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The National Gallery London The National Gallery found very late because there was no royal or noble collection of paintings, which served as the basis for all national galleries. Gallery was founded as a collection of individual paintings and remains so even today. In 1768 founded the Royal Academy of Arts (Royal Academy of Arts), which was crucial to the emergence of the English national museum. Impulse crucial for the establishment of a national art gallery can be considered as donation of Sir George Beaumont, the British department administrator (British Institute), who in 1823 decided to devote his private collection gallery. Gallery still received a significant collection of works of Russian émigré and businessman John Julius Angerstein. 10th May 1824 National Gallery was opened to the public. Temporary exhibit space is present in the building at 100 Pall Mall in private Angersteins gallery. In 1831 he finally settled the question of land galleries. The building will be built on the newly constructed Trafalgar Square. Gallery but only occupied the west wing of the building; East wing was designated the Royal Academy. In 1839, expanded its collections of Rubens landscape at sunset and Raphael's Holy Catherine of Alexandria. In terms of the development of the gallery and its collections were important years 1868-1869. In these years, the Royal Academy of Building emigration and the National Gallery has moved well to the east wing, which planned to expand in the near term (completion took place in 1876). In 1901, when the barracks were demolished next gallery, the gallery expanded north wing. In 1924 the gallery received a valuable gift, consisting almost exclusively of works of Italian masters (Botticelli, Titian). During the Second World War, the images in the gallery located in mountain caves Galles. The building suffered the bombing of London considerable damage. It then took place the necessary repair work should aim gallery available to the public as soon as possible. Thank you for your attention. Dagmar Dujková 7. A .

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The National Gallery, London, Houses One of the Finest on the National Gallery, 17 Collections of Western European Paintings in the World
Gabriele Finaldi THE NATIONAL GALLERY THE NATIONAL THE NATIONAL GA LLERY Masterpieces of Painting ISBN: 9781857096484 1048654 9 7 8 1 8 5 7 0 9 6 4 8 4 PRINTED IN BELGIUM THE NATIONAL GA LLE RY Masterpieces of Painting A celebration of European painting from Contents the thirteenth to the early twentieth century The National Gallery, London, houses one of the finest On the National Gallery, 17 collections of western European paintings in the world. by way of introduction Its extraordinary range includes masterpieces from the early medieval and Renaissance periods to Post-Impressionism, by Gabriele Finaldi artists such as Leonardo, Raphael, Holbein, Titian, Velázquez, 29 Rembrandt, Turner, Monet and Van Gogh. This beautiful book 1250–1500 presents more than 275 of the Gallery’s most treasured pictures 1500–1600 97 including some outstanding recent acquisitions. Each work is richly illustrated, many with full page details, and accompanied 1600–1700 175 by a concise, illuminating text. Like the collection itself, the paintings are arranged broadly by date, offering an unrivalled 1700–1850 271 overview of European painting through seven centuries and allowing the reader to make fascinating connections across After 1850 323 this uniquely representative collection. List of works 377 An introduction by Gabriele Finaldi provides a history of the Gallery from its beginnings in a London townhouse to its present landmark position in Trafalgar Square. Gabriele Finaldi is Director of the National Gallery, London. On the National Gallery, by way of introduction Gabriele Finaldi his book celebrates the nation’s collection of financier, John Julius Angerstein (1735–1823), T great paintings on show in Trafalgar Square.
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John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery.
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Chapter Eleven - Death and Aftermath
UvA-DARE (Digital Academic Repository) Widening circles in finance, philanthropy and the arts. A study of the life of John Julius Angerstein 1735-1823 Twist, A.F. Publication date 2002 Link to publication Citation for published version (APA): Twist, A. F. (2002). Widening circles in finance, philanthropy and the arts. A study of the life of John Julius Angerstein 1735-1823. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:01 Oct 2021 CHAPTER ELEVEN - DEATH AND AFTERMATH I ANGERSTEIN'S DEATH Four days after the family visit to Lee, and after no more than what seems to have been a brief illness, John Julius Angerstein died. Emilia Boucherett wrote to Lawrence: All our hopes of yesterday my Dear Sir are destroyed for ever, dear good Mr Angerstein without any suffering has ceased to be.
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Large Print Labels 5 1 2 3 6 4 Entry Shop 7 Introduction Foyer Wall
Large print labels 5 1 2 3 6 4 Entry Shop 7 Introduction foyer wall ‘To walk through the National Gallery is to journey through the history of picture-making in Western Europe, from the thirteenth century to the beginning of the twentieth, and this exhibition aims to give a flavour of that experience.’ Dr Gabriele Finaldi Director, National Gallery, London The National Gallery, London is one of the world’s best- known national galleries of art. It was founded in 1824 when the British government bought 38 paintings from the estate of the banker John Julius Angerstein and made his Pall Mall town house the venue for the public exhibition of paintings. Now located in Trafalgar Square in the centre of London, the National Gallery holds just over 2300 paintings. It is one of the few major European art galleries whose collection was built through gifts and purchases, rather than based on a former royal collection. Its carefully curated collection has been a model for art galleries worldwide, including the National Gallery of Australia when it was established over a century later. Botticelli to Van Gogh: Masterpieces from the National Gallery, London is the first time in its near 200-year history that the National Gallery, London has toured an exhibition of works 33. Drawing on the strengths of their collection, this exhibition offers a rare opportunity to see 61 paintings by some of Europe’s most revered artists, including Botticelli, Titian, Rembrandt, Vermeer, El Greco, Velázquez, Goya, Turner, Constable, Van Dyck, Gainsborough, Renoir, Cézanne, Gauguin and Van Gogh.
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A Collector's Eye Cranach to Pissarro
A Collector’s Eye Cranach to Pissarro 1 A Collector’s Eye 2 1 A Collector’s Eye Cranach to Pissarro First published 2010 by National Museums Liverpool 127 Dale Street Liverpool L2 2JH All images © 2010 David Lewis and family interests Introductory text and catalogue entries © 2010 Christopher Wright The authors’ rights have been asserted by them in accordance with the Copyright, Design and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical or otherwise, without the prior written permission of the publisher. A British Library CIP record is available. ISBN 978-1-902700-44-1 Designed by Pointing Design Printed and bound by Everbest 2 3 Contents A Collector’s Eye 7 David Lewis Introduction 13 Christopher Wright Catalogue editor Foreword 19 Reyahn King Director of Art Galleries, National Museums Liverpool Catalogue Impressionists 23 15th and 16th Centuries 33 17th Century 77 18th Century 137 19th Century 147 Index 158 4 5 A Collector’s Eye The creation of a private collection is an intensely personal exercise. The objects so gathered would exist whether or not brought together in one ownership. Such a collection may reflect the vanity of the collector, or it may, hopefully, reflect an intellectual curiosity which can to some extent be satiated by the juxtaposition of period, style, subject, medium, artist or creator. This fulfils a subjective desire to learn and appreciate in the comfort and accessibility of one’s own possessions, rather than within the public domain.
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MASTERPIECES in COLOUR Digitized by the Internet Archive
LAWRENCE MASTERPIECES IN COLOUR Digitized by the Internet Archive in 2015 https://archive.org/cletails/lawrenceOObens MASTERPIECES IN COLOUR EDITED BY • - T. LEMAN HARE LAWRENCE 1769—1830 "Masterpieces in Colour" Series Author. VELAZQUEZ. S. L. Bensusan. REYNOLDS. S. L. Bensusan. turner. C Lewis Hind. romney. C. Lewis Hind. greuze. Alys Eyre ^acklin. BOTTICELLL ROSSETTL LuCIHN PiSSARRO. RFI.T TNT George Hay. James Mason. Josef Israels. A. Lys Baldry. KA nA n, jL/. Paul G. Konody. Mary E. Coleridge. TITIAN. S. L. Bensusan. MTT T AT<? A. Lys Baldry. George Hay. IVXax Rothschild. S. L. Bensusan. Tamt?<i TVTaqom LUINI. J AIVIXL^ IVXAolyn. FRANZ HALS. Fr^nPTiA/fUP' ^T'ATirv VAN DYCK. Prtipv at nTnPTMT^T? TFDNATJTin T)A VTNPT AV. Brockwell wj.^ xj.T. T^TTMQTTCAMxjc^rioijoArim TV XX X O X X^Xlf X\.* nrX. 1VXaKX1£><TVTatjtfkt \A^or»T^vv ulix/. XXTTOT.T?FTNv X^ XJ J_« X X 1 • S. L. Bensusan. x> U JxIN ^ J v-'lN xiiO. A. Lvs Baldry. VIGEE LE BRUN. C. Haldane MacFall. CHARDIN. Paul G. Konody. FRAGONARD. C. Haldane MacFall, MEMLINC. W. H. J. & J. C. Weale CONSTABLE. C. Lewis Hind. RAEBURN. James L. Caw. JOHN S. SARGENT. T. Martin Wood. LAWRENCE. S. L. Bensusan. DtTRER. H. E. A. FuRST. Others in Preparation. PLATE I.—MASTER LAMBTON. Frontispiece (In the collection of the Earl of Durham) In painting this portrait (for which he is said to have received j^6oo) Lawrence was happy in his sitter. The child has good looks and a very intelligent face, but unfortunately he is over-posed.
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Eastlake & the Gallery Revolution Wednesday
Eastlake & the Gallery Revolution Wednesday 21 November 2012 Kerry Messam & Jamie Ruers Introduction Welcome to the ‘Eastlake & Gallery Revolution’ Art Bite led by us: Jamie Ruers and Kerry Messam. We are both Young Explainers working alongside the Arts and Heritage Engagement Team at Plymouth City Museum and Art Gallery and are beginning our second year studying Art History BA (Hons) at Plymouth University. We hope that you will enjoy looking around with us at the art works that surround us in the gallery and that you will go away having learnt a little more about Charles Eastlake and what he did to professionalise the display of art. The reasoning’s behind why certain paintings are chosen to be collected or hang side-by-side, and the interesting clues as to a paintings background and culture are some of the reasons that really drew us both into studying Art History at degree level, and makes us always want to know more. The topic of our Art Bite is ‘Charles Eastlake and his revolutionary methods of displaying artworks in museum and gallery spaces’. This was something which Charles Eastlake thought about in his work as one of the first museum curators and as one of the first scholars interested in the evolving discipline of art history. When we walk around the gallery observing the many types of art works in terms of when and where they were painted and what they show, it is also interesting to consider why they are there, why they hang beside each other and what this tells us about art on the larger side of the spectrum of art history.
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Sebastiano Del Piombo's
NATIONAL GALLERY TECHNICAL BULLETIN 30th anniversary volume, 2009 National Gallery Company London Distributed by Yale University Press This volume of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman Studying Old Master Paintings – Technology and Practice: The National Gallery Technical Bulletin 30th Anniversary Conference is supported by The Elizabeth Cayzer Charitable Trust Series editor Ashok Roy © National Gallery Company Limited 2009 All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without the prior permission in writing of the publisher. First published in Great Britain in 2009 by National Gallery Company Limited St Vincent House, 30 Orange Street London wc2h 7hh www.nationalgallery.org.uk British Library Cataloguing in Publication Data A catalogue record for this journal is available from the British Library isbn 978 1 85709 420 6 issn 0140 7430 525051 Project manager Jan Green Editor Diana Davies Editorial assistance Giselle Osborne Designer Heather Bowen Picture research Giulia Ariete Production Jane Hyne and Penny Le Tissier Repro by Alta Image, London Printed in Italy by Conti Tipocolor front cover Details from Aelbert Cuyp, The Large Dort (plate 1, page 71); Jean-Baptiste-Camille Corot, The Roman Campagna, with the Claudian Aqueduct (plate 1, page 89); Sassetta, Sansepolcro Altarpiece (plate 1, page 8; plate 3, page 10); Diego Velázquez, Christ after the Flagellation contemplated by the Christian Soul (plate 1, page 53); Jean-Baptiste-Camille Corot Villeneuve-lès- Avignon (plate 4, page 91), Sebastiano del Piombo, The Raising of Lazarus (plate 1, page 27) title page Sebastiano del Piombo, The Raising of Lazarus, detail Photographic credits All photographs reproduced in this Bulletin are © The National Gallery, London unless credited otherwise below.
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An Old Lady with a Book
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Rembrandt van Rijn and Workshop Rembrandt van Rijn Dutch, 1606 - 1669 Dutch 17th Century An Old Lady with a Book 1637 oil on canvas overall: 109.7 x 91.5 cm (43 3/16 x 36 in.) framed: 147.3 x 128.9 x 13.9 cm (58 x 50 3/4 x 5 1/2 in.) Inscription: lower left: Rembr[an]dt. / f.1[63]7. Andrew W. Mellon Collection 1937.1.73 ENTRY The identity of this formidable woman is not known, but her black cap indicates that she is in mourning and is probably a widow. Her stern demeanor, the wide- wheel ruff collar she wears, and the Bible she holds in her lap all suggest that she was a conservative member of Dutch society and dedicated to her religious beliefs. Despite the bold execution, the portrait is remarkably subdued. The sitter does not communicate directly with the viewer through a gaze or gesture, but rather appears lost in thought as she ponders the words of the Bible she has just read. [1] She stares outward but looks inward, gently touching the clasp of the Bible with one hand while holding her spectacles between the fingers of the other. Because such black, fur-trimmed costumes are found in Dutch painting from the mid-1630s until the late 1650s, the dating of this imposing canvas has been particularly problematic. Until a date was discovered in the lower left at the beginning of the twentieth century, it was generally described in an all-inclusive way as belonging to Rembrandt’s “best period.” First read as 1643, the date was An Old Lady with a Book 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century later believed to be 164[7].
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Two Hundred Years of Women Benefactors at the National Gallery: an Exercise in Mapping Uncharted Territory
Two hundred years of women benefactors at the National Gallery: an exercise in mapping uncharted territory Susanna Avery-Quash with Christine Riding For all the women who have ever supported the National Gallery Introduction: contextualising the project It is a commonplace belief that the holdings of institutions such as the National Gallery, London are built on donations from men; in fact, woman have played a far larger part than people might realise. The subject of female donors of the National Gallery has never been treated in a sustained way before and has not been considered in the standard institutional histories of the Gallery.1 In the light of this, the following account of work-in-progress seeks to outline what has been pieced together so far in relation to a history of women who have acted as benefactors of the National Gallery over its two-century history. The principal ambition is to record for the first time in one place the names of the Gallery’s female benefactors, linking those names with paintings and other acts of generosity. Many of the women featured have not been mentioned in previous publications devoted to collecting and benefaction and in a survey article of this kind they can only be given Our grateful thanks to Nicholas Smith, Rupert Shepherd and Hugo Brown for their help with sharing data from the National Gallery’s archive and collections information system in preparation for this article, and to other colleagues Rickie Burman, Emma Capron, Alexandra Davis, Jonathan Franklin, Daniel Herrmann, Larry Keith, Isabella Kocum, Priyesh Mistry, Peter Schade, Katy Scrivener and William Shaw for supplying information from other internal sources about the Gallery’s female benefactors past and present.
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April 2018 – March 2019
NATIONAL GALLERY STAFF PUBLICATIONS April 2018 – March 2019 PAUL ACKROYD RACHEL BILLINGE THOMAS DALLA COSTA Restorer Research Associate, Conservation Harry M. Weinrebe Curatorial Fellow Catalogue entry, in J. Molina Figueras (ed.), ‘The Beaune Last Judgement. Sorting out ‘Drawings and Draughtsmanship in Sixteenth- Bartolomé Bermejo, exh. cat., Museo Nacional Rogier van der Weyden and his Assistants’, Century Venice: Tintoretto and Veronese del Prado, Madrid, and Museu Nacional d’Art in A. Dubois, J. Couvert and T.-H. Borchert in Comparison’, Artibus et Historiae, no. 78, de Catalunya, Barcelona 2018–19, pp. 124–8 (eds), Technical Studies of Paintings: Problems of XXXIX (2018), pp. 141–54 (with L. Treves). Attribution (15th-17th Centuries): Papers presented ‘I disegni preparatori: il processo creativo di at the Nineteenth Symposium for the Study of Paolo Veronese tra dato visibile e invisibile’, SUSANNA AVERY-QUASH Underdrawing and Technology in Painting held in in F. Magani, C. Scardellato and G. Falezza Senior Research Curator (History of Collecting) Bruges, 11–13 September 2014, 2018, pp. 26–49 (eds), Paolo Veronese. Nuovi studi e ricerche, ‘The Georgian London Town House: Building, (with G. Steyaert) Venice 2018, pp. 24–43 Collecting and Display, London 2018 ‘Giovanni Bellini’s Painting Technique’, Tintoretto in Venice. A Guide, Venice 2018 (editor, with K. Retford) National Gallery Technical Bulletin, vol. 39 (editor, with B. Echols and F. Ilchman) ‘John Julius Angerstein and the Development (2018), pp. 4–25 (J. Dunkerton and Book review: D. Gisolfi, Paolo Veronese and the of his Art Collection at No. 100, Pall Mall, M. Spring, with R. Billinge and C.
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John Ruskin and the National Gallery: Evolving Ideas About Curating the Nation’S Paintings During the Second Half of the Nineteenth Century
John Ruskin and the National Gallery: evolving ideas about curating the nation’s paintings during the second half of the nineteenth century Susanna Avery-Quash Introduction On 28 April 1894, the Royal Academician Sir Hubert von Herkomer wrote to the director and trustees of the National Gallery offering them a watercolour portrait he had produced of the eminent Victorian writer and social reformer John Ruskin (1819–1900; Fig. 1).1 Herkomer had undertaken the head-and-shoulders life-size likeness as part of a series of portraits of celebrated men of the day that he originally intended to bequeath to his children but later decided to give to a national repository. Ruskin had liked the image, declaring it to be ‘the first that has ever given what good can be gleaned out of the clods of my face’.2 By contrast, the National Gallery rejected it. Certainly, the institution had no tradition of collecting watercolours, nor was it considered the national ‘Walhalla’ in the way the neighbouring National Portrait Gallery was – the institution where the work did end up some nine years later.3 But the official reason for turning down the potential gift was that the Gallery was not in the habit of acquiring works by living artists.4 In any case, by the time Herkomer wrote to the National Gallery, Ruskin was ‘out of sight, out of mind’; sitting silent at his Lake District home ‘Brantwood’ and nursed by his cousin Joan Severn, he was no longer the force to be reckoned with that he once had been.
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