DOCSLIB.ORG

Portraits of a Monarch Press Release 2012

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Portraits of a Monarch Press Release 2012 PRESS RELEASE September 2012 The Queen: Portraits of a Monarch The Drawings Gallery, Windsor Castle 23 November 2012 – 9 June 2013 Her Majesty The Queen has been portrayed by some of our most accomplished artists and photographers during her 60-year reign. This autumn, a new exhibition at Windsor Castle presents a selection of official, commissioned and formal portraits that highlight the diverse ways in which Her Majesty has been represented in different media throughout her six decades on the throne. Celebrating the Diamond Jubilee in 2012 and the anniversary of the Coronation in 2013, The Queen: Portraits of a Monarch includes work by Andy Warhol, Dorothy Wilding, Pietro Annigoni, Cecil Beaton, Lucian Freud, Rankin and Annie Leibovitz. Capturing the essence of a sitter has always been the overriding challenge for portrait artists. When the subject is instantly recognisable to millions around the world, that challenge Her Majesty Queen Elizabeth II requires particular consideration, as many artists have Cecil Beaton, 1968 acknowledged. Lucian Freud, for whom The Queen sat in 2000-01, was so concerned about the potential difficulty of focusing on the ‘inner likeness’ behind such a famous face that he compared the task to a polar expedition. The society photographer Dorothy Wilding was selected as the first to photograph the new Queen following her accession on 6 February 1952. In this sitting, on 26 February, 59 images of The Queen were produced, showing Her Majesty wearing different combinations of dresses and jewellery, most notably the Diamond Diadem and the Girls of Great Britain and Ireland Tiara. The resulting official portraits were sent to British embassies throughout the world and provided the images for use on coins, banknotes and postage stamps. The stamps, issued between 1952 and 1971, became known as ‘Wildings’. The Queen’s official Coronation portrait was produced in 1953 by the influential portrait photographer Cecil Beaton, who photographed members of the Royal Family many times over half a century. In October 1968, Beaton made his final portraits of The Queen, for use in his first retrospective exhibition Beaton Portraits 1928-68 at the National Portrait Gallery. In one photograph, partly inspired by the Italian artist Pietro Annigoni’s 1954 portrait, Beaton shows Her Majesty wearing a dark Admiral’s cloak against a plain background. The austere presentation was in sharp contrast to the photographer’s earlier royal portraits. Later the same day, Beaton produced a sparkling portrait of The Queen in a relaxed pose, taken in the White Drawing Room at Buckingham Palace. Pietro Annigoni’s second portrait of The Queen was commissioned by the National Portrait Gallery in 1969. Annigoni took the solitude of the position of the Monarch as his inspiration. His Press Office, Royal Collection Trust, York House, St James’s Palace, London, SW1A 1BQ T. +44 (0)20 7839 1377, [email protected]@royalcollection.org.uk , www.royalcollection.org.uk portrait conveys a regal dignity and commanding presence. The artist reported that The Queen’s facial expressions were a challenge to capture, because they changed from ‘smiling, thoughtful, determined, uncertain, relaxed, taut’ in rapid succession. The oil and pastel preparatory study for this portrait, included in the exhibition, was purchased by Her Majesty in 2006. Andy Warhol, who had a life-long fascination with celebrity and once said, ‘I want to be as famous as the Queen of England’, created images of Her Majesty in 1985 as part of his largest portfolio of screenprints on paper, Reigning Queens. The prints, purchased for the Royal Collection in 2012, are from the Royal Edition, which is sprinkled with ‘diamond dust’ – fine particles of cut or crushed glass which sparkle in the light like diamonds. The Queen has also been portrayed by some of the most well-known contemporary artists, including Lucian Freud, for whom she sat between May 2000 and December 2001 in Royal Collection Trust’s picture conservation studio. The thick application of the paint and the distinctive and dramatic brushwork ensure that the portrait seizes the viewer’s attention. His work measures just 23.5cm x 15.2cm and was extended in height by 3.5cm to accommodate the Diamond Diadem, which Freud chose to add some time after starting the painting. To celebrate the Golden Jubilee of 2002, The Queen commissioned a small number of established photographers to capture her image. In Rankin’s portrait, The Queen is presented in the immediate foreground and at an unusual angle in front of the throne canopy in the Ballroom at Buckingham Palace. She appears almost as she would if the viewer was kneeling before her to receive an honour at an Investiture. In 2007, Annie Leibovitz photographed The Queen in a series of images to mark Her Majesty’s State Visit to the United States. She was the first American commissioned to make an official portrait of The Queen. The atmospheric photographs were taken in the State Rooms at Buckingham Palace and show The Queen wearing Garter Robes and an evening dress. One image shows The Queen wearing the Admiral’s cloak, made famous by Annigoni and then Beaton almost 40 years before. Although set against the gardens of Buckingham Palace, this portrait was taken inside the Palace and digitally superimposed against the landscape backdrop. Most recently, The Queen was photographed by John Swannell for her Diamond Jubilee portrait. Taken in the Centre Room at Buckingham Palace in December 2011, it was released on Accession Day to mark Her Majesty’s 60-year reign. She is shown wearing a State Dress, the Diamond Diadem and the diamond necklace worn by Queen Victoria for her own Diamond Jubilee photograph of 1897, as well as the blue Garter sash, Garter Star, and the Royal Family Orders of her grandfather, King George V, and father, King George VI. Through the window, the Queen Victoria Memorial Fountain is visible, forming a visual link between the two monarchs who reached the remarkable milestone of 60 years on the throne. The exhibition The Queen: Portraits of a Monarch is part of a visit to Windsor Castle. Tickets and visitor information: www.royalcollection.org.uk or +44 (0)20 7766 7304. For further informinformationation and photographs, please contactcontact the Royal ColCollectionlection Press Office, +44 (0)20 7839 1377, [email protected]. A selection of images is also available from www.picselect.com. Press Office, Royal Collection Trust, York House, St James’s Palace, London, SW1A 1BQ T. +44 (0)20 7839 1377, [email protected]@royalcollection.org.uk , www.royalcollection.org.uk www.royalcollection.org.uk Admission to Windsor Castle is managed by the Royal Collection Trust, a registered charity in England and Wales (1016972) and in Scotland (SCO39772). Press Office, Royal Collection Trust, York House, St James’s Palace, London, SW1A 1BQ T. +44 (0)20 7839 1377, [email protected]@royalcollection.org.uk , www.royalcollection.org.uk .
Load more

Recommended publications
  • Nelson H. White
    Nelson H. white 1 Nelson H. white Solo Show Exhibition July 24th to August 15th GreNNiNG Gallery Cover: P.O. Box 3049, 17 Washington Street, Sag Harbor, NY 11963 Waterford Beach Photography:Ted Hendrickson, Rabatti and Domonicie 16 x 24 inches Copyright, 2010 Grenning Gallery Tel. 631-725-8469, Fax 631-725-8467 Oil on Canvas, 2009 All reproduction rights reserved by the artist www.grenninggallery.com Nelson H. white Solo Show Exhibition July 24th to August 15th GreNNiNG Gallery P.O. Box 3049, 17 Washington Street, Sag Harbor, NY 11963 Tel. 631-725-8469, Fax 631-725-8467 www.grenninggallery.com 1 introduction While amazed, we are not surprised to see Nelson H. White’s work deepen in White holds court on a wide range of subjects including (most importantly) emotion and subtlety, as we exhibit his first solo show since 2005. Throughout the working practices of the artists. To the listener’s delight, however, he also his life, White has paired his fortuitous birth into a family of painters and shares funny and insightful stories about the artists’ personalities, life dramas, art historians, with indefatigable energy and drive. White has, quite simply, and quirky circumstances. applied himself with abandon to his craft since 1955. Following a rigorous weekly schedule of study, studio painting, and regular plein air painting trip, White’s fortitude is admirable, as few painters with his success and experience few painters (of any age) could keep up with him even today. It’s a rare day, would return to an atelier for additional training, which he did in 1999, when when White hasn’t been painting.
    [Show full text]
  • The Legacy of NERINA SIMI (1890 - 1987)
    Forza e coraggio: “Strength and courage” THE LEGACY OF NERINA SIMI (1890 - 1987) Paper presentation Joke Frima at TRAC 2018 - The Representational Art Conference World Trade Center Leeuwarden May 1-4 2018 1/98 PART 1 - how I found studio Simi The river Arno with Ufizzi and Ponte Vecchio I am going to tell you about Nerina Simi and her studio in Florence, but first I want to tell you how I discovered Studio Simi when I went to Florence to see the museums in 1976. 2/98 Hugo van der Goes Caravaggio Uffizi Canestra di frutta 3/98 As I had previously been to Rome in summer, I knew that Italy was unbearably hot, so I chose to go to Florence in February. I was twenty-four and travelled down to Italy by myself on the train. I took the cheapest lodgings available in Florence: a dormitory in a sort of convent, Pio X, in Via dei Serragli. The room was big and very cold, with numerous beds. It was 1,000lire a night. I think the Pensionato Pio X is still there… 4/98 Two girls in the dormitory got up early every morning and ran out hastily, which made me wonder where they were off to, in such a hurry. When I asked, they told me they were going to Studio Simi. I explained that I was an art student too, and asked if I could come and have a look at this …Studio Simi. An appointment was made for 12 o’clock, at the end of the morning pose.
    [Show full text]
  • From Allegory to Domesticity and Informality, Elizabeth I and Elizabeth II
    The Image of the Queen; From Allegory to Domesticity and Informality, Elizabeth I and Elizabeth II. By Mihail Vlasiu [Master of Philosophy Faculty of Arts University of Glasgow] Christie’s Education London Master’s Programme September 2000 © Mihail Vlasiu ProQuest Number: 13818866 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818866 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW 1 u n iv er sity .LIBRARY: \1S3lS Abstract This thesis focuses on issues of continuity and change in the evolution royal portraiture and examines the similarities and differences in portraying Elizabeth I in the 16th and 17th centuries and Elizabeth II in the 20th century. The thesis goes beyond the similarity of the shared name of the two monarchs; it shows the major changes not only in the way of portraying a queen but also in the way in which the public has changed its perception of the monarch and of the monarchy. Elizabeth I aimed to unite a nation by focusing the eye upon herself, while Elizabeth II triumphed through humanity and informality.
    [Show full text]
  • Dawncookson.Pdf
    David Hancock & Co Auctioneers Upon instructions from the Executors an Unreserved Sale by Auction The Artist’s Studio Sale of Dawn Cookson rbsa 1925 - 2005 Saturday November 18th 2006 at 12 noon sale to be held at The Lygon Arms Broadway, Worcestershire WR12 7DU Viewing: Friday 17th November 4pm - 8pm and Sale Day from 9am Catalogues £3.00 Dawn Cookson I hope that those fortunate enough to acquire any of these progress invited her to work as a pupil and assistant in fine examples from the studio at Quiet Place, Broadway, his studio in Florence. (see Painting with Annigoni by the home of this well-known Broadway painter for over 30 Dawn Cookson) years will enjoy these paintings just as we were privileged Her career flourished, dividing her time between numerous to enjoy the company of this talented lady. Professional commissions at home (notably attending Buckingham painter foremost but also an accomplished linguist and Palace in 1991 to paint a portrait of The Princess Royal), delightful raconteur with numerous stories of her artistic in Europe and in the U.S.A. and later in life as arthritis endeavours in Europe and America that were always slowed down her efforts in the studio, giving her time witty and charmingly self-deprecating. voluntarily teaching and speaking on painting. Born in Edgbaston on 11th June 1925, she was educated Throughout her time at Broadway, Dawn exhibited at Westonbirt before studying at the Birmingham College locally, including the sale venue at the Lygon Arms and of Art, after which she became a consultant designer at the Royal Birmingham Society of Artists, she enjoyed and part-time art teacher.
    [Show full text]
  • Italy Under the Golden Dome
    Italy Under the Golden Dome The Italian-American Presence at the Massachusetts State House Italy Under the Golden Dome The Italian-American Presence at the Massachusetts State House Susan Greendyke Lachevre Art Collections Manager, Commonwealth of Massachusetts Art Commission, with the assistance of Teresa F. Mazzulli, Doric Docents, Inc. for the Italian-American Heritage Month Committee All photographs courtesy Massachusetts Art Commission. Fifth ed., © 2008 Docents R IL CONSOLE GENERALE D’ITALIA BOSTON On the occasion of the latest edition of the booklet “Italy Under the Golden Dome,” I would like to congratulate the October Italian Heritage Month Committee for making it available, once again, to all those interested to learn about the wonderful contributions that Italian artists have made to the State House of Massachusetts. In this regard I would also like to avail myself of this opportunity, if I may, to commend the Secretary of the Commonwealth of Massachusetts, the Hon. William F. Galvin, for the cooperation that he has graciously extended to the Committee in this particular endeavor. Italians and Italian Americans are rightly proud of the many extraordinary works of art that decorate the State House, works that are either made by Italian artists or inspired by the Italian tradition in the field of art and architecture. It is therefore particularly fitting that the October Italian Heritage Month Committee has taken upon itself the task of celebrating this unique contribution that Italians have made to the history of Massachusetts. Consul General of Italy, Boston OCTOBER IS ITALIAN-AMERICAN HERITAGE MONTH On behalf of the Committee to Observe October as Italian-American Heritage Month, we are pleased and honored that Secretary William Galvin, in cooperation with the Massachusetts Art Commission and the Doric Docents of the Massachusetts State House, has agreed to publish this edition of the Guide.
    [Show full text]
  • Rhiannon Bevan-John (London) +44 207 752 3120 [email protected] Kate Swan (New York) + 1 212 636 2680 [email protected]
    For Immediate Release Monday, 10 April 2006 Contact: Rhiannon Bevan-John (London) +44 207 752 3120 [email protected] Kate Swan (New York) + 1 212 636 2680 [email protected] JEWELLERY, FABERGÉ, SILVER, FURNITURE & WORKS OF ART FROM THE PRIVATE COLLECTION, FORMERLY AT KENSINGTON PALACE, OF HER ROYAL HIGHNESS THE PRINCESS MARGARET, COUNTESS OF SNOWDON, AT CHRISTIE’S IN JUNE 2006 © Cecil Beaton, CameraPress London Her Royal Highness The Princess Margaret photographed by Cecil Beaton for her 19th birthday, wearing an Art Deco pearl and diamond necklace and an Art Deco cultured pearl and diamond bracelet Tuesday 13 June & Wednesday 14 June 2006 Christie’s King Street London – Christie’s announces that jewellery and works of art from the Collection of Her Royal Highness The Princess Margaret, Countess of Snowdon, will be sold in London on 13 and 14 June 2006. This important and unparalleled historic sale will celebrate and pay tribute to The Princess Margaret’s renowned beauty, style and taste. Comprising over 800 items, with estimates ranging from under £100 to over £500,000, the auction will feature a superb selection of jewellery and Fabergé as well as a broad range of furniture, silver, works of art and decorative objects. Page 1 of 8 “Christie’s are honoured to have been instructed to sell jewellery and works of art from the private collection of H.R.H. The Princess Margaret, Countess of Snowdon. Christie’s have long enjoyed the trust of the Royal Family, having in the past offered properties from the Duke of York in 1827, the Duke of Sussex in 1843, Queen Victoria in 1901, the Duke of Cambridge in 1904 and most recently, the Duke of Gloucester in January 2006.
    [Show full text]
  • Palazzo Mediceo 1 Luglio
    Among the artistic experiences which have characterized the course by Vittorio Sgarbi, then rearranged in Turin as a tribute to the 150° Percorsi guidati a misura di bambino of the past century until now, the many forms of expression have had anniversary of the Unification of Italy): the sculptor Franco Mauro Egregi visitatori alla mostra “Le avventure della forma”, quest’an- remarkable aspects. Franchi and the painters Giampaolo Talani, Massimo Vinattieri and no Vi proponiamo un percorso guidato a misura di bambino, al qua- Concetta De Pasquale, the only female present in this journey throu- le potrete far partecipare i vostri figli/e di età compresa tra i 5 e i 12 anni, permettendo loro di scoprire le bellezze dell’ARTE This exhibition, created and curated by Enrico Dei and Marco Mo- gh the twists and turns from the twentieth century to date. attraverso un linguaggio pensato espressamente per loro, mentre retti of different artistic expressiveness both in the pictorial and sculp- voi potrete così visitare la mostra in tutta tranquillità. tural ambit, is documented through a series of 80 works and 39 artists. Orario: tutti i giorni 21.00-22.30 A journey that, from the subversive language of the sculptor Medar- sabato e domenica 18.00-19.30 e 21.00-22.30 do Rosso of the nineteenth-century, is thus far along with artists of costo € 12,00 the early and late twentieth century such as: Felice Carena, Carlo servizio su prenotazione (2 giorni prima) Carra, Soffici, Giorgio de Chirico, Filippo de Pisis, Mario Sironi, Achille Funi, Felice Casorati Massimo Campigli, Primo Conti, Per info e prenotazioni: Franco Gentilini, and in addition to the aforementioned: Lorenzo Ufficio Biglietteria – dal lunedì al sabato con il seguente orario: Viani and Ottone Rosai.
    [Show full text]
  • FERRONI, Riccardo Tommasi
    FERRONI, Riccardo Tommasi Riccardo Tommasi Ferroni (Pietrasanta, December 4, 1934 - Pieve di Camaiore, 19 February 2000) was an Italian painter. Biography He was born in a family of artists: Father Leo Tommasi, studied sculpture first in Rome and later at the Brera Academy of Fine Arts in Milan, as well as his brother Marcello Tommasi. In Viareggio, Riccardo graduated from high school, where he graduated from the faculty of Arts and Humanities at the University of Florence and at the same time attended the Academy of Fine Arts. He later moved to Rome. n 1965 the work The Gerasheld demigods, followed by Interno (1971), Roman Allegory and Venus, Mars and Love (1972), TV Shot (1973), Rat of Europe (1975), Council of the Gods (1977 ) and The Academy of the Lost (1979). In the sixties and eighties he exhibited in several Italian and foreign cities. In 1965 he participated in the IX Fourth Annual Exhibition of Rome and at the IV Biennale of Contemporary Art in Paris. In addition to the Paris experience (where he would return to another five occasions). In 1982, Tommasi Ferroni was admitted to the San Luca National Academy. In that same year at the Venice Biennale he was involved in a confrontation with Jean Clair and Antoni Tàpies. In the 1980s he made a Kiss Again (1980), Cena in Emmaus (1982), Abraham and Isaac (1983), Incredulity of St. Thomas (1983), Great Roman Battle (1984), A Chess Game (1986) victory of Lepanto (1988), Desinare al Gianicolo (1989). The painter returned to native Versilia in the mid-eighties.
    [Show full text]
  • A Palace and the City Stefania Ricci in May 1995 the Museo Salvatore Ferragamo, One of the First Italian Corporate Museums, Was Inaugurated in Florence
    A Palace and the City STEFANIA RICCI In May 1995 the Museo Salvatore Ferragamo, one of the first Italian corporate museums, was inaugurated in Florence. The Ferragamo family, owners of the celebrated fashion com- pany, were deeply committed to the project, which received the support of the Superintend- ency of the Cultural Heritage at that time. The new museum was founded to recount the brand’s history through the life and work of its founder, whose creations, women’s shoes made ​​for an elite clientele, were rightly held to be valuable examples, by their inventiveness and quality craftsmanship, of an important chapter in the history of production in Italy. The initiative was further encouraged by the success with the public, especially young people, of the Salvatore Ferragamo exhibitions held (invariably in the month of May) by some of the most prestigious museums around the world that, in the decade following the first event at Palazzo Strozzi in May 1985, preceded the museum’s foundation. The inaugural event was accompanied by a publication that celebrated not so much Fer- ragamo, to whom the museum was dedicated, as Palazzo Spini Feroni, the building that would house the institution and had been Ferragamo’s premises since 1938. For two art historians like myself and Riccardo Spinelli, my companion in that adventure, an opportunity had at last come to explore the historical and artistic vicissitudes of one of the most prestigious buildings in Florence, a significant part of the city’s history and its urban development ever since the Mid- dle Ages, described in guide books and depicted in the earliest views of the city.
    [Show full text]
  • Daniel Graves: Steward of Humanist Art by M
    Daniel Graves: Steward of Humanist Art by M. Stephen Doherty Many of the important realists of the 20th century were profiled in American Artist , and those feature articles had a strong influence on painters who were hungry for information that might inform and instruct their creative efforts. Daniel Graves was fortunate to study with several of those influential artists, including Joseph Sheppard, Frank Russell, Richard Serrin, Richard Lack, Pietro Annigoni, and Nerina Simi; and he was profiled in the December 1988 cover story. Since then, Graves has continued to pass on the great training he received to new generations of artists, and the magazine has featured a number of his former students, some of whom now teach in the United States and Europe. The Groom 2005, oil, 48 x Because Graves is one of the important links between the past and the present, we believe it is appropriate to visit him once again during this anniversary year. Fortunately, he has written extensively about the current 32. Courtesy state of representational arts, his own background, and the mission that continues to drive him as an artist Grenning and teacher. The following is an excerpt from the essay Graves wrote that helps explain the tradition he Gallery, Sag carries on, and the methodology he uses to connect new generations of artists to that tradition. Harbor, New Having devoted much of my life, as both an artist and a teacher, to the representational arts, I am very York. pleased to see that, once again, a growing number of people are finding more traditionally rendered images meaningful to them.
    [Show full text]
  • DANIEL GRAVES Artist, Founder and Director of the Florence Academy of Art [email protected] +1.612.440.5693
    DANIEL GRAVES Artist, Founder and Director of The Florence Academy of Art www.danielgravespaintings.com [email protected] +1.612.440.5693 BIOGRAPHICAL INFORMATION Charles Daniel Graves, born in Rochester, New York in 1949, is an oil painter, etcher, and founder and director of The Florence Academy of Art. Graves lives and works in Florence, Italy, his permanent home since 1978. EDUCATION In his painting and teaching he blends a broad array of training and experience. He studied with Joseph Sheppard and Frank Russell at the Maryland Art Institute in 1972 where he graduated with Cum Laude. He studied with Richard Serrin (1972-73) at the Villa Schifanoia Graduate School of Fine Art in Florence, with Richard Lack (1975- 76) in Minneapolis, MN, and with Nerina Simi (1978) at her atelier in Florence, Italy. As a young painter living in Florence, he also associated with and was influenced by Pietro Annigoni. PROFESSIONAL EXPERIENCE Founded The Florence Academy of Art in 1991 where he is the Academic Director and continues to teach. Together with colleague, Charles Cecil, founded Cecil Graves Studio, where he also taught (1984-1991). SELECTED EXHIBITIONS 2019 - Villa Bardini, Florence, Italy, “Corpo a Corpo” 2019 - Robert Simon Fine Art, New York, NY, “Capturing the Artist” 2019 - The Accademia delle Arti del Disegno, Florence, Italy, “Continuum – The Art of Daniel Graves” 2018 - Mana Contemporary, The Florence Academy of Art, Jersey City, NJ, “On Paper, An Exhibition of Drawings” 2018 - Mana Contemporary, The Florence Academy of Art,
    [Show full text]
  • Review 2010/11/12 Review 2010/11/12
    Review 2010/11/12 Review 2010/11/12 Contents 3 Introduction from the Director 4 Extending and Broadening Audiences 10 Developing the Collection 14 Increasing Understanding of Portraiture and the Collection 18 Maximising Financial Resources 23 Developing Staff 24 Improving Services 26 Acquisitions 42 Exhibitions and Displays 46 Financial Review 48 Supporters Inside front cover BP Portrait Award: Next Generation participant Inside back cover Visitors in The Regency in the Weldon Galleries Photo: Claire Clutterbuck ‘I am delighted that the Gallery has achieved so much in these 3 Introduction past two years, in every aspect of Board of Trustees its work – and I greatly welcome 1 April 2010 to 31 March 2012 from the Director HRH The Duchess of Cambridge Professor Sir David Cannadine, joining us as the Gallery’s Patron.’ FBA, FRSL Chairman Zeinab Badawi Professor Sir David Cannadine, The special summer of 2012 – the year of the Diamond Jubilee Chairman, Trustees of the Ms C. Allegra Berman Chair of the Investment Committee and Olympic and Paralympic Games – is an appropriate time National Portrait Gallery (from August 2010) to review the past two years. While mindful of the country’s Professor Dame Carol Black DBE unsettled economic circumstances, the Gallery has focused Sir Nicholas Blake on its central ambition to celebrate achievement and promote Dr Rosalind Blakesley a wider interest in portraiture – both at the Gallery and beyond. Dr Augustus Casely-Hayford The Rt Hon. Nick Clegg MP Two million annual visits is a significant marker for so
    [Show full text]