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Saplings Cover 2549 Face to Face Autumn:Layout 1 3/8/10 14:44 Page 1 Face to Face AUTUMN 2010 My Favourite Portrait by David Cobley Thomas Lawrence: Regency Power and Brilliance ELLE Commission 2010 2549 Face to Face Autumn:Layout 1 3/8/10 14:44 Page 2 COVER DETAIL AND BELOW George Hamilton-Gordon, 4th Earl of Aberdeen, 1829 by Thomas Lawrence Private Collection This work will feature in Thomas Lawrence: Regency Power and Brilliance from 21 October 2010 in the Wolfson Gallery Face to Face Issue 34 Communications & Development Director and Deputy Director Pim Baxter Individual Giving Manager Emma Black Editor Elisabeth Ingles Designer Annabel Dalziel All images National Portrait Gallery, London and © National Portrait Gallery, London, unless stated www.npg.org.uk Recorded Information Line 020 7312 2463 2549 Face to Face Autumn:Layout 1 3/8/10 14:44 Page 3 FROM THE DIRECTOR LOOKING AHEAD to the autumn, we are Charity. This year’s artist, Alinah Azadeh, excited to be presenting, in collaboration will work with three community groups who with the Yale Center for British Art, Thomas took part in the first year to help participants Lawrence: Regency Power and Brilliance, create portraits depicting their unseen sides – which opens on 21 October. Thomas see pages 12–13 for full details. Lawrence has an outstanding reputation as a portraitist, but this is the first exhibition in Coinciding with the publication of the the UK for 30 years, with loans from major photographer Mary McCartney’s first book is collections displayed alongside works that a display of her informal portrait photographs have not been previously exhibited. The in the Bookshop Gallery from 4 October – exhibition promises to be a rich exploration Mary describes her work on pages 14–15. In of the artist’s innovative technique, and Room 33, on display for the first time, are the the figures of the Regency period that newly acquired portraits of a host of cultural he depicted. figures by the photographer Dmitri Kasterine, who talks about his practice on pages 10–11. Over the summer I was joined by the judging Also in the Lerner Galleries in Room 37 will panel to select this year’s finalists for the be the striking silhouette portrait of the late Taylor Wessing Photographic Portrait Prize Isabella Blow, created by artists Tim Noble 2010. Following a lively debate, this year’s and Sue Webster, which is featured on page exhibition continues to reflect the best in 16. contemporary photographic portraiture from around the world. For the second year running Finally, we are delighted to mark the 30th ELLE magazine will be commissioning a young anniversary of the National Heritage photographer to shoot for the magazine Memorial Fund by highlighting the great from the final exhibition. Last year’s winner, portraits acquired with the fund’s help both Ali Lomas, talks about her experience on her in our displays and on the Gallery's website. first professional shoot on pages 8–9. The Fund has had an essential and transforming influence on the ability of We are embarking on the second year of museums and galleries to make great the three-year project Chasing Mirrors, made acquisitions and the nation’s collections possible with the support of the John Lyon’s are so much the richer as a result. Sandy Nairne DIRECTOR 1 2549 Face to Face Autumn:Layout 1 3/8/10 14:44 Page 4 MY FAVOURITE PORTRAIT by David Cobley Artist BELOW King Henry VII by an unknown artist, 1505 ON DISPLAY IN ROOM 1 Photo: © Richard Sercombe WHEN I WAS eight I was in Mr Cox’s class. a book on British history. One day I asked Mr Cox was great because he liked drawing if I could join him, and after that we would and painting and had lots of pictures around often sit next to one another drawing pictures the classroom. Being in his class made me of English kings and queens. want to draw and paint even more than I was doing already. So I knew about the portrait of Henry VII in the Collection long before I saw it at first hand, Freddy Hepburn was also in Mr Cox’s class, like my favourite painting of all time, the and he was good at drawing. He was in fact Rembrandt self-portrait as the Apostle Paul good at almost everything, and was usually in the Rijksmuseum, which I came across as top of the class. During break time, he would an Athena print in my early teens. I bought sometimes stay in and copy pictures from it with money from my paper round and hung it on my bedroom wall. I seem to remember thinking at the time I was drawing him that Henry looked like a cool customer. Not a very likeable person, but probably someone who was very good at being king. His delicate hands resting lightly on the ledge at the bottom of the picture, and his cautious, calculating look, suggest someone who was very careful and precise in all his dealings. The best portraits allow us a psychological intimacy with the sitter that we would not otherwise have had. Although the one of Henry is quite small, within the confines of that arched space one is left with the very definite impression of a man who enjoyed being in control. David Cobley is a member of the Royal Society of Portrait Painters and founder of Bath Artists’ Studios, where he continues to draw, paint and sculpt. 2 2549 Face to Face Autumn:Layout 1 3/8/10 14:44 Page 5 SCIENCE, RELIGION AND Science, Religion and BELOW Politics: The Royal Society John Wallis POLITICS: THE ROYAL SOCIETY will be on display from by Gilbert Soest, by Rab MacGibbon 11 September– late 1660s Assistant Curator 5 December 2010 © The Royal Society Room 6 Admission free ON THE CHILLY evening of 28 November The minutes of the meeting record their 1660, twelve men gathered together at resolve to found ‘a college for the promoting Gresham College in London to attend a of physico-mathematical experimental lecture by the young professor of astronomy, learning’. This stated a rejection of the Christopher Wren (as yet unknown as an inherited notion that knowledge was architect). The group consisted of London acquired through contemplation alone. physicians and intellectuals, prominent Instead, they drew on the New Philosophy courtiers such as William Brouncker, and devised by Sir Francis Bacon to pursue leading members of the so-called ‘Invisible knowledge through the rigorous observation College’, a group of natural philosophers of nature, the systematic collection of who met in Oxford during the Interregnum data and the testing of hypotheses and who had returned to London following through experiments. This revolutionary the Restoration. Chief among this group were approach to examining the workings of Wren, Robert Boyle, John Wilkins (Bishop of the universe was a fundamental step in Chester from 1668) and the mathematician the development of modern science. and cryptographer John Wallis, shown below. The society was quick to attract the approval and encouragement of Charles II and received a Royal Charter in 1662. Henceforth known as The Royal Society, it combined, and continues to combine, the roles of research institute, clearing house and repository of knowledge. As of 1665, its publication Philosophical Transactions introduced the world to peer review and is today the oldest scientific journal in continuous publication. This display celebrates the 350th anniversary of the society’s foundation by drawing together the principal figures from this ground-breaking early period. Continuing the culture of collaboration that underpinned its foundation, the Royal Society has generously lent two of its most important early portraits to the display. 3 2549 Face to Face Autumn:Layout 1 3/8/10 14:44 Page 6 THOMAS LAWRENCE Thomas Lawrence: Regency Power and by Peter Funnell,19th Century Curator Brilliance and Head of Research Programmes will be on display from 18th Century Curator, 21 October 2010– and Lucy Peltz, 23 January 2011 co-curators of Thomas Lawrence: Regency Wolfson Gallery Power and Brilliance Admission charge WITH THE TEMPERAMENT and flair to capture him a greater international reach and the power and brilliance of the age, Thomas reputation than any earlier British artist. Lawrence (1769–1830) was the leading portrait painter of his generation. His art and Exhibitions come about for a variety of reasons. career are all the more remarkable against The idea of a Lawrence show was proposed the background of the extraordinary turmoil by our colleague at the Yale Center for British and political change of the period. Lawrence’s Art, Cassandra Albinson, with whom we have early career unfolded against the bloody curated Thomas Lawrence: Regency Power and backdrop of the French Revolution and the Brilliance. At the same time the Gallery had long war against France from 1792 until been thinking of Lawrence, partly prompted 1815. With peace came the royal commission by the experience of refurbishing the Regency to travel Europe painting the sovereigns and galleries in 2002–3 and partly because there generals whose alliance defeated Napoleon. had been no substantial Lawrence exhibition This unprecedented opportunity galvanised since 1979. For such a major artist this was Lawrence’s status and ambition and ensured surprising, and the thought that we would be presenting his work to a new generation of gallery visitors supported an ambition to borrow Lawrence’s very finest works. So we aimed high and are deeply grateful to those we approached for loans, virtually all of whom responded positively. If sheer quality was among the criteria for selection, so too was our wish to place Lawrence’s portraiture within its social and historical context and to develop a number of ideas around his work.
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