborah Brice Volta Adorno Apax Partners Sir Ronald & Lady Cohen Mr & Mrs Antoine Chenevière Ashurst Michael & Licia Crystal The Marquess of Cholmondeley Bank of America Merrill Lynch Sir Harry & Lady Djanogly Mr & Mrs Henry Cobbe BCL Burton Copeland Mr Johannes de Gier Dr David Cohen CBE Bloomberg L.P. Mme Alice Goldet Mrs Veronica Cohen BNP Paribas Sir Nicholas & Lady Goodison Mr Richard Collins Debevoise & Plimpton LLP Mr & Mrs Thomas Griffi n Mr Juan Corbella Egon Zehnder Sir Joseph Hotung Mrs Cathy Corbett Ernst & Young LLP Mr & Mrs James Kirkman Mr & Mrs Karl Dannenbaum Esso Benefi t Trust Lady Lever The Countess of Dartmouth Farrer & Co. Mr Michael Mackenzie Mr & Mrs Michel David-Weill GDF SUEZ Energy UK Mr Donald Moore Mr & Mrs Richard Deutsch Goldman Sachs International Mr & Mrs Shigeru Myojin Polly Devlin OBE Land Securities Group PLC Miss Araceli Navarro The Marquess & Marchioness of Douro Latham & Watkins Mr Mark Pigott OBE Dame Vivien Duffi eld Lazard Mr Leopold de Rothschild CBE Mrs Maurice Dwek Linklaters LLP Mr & Mrs Jeremy Sacher Mr Guy & The Hon. Mrs Elliott Moody’s Mr & Mrs John Sacher Mr Henry Elphick PriceWaterhouseCoopers Mr & Mrs Michael Sacher Mr & Mrs Louis Elson Quilter Mr & Mrs Anthony Salz Mr Eric Fellner Rio Tinto Mr Adrian Sassoon Mr & Mrs Nicholas Ferguson Russell Reynolds Associates Lord & Lady Sassoon KT Sir Ewen & Lady Fergusson Santander Mr & Mrs Nicholas Stanley Mr Hugo de Ferranti Sarasin & Partners Hugh & Catherine Stevenson Mrs Margaret Floyd, Miss Elizabeth Floyd Schlumberger The Lady Juliet Tadgell & Mrs Caroline Coaker in memory of Shell Mr & Mrs Richard Thornton Mr Jo Floyd Slaughter and May Mr & Mrs Michael Zilkha Mr Sam Fogg SportsMark Mr & Mrs Michael Fowle Members If you would like to fi nd out more Mr Gerald Fox Mr & Mrs Julian Agnew about the Gallery’s corporate membership Mr & Mrs Eric Franck Lady Agnew scheme, please contact Alessandro Pisu Mr & Mrs Andrew Fraser Mr & Mrs Peter Andreae on 020 7747 5875, or email Miss Haruko Fukuda Miss Vanessa Aubry [email protected]. Lord & Lady Gavron        –  

Mr & Mrs Robin Geffen Mrs Carol Michaelson Donations to the American Friends Mr & Mrs Jonathan Gestetner Mr & Mrs Emmanuel Moatti of the National Gallery, London Inc. Mr Christopher Gibbs Mr & Mrs John Morton Morris The Director and Trustees would like to thank Mr & Mrs Bruce Ginsberg Mr & Mrs Sherif Nadar the following, and those who wish to remain Mr Christophe Gollut Mr William Northfi eld anonymous, for their generous support Mr Andrew Green QC & Ms Hirschl Mr & Mrs Richard Oldfi eld during the period April 2010 to March 2011. Mrs Barbara Green Mr & Mrs Nicholas Oppenheim Mr Jonathan Green Mrs Flavia Ormond Mr & Mrs John Treacy Beyer Mrs Marilyn Green Mr Jocelyn Ormond Mr & Mrs Harold Blatt Mr Louis Greig Mr & Mrs Simon Palley Mr David Borthwick & Mr & Mrs Gordon Grender Mrs Kathrine Palmer Mrs Molly Lowell Borthwick Sir Ronald Grierson Mr & Mrs Ugo Pierucci Ann & Gordon Getty Foundation Mr & Mrs Jean de Gunzburg Barbara, Lady Poole Christoph & Katrin Henkel Lady Hamlyn The Countess of Portsmouth Mr & Mrs Robert Johnson through the Robert Mrs Linda Heathcoat-Amory Mrs Ivetta Rabinovich and Sherry Johnson Charitable Trust Christoph & Katrin Henkel Lady Rayne Mr Norman Kurland Mr Jacques Hennessy Mr & Mrs Charles Rolls Mr & Mrs George Lewis Mr Roman Herzig Mrs Sarah Ross Goobey Mr Asbjørn R. Lunde Lady Heseltine Hannah Rothschild The Joseph F. McCrindle Foundation Mr & Mrs David Heyman Lord & Lady Rothschild The Andrew W. Mellon Foundation Mr & Mrs Charles Hoare Lord & Lady Sainsbury Mr Mark Pigott OBE Mrs Catrina A. Hobhouse Mr & Mrs James Sainsbury Timothy & Madeleine Plaut Mr & Mrs Michael Hue-Williams Sir Timothy & Lady Sainsbury Mr Matthew Santos & Mrs Mary Kuusisto Mr Terry Hughes Mrs Coral Samuel CBE Miss Dasha Shenkman Mr Bernard Hunter Mr & Mrs Victor Sandelson Mr Peter Soros Mrs Jacqueline Hyer Mr Matthew Santos & Mrs Mary Kuusisto Mr Michael G. Wilson OBE Mr & Mrs Robin Hyman Mr & Mrs Henrik Schliemann Mrs Charles Wrightsman Lady Jacomb Mr Peter Scott QC CBE Mr & Mrs Michael Zilkha Mr & Mrs Robert Johnson Mr & Mrs Charles Sebag-Montefi ore Mr & Mrs Paul Josefowitz Mr Nick Segal & Ms Genevieve Muinzer Mr & Mrs Daniel Katz The Countess of Shaftesbury Legacies to the National Gallery Sir Henry & Lady Keswick Victoria Sharp Mr & Mrs Simon Keswick Miss Dasha Shenkman The National Gallery is indebted to those Mr & Mrs Naguib Kheraj Mr & Mrs Michael Simpson individuals who, over the years, have Mr & Mrs James King Mr & Mrs Stephen Somerville demonstrated their generosity and foresight Mr Jack Kirkland Mr Peter Soros in remembering the Gallery in their wills. Mr & Mrs David Koetser Sir Angus & Lady Stirling The Gallery wishes to express its profound Mr & Mrs Norman Kurland Mr Peter Stormonth Darling gratitude for the legacies received this year Dr Antony & The Hon. Mrs Laurent Lady Strathmore & Mrs Emma Matthews from Mr Geoffrey Akerman, Mrs Martha Mr & Mrs Peter Leaver Mr James Swartz Doris Bailey, Mrs Eileen Eva Birtles, Mr J. The Hon. James & Mrs Leigh-Pemberton Mr & Mrs Philip Swinstead Curry, Mr David Medd OBE, Mr Clive John Bradley & Hilary Letwin Mr & Mrs Rhoddy Swire Nowell, Mr Barry Hart Parsons and Miss Mr David Leventhal Mr John Tackaberry Peggy Joan Strawson. Mr & Mrs George Lewis Sir Anthony & Lady Tennant Our gratitude to all those who have left Dr Hilda Lewis PhD The Hon. Michael D.D. Tollemache a gift in their will to the Gallery is expressed Ms Laura Lindsay Baron & Baroness Willem van Dedem in a memorial book of thanks, on Viscount Linley Mr & Mrs Johnny Van Haeften permanent display in the vestibule inside Sir Sydney & Lady Lipworth Countess Cornelia von Rittberg the Sir Paul Getty Entrance. Dr & Mrs José-Ramón Lòpez-Portillo Mr Edward Wakefi eld Mr Asbjørn R. Lunde The Hon. Mrs Simon Weinstock If you would like to fi nd out about leaving Ms Daniella Luxembourg Mrs Mary Weston CBE a gift in your will to the National Gallery, Mr & Mrs George Magan Miss Maxine White & Mr James Mortimer please contact Marisa Hamilton on 020 Sir Denis Mahon CH CBE FBA Mr & Mrs Charles Wilkes 7747 5982, or email development@ng- Mr & Mrs Walter Marais Lady Wolfson of Marylebone london.org.uk. Please be assured that any Marina, Lady Marks Mr & Mrs Henry Wyndham enquiries will be treated in strict Lord & Lady Marks of Broughton confi dence. Copies of the leafl et entitled Mr & Mrs James Mayor Leaving a Gift in your Will are also available Mr Keir McGuinness & Dr Alex Hooi from Information Desks within the Gallery.         – 

 

Government Grant in Aid remains the Gallery’s The Gallery’s total charitable expenditure principal source of funds. For the year ended  of £. million for / was less than that March , the Gallery’s Grant in Aid for running for the prior year (/ £.m), even after costs was £. million, with an additional grant exceptional items of £. million relating to of £. million restricted to expenditure on voluntary exit costs to be paid in /. The capital, including ongoing essential capital repairs. Gallery continues to focus on maintaining tight The Gallery faces signifi cant and sustained cuts budgets and controls and implemented a number to Grant in Aid over the next four years, which of effi ciency measures during the year in order will make private income even more critical to the to manage the reduction in public funding. future well-being of the Gallery. Membership, The number of visitors to the Gallery increased donations and support from the corporate sector, again this year, by .% (/ .%) to trusts and foundations, and private individuals are . million.  vitally important for the Gallery’s programme of exhibitions, programmes and outreach work. Total incoming resources this year, including donations for acquisitions of £. million, were £. million, .% lower than in / (£.m). Donations were higher in / because of the acquisition of a painting under the Acceptance in Lieu scheme.        –  

Grant in Aid as a proportion of income (excluding donations for acquisitions) (£millions rebased to 2010/11 prices)

45 Other self-generated income

40 Grant in Aid

35

30

25

20

15

10

5 2007/8 2008/9 2009/10 2010/11

Income 2010/11 Operating Expenditure 2010/11 (excluding donations for acquisitions)

Sponsorship and donations £1.8m Care of the collection £9.6m Investment income £0.9m Governance costs £0.2m Grant in Aid £28.2m Exceptional item £0.5m Other income £4.9m Access to the collection £12.5m Educational activities £1.7m Exhibitions £2m Study of the collection £2.2m Cost of generating funds £1.4m

Number of Visitors (millions) Exhibition Attendance 2010/11

6 Take One Picture* 57,030

5 Close Examination: Fakes, Mistakes and Discoveries* 119,811 Frederick Cayley Robinson: Acts of Mercy* 133,931 4 Clive Head: Modern Perspectives* 73,952 Venice: Canaletto and his Rivals 122,731 3 Bridget Riley: Paintings and Related Work* 272,534 2 Ben Johnson: Modern Perspectives* 73,138 Jan Gossaert’s Renaissance 44,128 1 An American Experiment: George Bellows and the Ashcan Painters* 98,100

0 2007/8 2008/9 2009/10 20010/11 Free exhibitions are indicated by an asterisk         –      The National Gallery Company (NGC) achieved a Publishing remains a core activity. Catalogue net profi t for the year of £, (/ £,), sales for the  autumn exhibition Venice: after payments to the Gallery of £, (/ Canaletto and his Rivals totalled £,, boosted £,). In total, the Company achieved sales of by additional sales of the paperback to the National £.m, with contributions of £m from external Gallery of Art, Washington and their sponsors, and publishing sales, product licensing, catering and by four simultaneous foreign language co-editions. royalties from the Picture Library. Business through the Picture Library was solid Sales generated via the Gallery shops were with revenue of £, (/ £,). % down against the previous fi nancial year, a The Company plans to widen territorial alliances disappointing result in the light of an increase with new agency distribution to increase revenues, of just over % in visitors to the National Gallery. building on the strategy implemented in . Average spends per customer were % better than In addition, brand licensing initiatives generated the prior year; however conversions dropped by £, (/ £,). .% over the year to .%. Strategic initiatives The Gallery’s cafés and restaurants, operated to reverse this trend are being implemented. by Peyton & Byrne, generated revenues of £.m A major development this year was the upgrade and a contribution to the Group of £, of the online shop in September . The new (/ £,). Key performance indicators website is signifi cantly better in terms of navigation refl ect the trends in the Gallery shops with average and design, more aligned with the Gallery website spends per customer increasing by % to £. and now fully integrated with our other business and conversion dropping by .% to .%. systems. The site delivered a % increase in The Company maintained tight control of revenue against / and the team is committed expenditure in response to disappointing trading, to focusing on this revenue stream to increase with savings of £, against last year.  contribution as part of NGC’s three-year plan.

Payments to the National Gallery and National Gallery Trust Revenue Analysis 2010/11

2,000,000 National Gallery Trust National Gallery Stores 76.6% 1,500,000 Catering 7.1% Publishing/Trade 4% Picture Library 3.5% 1,000,000 E-commerce/Mail Order 3.8% Business Development 1.1%

500,000

2007/8 2008/9 2009/10 2010/11        –   

The following titles were published between 1 April 2010 and 31 March 2011

Exhibition Catalogues Venice: Canaletto and his Rivals Written by Judy Egerton / DVD narrated Written and narrated by Leah Kharibian by Alan Bennett Venice: Canaletto and his Rivals Approx. 35 minutes, £9.99, October 2010 190 x 180 mm; 80 pp; 44 colour illustrations Charles Beddington, with a contribution and 13 black and white illustrations by Amanda Bradley The National Gallery Visitor’s Guide (with Hardback £14.99, February 2011 285 x 245 mm; 192 pp; 137 colour and foreign language subtitles) 14 black and white illustrations Written by Louise Govier Van Eyck to Gossaert: Towards Hardback £35.00 / Paperback £19.99, Approx. 170 minutes, £11.99, November 2010 a Northern Renaissance October 2010 Susan Frances Jones Van Eyck to Gossaert: Towards a 270 x 210 mm; 144 pp; 92 colour and Bridget Riley Northern Renaissance 2 black and white illustrations Colin Wiggins, with Michael Bracewell Written and narrated by Leah Kharibian Hardback £19.99 / Paperback £14.99, and Marla Prather Approx. 60 minutes, £9.99, February 2011 February 2011 280 x 250 mm; 78 pp; 49 colour and 4 black and white illustrations Trade Titles Paperback with fl aps £9.99, November 2010 Co-editions and Co-publications A Closer Look: Allegory Venecia: Canaletto y sus Rivales An American Experiment: George Bellows Erika Langmuir (Spanish edition of Venice: Canaletto and and the Ashcan Painters 210 x 148 mm; 96 pp; 75 colour illustrations his Rivals published by Editorial Nerea) David Peters Corbett, with Katherine Paperback £6.99, May 2010 Bourguignon and Christopher Riopelle Venedig: Canaletto und seine Rivalen A Closer Look: Angels 236 x 196 mm; 56 pp; 27 colour illustrations (German edition of Venice: Canaletto and Erika Langmuir Paperback with fl aps £7.99, February 2011 his Rivals published by Belser Verlag) Supported by Terra Foundation for 210 x 148 mm; 96 pp; 78 colour illustrations American Art Paperback £6.99, May 2010 Venise: Canaletto et ses Rivaux (French edition of Venice: Canaletto and A Closer Look: Deceptions and Discoveries his Rivals published by Mercatorfonds) National Gallery Guides Marjorie E. Wieseman 210 x 148 mm; 96 pp; 96 colour illustrations Venezia: Canaletto ei suoi Rivali Gallery Map and Tour: The National Gallery Paperback £6.99, June 2010 (Italian edition of Venice: Canaletto and Visitor’s Guides his Rivals published by Mercatorfonds) Impressionism and Beyond; Life of Christ; One Hundred Great Paintings Looking with Children; Masterpieces Louise Govier The Usborne Impressionists Sticker Book Louise Govier 265 x 245 mm; 208 pp; 100 colour illustrations Sarah Courtauld and Kate Davies 245 x 190 mm; 10 pp; 24 colour illustrations Hardback £24.99, October 2010 300 x 234 mm; 42pp; 32 pp of colour and 1 black and white illustration illustrations and 10 pp of colour stickers The London Painting Trail (Moleskine) Leafl et £3.00, July 2010 Paperback £6.99, November 2010 Ed Sowerby 140 x 90 mm; 240 pp; 20 colour illustrations The Usborne Art Colouring Book Academic Books Hardback £12.50, October 2010 Rosie Dickens 300 x 234 mm; 34 pp; 27 colour illustrations National Gallery Technical Bulletin: Volume 31 A Closer Look: Frames Paperback £5.99, November 2010 Series Editor: Ashok Roy Nicholas Penny 297 x 210 mm; 128 pp; 165 colour and 210 x 148 mm; 96 pp; 72 colour illustrations Usborne Impressionist Painting (Art Cards) 47 black and white illustrations Paperback £6.99, November 2010 154 x 98 mm; 30 cards; 30 colour illustrations Paperback £40.00 and online at www. Art Cards £6.99, November 2010 A Closer Look: Still Life nationalgallery.org.uk/technical-bulletin/ (All co-published with Usborne) Erika Langmuir technical-bulletin-vol-31, October 2010 210 x 148 mm; 96 pp; 69 colour illustrations Director’s Choice: The National Gallery, London Supported by the American Friends of the Paperback £6.99, November 2010 Nicholas Penny National Gallery with a generous donation 190 x 168 mm, 80 pp, 37 colour illustrations from Mrs Charles Wrightsman From Painting to Pattern (Moleskine) Paperback with fl aps £9.99, January 2011 Katharine Reeve (Co-publication with Scala) DVDs 140 x 90 mm; 48 pp booklet with memo cards; 40 colour illustrations Katie’s National Gallery Adventure Close Examination: Fakes, Mistakes, Paperback £9.99, November 2010 James Mayhew and Discoveries 210 x 148 mm; 12 pp; 7 colour illustrations Hogarth’s Marriage A-la-Mode (Book and Written and narrated by James Heard Leafl et £1.00, February 2011 DVD re-issue) Approx. 30 minutes, £9.99, June 2010 (Co-publication with Orchard Books)         –         

Trustees (with dates of appointment) Development Committee Remuneration Committee Mark Getty 1999 (Chair) Lord Kerr of Kinlochard (Chair until Mark Getty (Chair) Professor Julia Higgins 2001 (until April 2010) May 2010) Patricia Lankester John Lessore 2003 (until February 2011) Mark Getty (Interim Chair from Caroline Thomson Simon Burke 2003 (until February 2011) May to October 2010) Trust Funds Investment Committee Lady Normanby 2004 John Nelson (Chair from October 2010) Hugues Lepic (Chair) Professor David Ekserdjian 2005 Timothy Clark Mark Getty *Patricia Lankester 2007 Carolyn Eadie David Landau Lady Heseltine 2008 Michael Hintze Michael Hintze 2008 Hugues Lepic National Gallery Scientifi c Caroline Thomson 2008 Charles Miller Smith Consultative Group Hannah Rothschild 2009 Kevan Watts (until January 2011) Professor Julia Higgins (Chair until Gautam Dalal 2009 April 2010) Finance Committee Professor Anya Hurlbert 2010 Professor Anya Hurlbert (Chair from Gautam Dalal (Chair) John Nelson (from October 2010) April 2010) Mark Getty Lance Batchelor (from January 2011) Dr Andreas Burmester Nick Land Dexter Dalwood (from January 2011) Professor Richard Evershed Sir Colin Southgate Professor Wendy Hall *Tate liaison Trustee Nominations Committee Professor David Phillips Audit Committee Mark Getty (Chair) Dr David Saunders Gautam Dalal (Chair) Professor David Ekserdjian Professor Nigel Weiss Mark Getty Lady Normanby Dr Paul Williams Nick Land Hannah Rothschild Sir Colin Southgate

        

George IV was anxious that London should be statue of George IV (it occupies the north-east made more magnifi cent and, in particular that, pedestal in Trafalgar Square), reliefs were diverted if Paris had its Arc du Carrousel celebrating the to the garden façade of Buckingham Palace, and triumphs of Napoleon, then there should be an William Wilkins was directed to accommodate arch of comparable sculptural splendour marking other statues on his new National Gallery building the British triumph over the French Emperor. So designed in  and completed in . The in  John Nash designed the ‘Marble Arch’ to arch, bereft of ornament and meaning, was later be situated on the Mall, a white marble foil for the moved to the north end of Park Lane. warm Bath stone of the new front of Buckingham The original plan had been to have a substantial Palace, covered in reliefs and crowned with statues. plinth on top of the arch to support the equestrian A plaster model in the Victoria and Albert Museum statue of the king, with a winged Victory at each shows what he intended, but as soon as the king corner holding laurel crowns in their raised hand died in , his successor, William IV, felt obliged and supporting palms in their other. On one long to stop this extravagance. Sir Francis Chantrey face of the plinth, Britannia, fl anked by lion and secured a new position for his bronze equestrian unicorn, was to cradle a medallion of Nelson, and        –   on the other Europe and Asia, with appropriate animals, would support a medallion of the Duke of Wellington. Today Britannia (carved by E.H. Baily) can be detected with some diffi culty behind a tree above the entrance to the National Café and the Victories (also by Baily), after an operation to their wings, lurk behind pigeon wire in box-like niches (see p. ). Europe and Asia with horse and Detail of the ceiling in the Staircase Hall, camel (carved by J.C. ossi) hide in the shadows designed by J.D. Crace below the portico and Wellington (also by ossi) and restored in 2005. has, after many strange adventures, found his way inside the staff entrance. The drapery over the thighs entrance wall of James Taylor’s new Central Hall of the Victories can sometimes catch the sunlight (see p. ) presumably employing pre-existing and make one dream of emancipating these statues. reliefs (otherwise the solecism of having two of It is unlikely that the Offi ce of Works consulted each trio facing in the same direction would have the National Gallery trustees concerning this sad been avoided). The Staircase Hall beyond was allocation of the orphan sculpture. Certainly the beautifully painted in  by the fi rm of J.D. Crace trustees, to their indignation, were not consulted in a style indebted to the High enaissance, with concerning the decoration of Edward M. Barry’s Latin texts suitable for a classical temple of arts in new galleries which were completed in . The elegant tablets (see above). This was restored in sculptural decoration in plaster, treated to resemble . The fl oor below was decorated with mosaics marble and bronze, was supplied by Edward designed and executed by Boris Anrep between  William Wyon, one of an extensive family of and  (see p. ). Unlike the sculptures of the sculptors and die engravers. These are among nineteenth century, these have been fully described the last works that he produced and they are not (notably in Lois Oliver’s book Boris Anrep: The mentioned either in the revised Dictionary of National Gallery Mosaics of ). They are not in Sculptors in Britain or in the histories of the Gallery, the ‘learned language’ preferred in all earlier although details are to be found in Wornum’s decorations in the Gallery, but defi antly popular, manuscript diary. There are four lunette reliefs. topical and (although the creation of a cosmopolitan One (to the north) showing children ‘with symbols ussian) British, including a plum pudding, pig of form and colour’ supports a medallion of Queen farming, a pub sign and newspaper celebrities. Victoria. Opposite to the south, Phidias shows After the completion of the mosaics, no Pericles and Aspasia one of his statues of Minerva. fi gurative decoration was attempted in the Gallery To the west, aphael is depicted in front of the until Paula ego’s Crivelli’s Garden was painted for Sistine Madonna accompanied by ‘Julio omano the west wall of what is now the National Dining and Timoteo della Vite, two of his pupils’, and to ooms in the new Sainsbury Wing in –. the east Michelangelo is represented ‘making his At the same date the names of artists were carved sketch in clay for the cupola of St Peter’s visited by into the limestone wall of the great new staircase the Pope (Paul IV) attended by cardinals’ (see p. ). (see p. ). As with the English artists whose names Eight tondi between the arches of Barry’s are inscribed in the lunettes of oom , it is not central octagon are fi lled with bronzed plaster certain that they will always be reliable indicators. reliefs of great painters. This motif was repeated Both Leonardo and aphael moved to other rooms a decade later with three on both sides of the some years ago – but may return.  © The National Gallery 2011 ISBN 978-1-85709-541-8 ISSN 0143 9065

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Key to authors: DC – Dawson Carr SF – Susan Foister AG – Arturo Galansino SH – Sarah Herring DJ – David Jaffé LK – Larry Keith SL – Sara Longmuir AJM – Alison Mawle JM – Julie Molloy NP – Nicholas Penny ER – Emma Rehm CR – Christopher Riopelle AR – Ashok Roy PR – Per Rumberg PS – Peter Schade SW – Sarah Ward MEW – Marjorie E. Weiseman CW – Colin Wiggins

Photographic credits All images © The National Gallery, London, unless stated below: © Van Gogh Museum (Vincent Van Gogh Foundation), Amsterdam: p. 10; © Wellcome Trust Photographic Library: p. 28; © Dallas Museum of Art, Texas: p. 31 above; Photo © Hamilton Kerr Institute, The Fitzwilliam Museum, University of Cambridge: p. 31 below; Private collection, Courtesy of Marlborough Fine Art, London © The Artist. Photo Prudence Cumming Associates, London: p. 32; © Ben Johnson 2011. All Rights Reserved DACS. Photo The National Gallery, London: p. 33. © 2011 Bridget Riley. All rights reserved. Courtesy Karsten Schubert, London. Photo The National Gallery, London: p. 34; The Royal Collection © 2011, Her Majesty Queen Elizabeth II: p. 37 left; © Devonshire Collection, Chatsworth. Reproduced by permission of the Chatsworth Settlement: p. 37 right; © New Britain Museum of American Art. Photo Alex Morganti: p. 38 above; © Photo courtesy of the Terra Foundation for American Art: p. 38 below; © Courtesy William Wyld: p. 43 above © Courtesy Harriet Horner: p. 43 below; © Courtesy of the Anrep Estate. Photo The National Gallery, London: p. 45.