DOCSLIB.ORG

Never-Before-Seen Documents Reveal IWM's Plan for Evacuating Its Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Never-Before-Seen Documents Reveal IWM's Plan for Evacuating Its Art Never-before-seen documents reveal IWM’s plan for evacuating its art collection during the Second World War Never-before-seen documents from Imperial War Museums’ (IWM) collections will be displayed as part of a new exhibition at IWM London, uncovering how cultural treasures in British museums and galleries were evacuated and protected during the Second World War. The documents, which include a typed notice issued to IWM staff in 1939, titled ‘Procedure in the event of war,’ and part of a collection priority list dated 1938, are among 15 documents, paintings, objects, films and sculptures that will be displayed as part of Art in Exile (5 July 2019 – 5 January 2020). At the outbreak of the Second World War, a very small proportion of IWM’s collection was chosen for special evacuation, including just 281works of art and 305 albums of photographs. This accounted for less than 1% of IWM’s entire collection and 7% of IWM’s art collection at the time, which held works by prominent twentieth- century artists including William Orpen, John Singer Sargent, Paul Nash and John Lavery. Exploring which works of art were saved and which were not, Art in Exile will examine the challenges faced by cultural organisations during wartime. With the exodus of Britain’s cultural treasures from London to safety came added pressures on museums to strike a balance between protecting, conserving and displaying their collections. The works on IWM’s 1938 priority list, 60 of which will be reproduced on one wall in the exhibition, were destined for storage in the country homes of IWM’s Trustees, where it was believed German bombers were unlikely to venture. As well as drawing on IWM’s own art collection, Art in Exile will tell the wider evacuation story, examining how other national museums and galleries protected their treasures. In 1939, The National Gallery, the V&A and the British Museum – custodians of priceless collections of British and European Old Masters – were able to move works to safe country estates, and later to underground quarries, thanks to large amounts of government funds. Alex Walton, Curator of First World War and Early Twentieth Century at IWM and curator of Art in Exile, says: “Early in its existence, IWM was ground-breaking in the way it collected everyday items about ordinary people’s war experiences, such as the ration books, diaries and clothing seen in the museum today. However, its collection also contained many important paintings and sculptures. Over eighty years ago, IWM London was the scene of hurried planning and quick decision making, as an evacuation project was put into motion to transport artworks that were considered in the 1930s to be some of the most precious items in the museum’s collection out of London.” Art in Exile is part of Culture Under Attack, a free season of exhibitions, live music, performances and interventions at IWM London that explore how war threatens not just people’s lives, but also the very things that help make lives worth living. Comprising three exhibitions and a series of events, which collectively tell stories spanning a hundred years, Culture Under Attack reveals why some people try to eradicate or exploit culture, while others risk everything to protect, celebrate or rebuild that which defines us as human beings. Ends For further press information, images and interview requests please contact: Poppy Andrews, Communications Manager (Exhibitions and Programming), [email protected], 020 7091 3069 Hannah Carr, Communications Officer (Exhibitions and Programming), [email protected], 020 7416 5365 Notes to editors Culture Under Attack Press View: 3 July 2019 #CultureUnderAttack Culture Under Attack (5 July 2019 – 5 January 2020) is a free season of exhibitions, live music, performances and interventions at IWM London that explore how war threatens not just people’s lives, but also the very things that help make lives worth living. The season comprises three exhibitions – What Remains, a partnership project with Historic England, Rebel Sounds and Art in Exile, as well as a series of events that reveal why some people try to eradicate or exploit culture, while others risk everything to protect, celebrate or rebuild that which defines us as human beings. IWM London IWM London tells the stories of those whose lives have been shaped by war through the depth, breadth and impact of our Galleries, displays and events. Explore the First World War Galleries and iconic Atrium; visit our Holocaust Exhibition; discover stories of bravery in The Lord Ashcroft Gallery: Extraordinary Heroes or take in our latest major temporary exhibitions. Open Daily: 10am – 6pm. Last entry 30 minutes before closing. (Closed 24 - 26 December). Free Admission IWM London, Lambeth Road, London, SE1 6HZ T: 020 7416 5000 iwm.org.uk / @I_W_M / www.facebook.com/iwm.london IWM IWM (Imperial War Museums) tells the story of people who have lived, fought and died in conflicts involving Britain and the Commonwealth since the First World War. Our unique collections, made up of the everyday and the exceptional, reveal stories of people, places, ideas and events. Using these, we tell vivid personal stories and create powerful physical experiences across our five museums that reflect the realities of war as both a destructive and creative force. We challenge people to look at conflict from different perspectives, enriching their understanding of the causes, course and consequences of war and its impact on people’s lives. IWM’s five branches which attract over 2.5 million visitors each year are IWM London, IWM’s flagship branch that recently transformed with new, permanent and free First World War Galleries alongside new displays across the iconic Atrium to mark the Centenary of the First World War; IWM North, housed in an iconic award- winning building designed by Daniel Libeskind; IWM Duxford, a world renowned aviation museum and Britain's best preserved wartime airfield; Churchill War Rooms, housed in Churchill’s secret headquarters below Whitehall; and the Second World War cruiser HMS Belfast. .
Load more

Recommended publications
  • IWM Digital Resource for Volunteers
    IWM Digital Resource for Volunteers An Interactive Qualifying Project Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirements for the Degree of Bachelor of Science by: Linda Baker Shintaro Clanton Andrew Gregory Rachel Plante Project advisors: VJ Manzo Jianyu Liang June 23, 2016 This report represents the work of one or more WPI undergraduate students submitted to the faculty as evidence of completion of a degree requirement. WPI routinely publishes these reports on its web site without editorial or peer review. ABSTRACT The Interaction Volunteers at Imperial War Museums London engage with visitors in the exhibits and discuss about certain artifacts. The communication of information among the Interaction Volunteer team, however, has been inefficient as the system relied on paper resources. Our IQP team surveyed volunteers and conducted a focus group to gather input about layout and features for a potential digital resource which the Interaction Volunteers could use in management of artifactual content and digital forms. This information was then used to design a website utilizing a content management system in order to make the communication of information more simple and efficient for the Interaction Volunteer team. ii ACKNOWLEDGEMENTS Our team would like to thank our advisors, Professors V.J. Manzo and Jianyu Liang, for their continued support and guidance in completing this project. We would especially like to thank Mr. Grant Rogers, Informal Learning and Engagement Manager at Imperial War Museums London, for sponsoring and providing insight for our project and for sharing his enthusiasm for the museum. In addition, we would like to extend our gratitude to the Learning and Engagement Department and Digital Design Department at Imperial War Museums London, for providing us the resources we needed to complete our project, and to the Volunteer Program at Imperial War Museums London for their advice and participation in our project.
    [Show full text]
  • Key Bus Routes in Central London
    Route 8 Route 9 Key bus routes in central London 24 88 390 43 to Stoke Newington Route 11 to Hampstead Heath to Parliament to to 73 Route 14 Hill Fields Archway Friern Camden Lock 38 Route 15 139 to Golders Green ZSL Market Barnet London Zoo Route 23 23 to Clapton Westbourne Park Abbey Road Camden York Way Caledonian Pond Route 24 ZSL Camden Town Agar Grove Lord’s Cricket London Road Road & Route 25 Ground Zoo Barnsbury Essex Road Route 38 Ladbroke Grove Lisson Grove Albany Street Sainsbury’s for ZSL London Zoo Islington Angel Route 43 Sherlock Mornington London Crescent Route 59 Holmes Regent’s Park Canal to Bow 8 Museum Museum 274 Route 73 Ladbroke Grove Madame Tussauds Route 74 King’s St. John Old Street Street Telecom Euston Cross Sadler’s Wells Route 88 205 Marylebone Tower Theatre Route 139 Charles Dickens Paddington Shoreditch Route 148 Great Warren Street St. Pancras Museum High Street 453 74 Baker Regent’s Portland and Euston Square 59 International Barbican Route 159 Street Park Centre Liverpool St Street (390 only) Route 188 Moorgate Appold Street Edgware Road 11 Route 205 Pollock’s 14 188 Theobald’s Toy Museum Russell Road Route 274 Square British Museum Route 390 Goodge Street of London 159 Museum Liverpool St Route 453 Marble Lancaster Arch Bloomsbury Way Bank Notting Hill 25 Gate Gate Bond Oxford Holborn Chancery 25 to Ilford Queensway Tottenham 8 148 274 Street Circus Court Road/ Lane Holborn St. 205 to Bow 73 Viaduct Paul’s to Shepherd’s Marble Cambridge Hyde Arch for City Bush/ Park Circus Thameslink White City Kensington Regent Street Aldgate (night Park Lane Eros journeys Gardens Covent Garden Market 15 only) Albert Shaftesbury to Blackwall Memorial Avenue Kingsway to Royal Tower Hammersmith Academy Nelson’s Leicester Cannon Hill 9 Royal Column Piccadilly Circus Square Street Monument 23 Albert Hall Knightsbridge London St.
    [Show full text]
  • IWM-HMS-Belfast-Brochure.Pdf
    WELCOME ABOARD There are certain occasions The Admiral’s Quarters which demand special Capacity: Minimum 18 / Maximum 20 (Subject to package) Comprising the original Dining Room and Lounge area of the Admiral’s own living quarters, treatment, where the the Admiral’s Quarters are the perfect space for both boardroom meetings and elegant dining. Restored to reflect how the space would have looked during the 1950’s, the choice of venue is crucial. Admiral’s Quarters provide a luxurious and intimate space for events. Seldom will you find one as unique as HMS Belfast. The Morgan Giles Room Capacity: Minimum 35 / Maximum 90 (Subject to package) Ideal for private dining, meetings, product launches, weddings, receptions and parties, HMS Belfast This room once served as an Officers’ mess and so includes a bar. Named after the UNIQUE Admiral who served in her and later was responsible for ensuring the ship was offers spectacular 360 degree views of London and authentically decorated rooms, each with their own saved from the scrap yard, the room has been restored to reflect the original individual characteristics. Guests can dine in the 1950’s décor and its wood panelled walls echo the camaraderie that was such a SPACES vital part of life on board this great ship. Officers’ Mess, climb a gun turret or watch the sun set on the Quarterdeck. CONFERENCES • MEETINGS DINING • PARTIES • SOCIAL OCCASIONS Permanently moored between London Bridge and The Ward & Ante Room Tower Bridge, HMS Belfast is the most significant Capacity: Minimum 30 / Maximum 100 (Subject to package) surviving Second World War Royal Navy warship.
    [Show full text]
  • By Mike Klozar Have You Dreamed of Visiting London, but Felt It Would
    By Mike Klozar Have you dreamed of visiting London, but felt it would take a week or longer to sample its historic sites? Think again. You can experience some of London's best in just a couple of days. Day One. • Thames River Walk. Take a famous London Black Cab to the Tower of London. The ride is an experience, not just a taxi. (15-30 min.) • Explore the Tower of London. Keep your tour short, but be sure to check out the Crown Jewels. (1-2 hrs.) • Walk across the Tower Bridge. It's the fancy blue one. (15 min.) From here you get the best view of the Tower of London for photos. • Cross over to Butler's Wharf and enjoy lunch at one of the riverfront restaurants near where Bridget lived in Bridget Jones's Diary. (1.5 hrs.) • Keeping the Thames on your right, you'll come to the warship HMS Belfast. Tours daily 10 a.m.-4 p.m. (30 min.-1 hr.) • Walk up London Bridge Street to find The Borough Market. Used in countless films, it is said to be the city's oldest fruit and vegetable market, dating from the mid-1200s. (1 hr.) • Back on the river, you'll discover a tiny ship tucked into the docks: a replica of Sir Francis Drake's Golden Hind, which braved pirates in the days of yore. (15 min.) • Notable London pubs are situated along the route and are good for a pint, a cup of tea and a deserved break. Kids are welcome.
    [Show full text]
  • Central London Bus and Walking Map Key Bus Routes in Central London
    General A3 Leaflet v2 23/07/2015 10:49 Page 1 Transport for London Central London bus and walking map Key bus routes in central London Stoke West 139 24 C2 390 43 Hampstead to Hampstead Heath to Parliament to Archway to Newington Ways to pay 23 Hill Fields Friern 73 Westbourne Barnet Newington Kentish Green Dalston Clapton Park Abbey Road Camden Lock Pond Market Town York Way Junction The Zoo Agar Grove Caledonian Buses do not accept cash. Please use Road Mildmay Hackney 38 Camden Park Central your contactless debit or credit card Ladbroke Grove ZSL Camden Town Road SainsburyÕs LordÕs Cricket London Ground Zoo Essex Road or Oyster. Contactless is the same fare Lisson Grove Albany Street for The Zoo Mornington 274 Islington Angel as Oyster. Ladbroke Grove Sherlock London Holmes RegentÕs Park Crescent Canal Museum Museum You can top up your Oyster pay as Westbourne Grove Madame St John KingÕs TussaudÕs Street Bethnal 8 to Bow you go credit or buy Travelcards and Euston Cross SadlerÕs Wells Old Street Church 205 Telecom Theatre Green bus & tram passes at around 4,000 Marylebone Tower 14 Charles Dickens Old Ford Paddington Museum shops across London. For the locations Great Warren Street 10 Barbican Shoreditch 453 74 Baker Street and and Euston Square St Pancras Portland International 59 Centre High Street of these, please visit Gloucester Place Street Edgware Road Moorgate 11 PollockÕs 188 TheobaldÕs 23 tfl.gov.uk/ticketstopfinder Toy Museum 159 Russell Road Marble Museum Goodge Street Square For live travel updates, follow us on Arch British
    [Show full text]
  • John Singer Sargent's British and American Sitters, 1890-1910
    JOHN SINGER SARGENT’S BRITISH AND AMERICAN SITTERS, 1890-1910: INTERPRETING CULTURAL IDENTITY WITHIN SOCIETY PORTRAITS EMILY LOUISA MOORE TWO VOLUMES VOLUME 1 PH.D. UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2016 ABSTRACT Began as a compositional analysis of the oil-on-canvas portraits painted by John Singer Sargent, this thesis uses a selection of those images to relate national identity, cultural and social history within cosmopolitan British and American high society between 1890 and 1910. Close readings of a small selection of Sargent’s portraits are used in order to undertake an in-depth analysis on the particular figural details and decorative elements found within these images, and how they can relate to nation-specific ideologies and issues present at the turn of the century. Thorough research was undertaken to understand the prevailing social types and concerns of the period, and biographical data of individual sitters was gathered to draw larger inferences about the prevailing ideologies present in America and Britain during this tumultuous era. Issues present within class and family structures, the institution of marriage, the performance of female identity, and the formulation of masculinity serve as the topics for each of the four chapters. These subjects are interrogated and placed in dialogue with Sargent’s visual representations of his sitters’ identities. Popular images of the era, both contemporary and historic paintings, as well as photographic prints are incorporated within this analysis to fit Sargent’s portraits into a larger art historical context. The Appendices include tables and charts to substantiate claims made in the text about trends and anomalies found within Sargent’s portrait compositions.
    [Show full text]
  • A4 Web Map 26-1-12:Layout 1
    King’s Cross Start St Pancras MAP KEY Eurostar Main Starting Point Euston Original Tour 1 St Pancras T1 English commentary/live guides Interchange Point City Sightseeing Tour (colour denotes route) Start T2 W o Language commentaries plus Kids Club REGENT’S PARK Euston Rd b 3 u Underground Station r n P Madame Tussauds l Museum Tour Russell Sq TM T4 Main Line Station Gower St Language commentaries plus Kids Club q l S “A TOUR DE FORCE!” The Times, London To t el ★ River Cruise Piers ss Gt Portland St tenham Ct Rd Ru Baker St T3 Loop Line Gt Portland St B S s e o Liverpool St Location of Attraction Marylebone Rd P re M d u ark C o fo t Telecom n r h Stansted Station Connector t d a T5 Portla a m Museum Tower g P Express u l p of London e to S Aldgate East Original London t n e nd Pl t Capital Connector R London Wall ga T6 t o Holborn s Visitor Centre S w p i o Aldgate Marylebone High St British h Ho t l is und S Museum el Bank of sdi igh s B tch H Gloucester Pl s England te Baker St u ga Marylebone Broadcasting House R St Holborn ld d t ford A R a Ox e re New K n i Royal Courts St Paul’s Cathedral n o G g of Justice b Mansion House Swiss RE Tower s e w l Tottenham (The Gherkin) y a Court Rd M r y a Lud gat i St St e H n M d t ill r e o xfo Fle Fenchurch St Monument r ld O i C e O C an n s Jam h on St Tower Hill t h Blackfriars S a r d es St i e Oxford Circus n Aldwyc Temple l a s Edgware Rd Tower Hil g r n Reg Paddington P d ve s St The Monument me G A ha per T y Covent Garden Start x St ent Up r e d t r Hamleys u C en s fo N km Norfolk
    [Show full text]
  • Two Artworks by Jock Mcfadyen to Go on Permanent Display at IWM North As Imperial War Museums Marks 30 Years Since the Fall of the Berlin Wall
    Two artworks by Jock McFadyen to go on permanent display at IWM North as Imperial War Museums marks 30 years since the fall of the Berlin Wall To coincide with the 30th anniversary of the fall of the Berlin Wall, Christmas in Berlin (1991) and Die Mauer (1991), painted by renowned artist Jock McFadyen, will be going on permanent display at IWM North. This is the first time in over a decade that the paintings have been on public display. The fall of the Berlin Wall on 9 November 1989 signalled the end of the Cold War, triggering the reunification of Germany and the subsequent dissolution of the USSR. Europe was reshaped, both in its physical borders and its political and social identity, which continue to evolve today. In 1990, the year following the fall of the Berlin Wall, Scottish artist Jock McFadyen was commissioned by Imperial War Museums to respond to this momentous event in history and to record its impact on the city and its residents. In Christmas in Berlin (left), McFadyen blurs the distinction between the Wall and the cityscape of Berlin. The Wall can be seen covered in vividly coloured markings and large-scale symbols representing graffiti, set against a wintry grey background. In the distance, festival lights, one in the shape of a Christmas tree, shine dimly against the buildings. Beyond the Wall, the iconic sphere of the Berliner Fernsehturm (Television Tower) in Alexanderplatz dominates the skyline. During the Cold War, residents of East Berlin would visit the top of the Tower, which was the highest point in the city, to view the West.
    [Show full text]
  • Annual Review Are Intended Director on His fi Rst Visit to the Gallery
    THE April – March NATIONAL GALLEY TH E NATIONAL GALLEY April – March – Contents Introduction 5 In June , Dr Nicholas Penny announced During Nicholas Penny’s directorship, overall Director’s Foreword 8 his intention to retire as Director of the National visitor numbers have grown steadily, year on year; Gallery. The handover to his successor, Dr Gabriele in , they stood at some . million while in Acquisitions 10 Finaldi, will take place in August . The Board they reached over . million. Furthermore, Loans 17 looks forward to welcoming Dr Finaldi back to this remarkable increase has taken place during a Conservation 24 the Gallery, where he worked as a curator from period when our resource Grant in Aid has been Framing 28 to . falling. One of the key objectives of the Gallery Exhibitions 32 This, however, is the moment at which to over the last few years has been to improve the Displays 44 refl ect on the directorship of Nicholas Penny, experience for this growing group of visitors, Education 48 the eminent scholar who has led the Gallery so and to engage them more closely with the Scientifi c Research 52 successfully since February . As Director, Gallery and its collection. This year saw both Research and Publications 55 his fi rst priority has been the security, preservation the introduction of Wi-Fi and the relaxation Public and Private Support of the Gallery 60 and enhanced display of the Gallery’s pre-eminent of restrictions on photography, changes which Trustees and Committees of the National Gallery Board 66 collection of Old Master paintings for the benefi t of have been widely welcomed by our visitors.
    [Show full text]
  • R.Ajnjr. Guished Services During the Operations Dn Korea:— Lieutenant Commander Fsp) G
    4684 THE LONDON GAZETTE, 13 AUGUST, 1954 Whitehall, August 1'3', 1954. Major Ferris -Nelson GRANT, Royal Marines, 41 The QUEEN has been pleased by (Letters Patent Independent Commando, Royal Marines. under the Great Seal of 'the (Realm, bear-ing date the Legion of Merit, Degree of Legionnaire. 9th instant, to confer the honour of Knighthood Captain John Harold UNWIN, D.S.C., Royal Navy, upon Alan Stewart Watt, Esquire, CJB.E., Commis- HM.S. MOUNTS BAY. sioner for Australia in the Federation of Malaya. Bronze Star Medal. {Her Majesty's approval of this Knighthood was Commander Charles (Henry Francis JOY, Royal signified on the lOfA June, 1954.] Navy. Bronze Star Medal with Combat " V ". Captain James Jeffrey 'Edward FARNOL, D.S.C., Royal DA/NGBRQUS DRUGS (RIBGUiLATIOINS, 1053. Navy, H.M.S. MORECAMBE (BAY. SUSPENSION OF WITHDRAWAL OF AUTHORITIES. Lieutenant-Commander William (Edward Hunter Whereas the authorities, respectively conferred RopWELL, D.S.C., Royal Navy. by the {Dangerous Drugs Regulations, 1937, and Captain (Edgar George Derek POUNDS, Royal the Raw Opium, etc., Regulations, 1937, on Gerald Marines, 41 Independent Commando, Royal Stonehill, MjRjCS., L-RjCJP., by virtue of his being Marines. a duly qualified medical practitioner to be in posses- Captain Peter Roome THOMAS, Royal Marines, 41 sion of and to supply the drugs and preparations to Independent Commando, .Royal Marines. which those Regulations applied were, the said Quartermaster - Sergeant Charles Frederick Gerald Stonehill having been convicted of offences HAMBLETON, Ch. X. 1698, Royal Marines, 41 Jnde- against the Dangerous Drugs Acts, 1920 to 1932, pendent Commando, (Royal Marines withdrawn in pursuance of the powers conferred on Sergeant Joseph Jeremiah MAILL, Ch.
    [Show full text]
  • Aldwych-House-Brochure.Pdf
    Executive summary • An iconic flagship in the heart of Midtown • This imposing building invested with period grandeur, has been brought to life in an exciting and modern manner • A powerful and dramatic entrance hall with 9 storey atrium creates a backdrop to this efficient and modern office • A total of 142,696 sq ft of new lettings have taken place leaving just 31,164 sq ft available • A space to dwell… 4,209 – 31,164 SQ FT 4 | ALDWYCHHOUSE.COM ALDWYCHHOUSE.COM | 5 Aldwych House • MoreySmith designed reception • Full height (9 storey) central atrium fusing a modern which provides a light, modern, interior with imposing spacious circulation area 1920s architecture • Floors are served by a newly refurbished lightwell on the west side and a dramatically lit internal Aldwych House totals 174,000 atrium to the east from lower sq ft over lower ground to 8th ground to 3rd floor floors with a 65m frontage • An extensive timber roof terrace onto historic Aldwych around a glazed roof area • Showers, cycle storage and a drying room are located in the basement with easy access from the rear of the building • The ROKA restaurant is on the ground floor 6 | ALDWYCHHOUSE.COM ALDWYCHHOUSE.COM | 7 8 | ALDWYCHHOUSE.COM Floorplate Typical upper floor c. 18,000 sq ft Typical upper floor CGI with sample fit-out 10 | ALDWYCHHOUSE.COM ALDWYCHHOUSE.COM | 11 Floorplate Typical upper floor with suite fit-out 12 | ALDWYCHHOUSE.COM ALDWYCHHOUSE.COM | 13 SOHO TOTTENHAM COURT ROAD MIDTOWN | LONDON Aldwych House, now transformed as part of the dynamic re-generation of this vibrant eclectic midtown destination, stands tall and COVENT GARDEN commanding on the north of the double crescent of Aldwych.
    [Show full text]
  • National Gallery Exhibitions, 2010
    EXHIBITIONS AT THE NATIONAL GALLERY 2010 PRESS NOTICE MAJOR EXHIBITION PAINTING HISTORY: DELAROCHE AND LADY JANE GREY 24 February – 23 May 2010 Sainsbury Wing Admission charge Paul Delaroche was one of the most famous French painters of the early 19th century, with his work receiving wide international acclaim during his lifetime. Today Delaroche is little known in the UK – the aim of this exhibition is to return attention to a major painter who fell from favour soon after his death. Delaroche specialised in large historical tableaux, frequently of scenes from English history, characterised by close attention to fine detail and often of a tragic nature. Themes of imprisonment, execution and martyrdom Paul Delaroche, The Execution of Lady Jane Grey, 1833 © The National Gallery, London were of special interest to the French after the Revolution. The Execution of Lady Jane Grey (National Gallery, London), Delaroche’s depiction of the 1554 death of the 17-year-old who had been Queen of England for just nine days, created a sensation when first exhibited at the Paris Salon in 1834. Monumental in scale, poignant in subject matter and uncanny in its intense realism, it drew amazed crowds, as it still does today in London. This exhibition will, for the first time in the UK, trace Delaroche’s career and allow this iconic painting to be seen in the context of the works which made his reputation, such as Marie Antoinette before the Tribunal (1851, The Forbes Collection, New York). Together with preparatory and comparative prints and drawings for Lady Jane Grey on loan from collections across Europe, it will explore the artist’s notion of theatricality and his ability to capture the psychological moment of greatest intensity which culminated in Lady Jane Grey.
    [Show full text]