    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. Financial Information 66 all visitors. Under his directorship many important As part of the programme of improvements National Gallery Company Ltd 68 additions have been made, most notably in  and to visitor services, the Gallery needs to be able to Restoration and Improvement 70  with the purchase jointly with the National operate more fl exibly (for example by providing Galleries of Scotland of Titian’s two masterpieces, extended opening hours during very popular Diana and Actaeon and Diana and Callisto, works exhibitions). To ensure this, the Gallery announced For a full list of loans, staff publications and external which had been acknowledged for over a century its intention, during the year, to appoint an external commitments between April 2014 and March 2015, as among the greatest remaining in private ownership partner to help provide security and visitor-facing see www.nationalgallery.org.uk/about-us/ in the United Kingdom. Also of great signifi cance, staff. This was a diffi cult decision for the Board, organisation/annual-review in a rather different way, was the purchase in  but one that it regards as essential to the Gallery’s of the Gallery’s fi rst major American painting, modernisation programme. Men of the Docks by George Bellows, marking as Also this year, the Gallery introduced for the it did a radical extension of the acquisition strategy. fi rst time in its history a membership scheme, which This year, too, has seen some fi ne acquisitions; has already proved extremely popular. The hope most importantly the four paintings by Corot of the Director and Trustees when the scheme entitled The Four Times of Day, purchased in was conceived was that those joining would do  with the assistance of the Art Fund. so not merely to secure the benefi ts of membership For many, our programme of exhibitions is an (including free admission to all exhibitions) but equally important reason for coming to the Gallery also because of their desire to become closer to an and under Nicholas Penny it has thrived. This year institution they love and wish to support. Already saw the highly successful exhibition Rembrandt: there is telling evidence that this is the case. When The Late Works, curated by Betsy Wieseman with the Gallery launched an online public appeal in colleagues from the Rijksmuseum in Amsterdam, October , to raise £, to purchase a which attracted extraordinary visitor numbers sixteenth-century frame for An Allegory of Prudence and critical acclaim worldwide. by Titian and workshop, the required funds were                 –   – 

raised within just three months, with almost  per cent of the donations coming from our new members. None of this would have been possible without the loyalty and dedication of staff at the National Gallery. It has been a priority of the Board for some time to ensure that all Gallery staff are paid at least the London Living Wage and we are delighted that we have been able to tell staff that we are now in a position to do this. The Board warmly thanks the staff, members, patrons and donors for their support this year. Above all, we thank Dr Nicholas Penny for all he has done over the past seven years; we are happy that his association with the Gallery is not at an end, as he continues work on his third catalogue of the Gallery’s sixteenth-century Italian paintings.

  ()                    -      

View of the refurbished and rehung Room A         – 

’  The Gallery has a relatively high percentage of its are not to be seen on the main fl oor. In Lorne paintings on public display but it remains important Campbell’s recently published and greatly acclaimed that the public should be able to consult and enjoy catalogue of the sixteenth-century Netherlandish what is not on the main fl oor. The creation of a and French paintings only about a third of the ‘Reference Collection’ dates from the change in the paintings catalogued are on the main fl oor. And way paintings were exhibited after the First World the same sort of ratio will be found in the catalogue War. What had previously been ‘skied’ (that is very of sixteenth-century paintings from Ferrara and high in a tiered hang) was then placed on the fl oor Bologna currently in production. A great task for below and was visible on special request. In time this the near future must be to improve the channels ‘Reserve’ was moved to ‘Lower Floor A’ (now Room whereby these deep reservoirs of knowledge located A), which was reconfi gured, refl oored, redecorated in high academic plateaux can irrigate the extensive and relit last year. The pictures there were hung by plains below. Currently, curiosity concerning merit curatorial assistants supervised by collection curators which happens to be unfashionable or in need of under the general direction of Letizia Treves (then repair is not increasing in proportion with our Head of the Curatorial Department). visitor numbers. Fewer works are now on display but the There are now over six million annual visitors arrangement is far better adapted to the viewer’s to the National Gallery and a great deal more ‘dust’ comfort. The paintings are hung far more carefully (much of it composed of human hair and skin) than before, in thematic groups within regional assembles on the cartouches and other ornaments in and chronological zones. It is an epitome of the the coving of the Victorian and Edwardian galleries. collection in a single room and a perfect place to Under the direction of Charles Ross and, since study the use of gold in Italian fi fteenth-century , Steve Vandyke, the Building Department art, or the evolution of the Dutch Seascape, as well has presided over the restoration of ten such rooms as once fashionable artists of the nineteenth century within the last eight years. Room , scheduled for such as Louis-Gabriel-Eugène Isabey, Ary Scheffer completion in summer this year, is the last room of and Jozef Israëls. More effort is now required to this type to be restored. As soon as a historic room encourage visitors and especially teachers and tutors is returned to its original appearance it looks right to make use of this resource. We also need not only and it is in consequence little noticed by the public, to ensure, but also to promote, access to those which must, nevertheless, benefi t from the absence paintings which are the regular ‘understudies’ of background clash. The images dividing the for works loaned from the main fl oor display. sections of this year’s Review have been selected This topic is not unrelated to the work to remind readers of what goes on beneath the undertaken on our scholarly catalogues, because fl oor and under the roof and of some of the a high ratio of the paintings subjected to detailed measures we take (or used to take) to protect analysis there (whether for their technique, style, both the paintings and the public. subject matter, critical fortune or previous owners)   Original drawing for plaster mouldings in Room 33 in (see pp. 70–1)Room mouldings plaster for Original drawing                 –   –             

Evidently the painting Wilkie exhibited at the Royal Lady Augusta is shown with her hands Academy in , as ‘Portrait, from recollection, resting on a Bible in front of a painted altarpiece, of a young lady deceased’, it is likely to represent the subject of which is unclear: it may represent Lady Augusta Phipps, daughter of the st Earl of a Deposition or possibly a Virgin and Child. Mulgrave, who was born on  September  Above it is a plaque with the fi rst words of the and died aged twelve and a half on  March . Lord’s Prayer, for which the artist prepared by The st Earl of Mulgrave was one of the artist’s ruling a series of lines (a detail revealed by infrared most enthusiastic early patrons. This painting was refl ectography). On the altar to the right are placed reproduced by Wilkie himself in a small picture large chalices of the type used in the Church of representing eight of his works displayed on a wall, Scotland (Wilkie’s father was a minister of the which he made for his elder brother John and sent Church). Wilkie creates an impressive and to him in India in December . The other seven beautiful balance between the strong illumination, can be identifi ed and dated to a period in or before vivid colour of the subject’s dress and bright , and some of them belonged to Lord Mulgrave. oriental rug on which she kneels, the virtuoso In  his daughter-in-law sold a painting by treatment of the silver candlesticks gleaming Wilkie identifi ed as an ‘interior with a lady at her under the illumination of the lesser light of the devotions’, which must be the present picture. fl ickering candles to the left, and, in the background The young subject of the painting is depicted to the right, the darkness of the Gothic screened kneeling at an altar, but she has turned her face chapel in which she prays. The transparent white directly towards us. In this way Wilkie creates a ruff of the girl’s collar is suggested with a few moment of small drama, the sense of discovering, bravura strokes of the brush. even intruding on, the girl at her private prayers. The picture would undoubtedly have had The pose does not merely enable her features to strong appeal to connoisseurs of Dutch and Sir David Wilkie (1785–1841) Provenance be clearly identifi able to those who knew her, Flemish painting, of whom there were many at A Young Woman kneeling at a Prayer Desk, 1813 Henry Phipps, 1st Earl of Mulgrave (1755–1831); Constantine Oil on mahogany, 34 x 25.5 cm Phipps, 1st Marquess of Normanby (1797–1863); sold by his it also creates a moving connection to the viewer, this period in England, as well as perhaps to those Bought with the support of a generous legacy widow Maria, Dowager Marchioness of Normanby (1798–1882), which is emphasised by the dramatic illumination who were drawn to the romanticism of Sir Walter from Miss Marcia Lay, 2014, NG6650 as ‘Sir D. Wilkie, Interior, with a lady at her devotions’ at Christie’s, of her face and fi gure, her solemn expression and Scott and other writers inspired by the medieval 2 March 1872, lot 66, to Redclyffe for £26 10s; probably the painting sold at Christie’s, 24 June 1879, lot 160, as ‘An interior of the accuracy and delicacy with which Wilkie past. Wilkie’s outstanding painterly powers are an oratory, with a lady kneeling in prayer’ to Grindlay for £27 6s; suggests the face of a young girl poised between vividly shown off to concentrated effect within Baron Pierre de Menasce (1924–2013); bought Doyle, New York childhood and adulthood. its small compass.  Exhibition, publication auction, 29 January 2014, as attributed to Sir David Wilkie, ‘A Lady Royal Academy, London 1813, no. 150, Wilkie, in Prayer’ by Ben Elwes, London, from whom bought by the Gallery ‘Portrait, from recollection, of a young Lady deceased’. with the support of a generous legacy from Miss Marcia Lay.                 –   – 

 ⁽⁾    

The subject of Christ carrying his cross on the way fall in a fan-like shape, and have a strong, almost to Calvary, represented as a half-length fi gure, and sculptural plasticity, as if they were made out of derived from Netherlandish painting and sculpture, clay rather than fabric. A third salient characteristic had extraordinary success in Northern Italian art is provided by Christ’s fl owing curls and locks of during the last quarter of the fi fteenth century. hair, which seem to recall the work of Bartolomeo These close-up images of Christ, shown against a Montagna, who trained in Venice, but worked plain background, and removed from any narrative extensively in Vicenza. context, were intended to provoke an emotional The National Gallery is fortunate to have response from their viewers. Such private devotional an outstanding group of works by Giovanni works are symptomatic of a profound spiritual shift and Gentile Bellini, their brother-in-law Andrea in late medieval Europe which encouraged the Mantegna, and their many followers. The generous faithful to meditate upon – and re-imagine – gift of Christ carrying the Cross enables the Gallery Christ’s torment. to enrich and deepen these holdings with a high- Christ carrying the Cross was painted in Venice quality example of one of the few compositions or its environs at the very end of the fi fteenth associated with Giovanni Bellini not hitherto century, one of the most exciting moments for the represented here. It is to be hoped that display development of Renaissance painting. It is based in the context of the National Gallery’s existing on an infl uential composition, which was invented collection will enable the successful attribution by Giovanni Bellini. Today, over sixty-fi ve variants of this intriguing and moving picture to a of this invention by Bellini and his workshop are particular painter.  known. Three of these paintings, in Boston, Toledo (Ohio) and Rovigo are generally agreed to be the Provenance fi nest surviving versions, and have been ascribed Property of the Weiss Family, Stuttgart, Germany, by 2002; sold at Christie’s, South Kensington, either to Giovanni himself, or to a close associate. 19 April 2002, lot 151, ‘Follower of Bellini’; Although Christ carrying the Cross is closely bought there by Angus Neill; presented to related to Bellini’s composition, it exhibits the National Gallery by Angus Neill, 2015. certain key differences with this group of pictures, Reference suggesting that it is the work of a talented but as The picture is unpublished. yet unidentifi ed artist. Firstly, Christ’s anguish is expressed more strongly; the rims of his eyes are red with tears, and his face is slightly averted from the viewer. These features point to a familiarity with the work of Cima da Conegliano, one of the most prolifi c Venetian painters in the years around Italian (Venetian)  Christ carrying the Cross, about 1500 . Another important formal difference is in the Oil on wood (probably poplar), 36.4 x 29.9 cm treatment of Christ’s white robe. The drapery folds Presented by Angus Neill, 2015, NG6655                    – –  --      : , , , 

The Four Times of Day were painted as decorations for the studio of the Fontainebleau house belonging to Corot’s friend and fellow artist, Alexandre- Gabriel Decamps. Reportedly completed in just one week, Decamps is recorded as expressing astonishment at the speed with which Corot worked. ‘Not so fast’, Corot later recalled him saying, ‘there is still enough soup for a few days more’. Tracing the day’s progress from glowing dawn to starry night, each scene, framed by graceful trees, is painted in broad, fl owing brushstrokes, the ébauche (underpaint) visible throughout. If the speed with which The Four Times of Day was painted is evident, so too are the features of the landscape and light of Italy. In – Corot began his career with a trip to Italy; he returned in both  and  and it is with souvenirs of the country that a substantial part of his later studio work is imbued. This is particularly evident in the series of decorative cycles painted by the artist for friends, artists and patrons from the s to s, many of which make reference, both directly and indirectly, to Italy’s landscape and architecture. The earliest (Musée du Louvre, Paris) was made, apparently at speed, in around  for the bathroom of Corot’s friend François Robert in Mantes, with Corot ‘informing the painters who The Four Times of Day passed from one artist’s National Gallery, and if any millionaire should care were getting ready to whitewash: “Stop there, collection to another. Following Decamps’s for Corot, Lord Leighton, England or art, he could I am taking care of those walls. To Italy!” It was a untimely death after a fall from a horse in the Forest not do better than present them to the nation.’ matter of eight days.’ But while the bathroom scenes of Fontainebleau they were acquired by Frederic, In  the paintings were generously placed on depict actual sites in Rome, Venice and Naples, Lord Leighton, and subsequently given pride of loan to the Gallery by Lord Wantage’s descendants. the houses clinging to the hillside in Night – which place in the drawing room of Leighton House in The only decorative cycle by Corot in a public Jean-Baptiste-Camille Corot (1796–1875)  The Four Times of Day: Morning, also appear in one of the four decorative panels Holland Park. After his death and sale in they collection in this country, their acquisition, with Noon, Evening, Night, about 1858 painted for fellow artist Léon Fleury’s house at entered the collection of Lord Wantage. At Leighton’s the support of the Art Fund, further expands the Oil on wood panel, Morning, 142.2 x Magny-les-Hameaux, Italian Villa behind Pines sale their importance was recognised by the art critic representation of the artist’s works, already 72.3 cm; Noon, 142.2 x 62.2 cm; Evening,   Pall Mall Gazette  142.2 x 72.3 cm; Night, 142.2 x 64.7 cm ( – ; Kunstmuseum Basel) – are essentially for the , Robert Alan Mowbray strengthened by the gift, acquired in , of Lucian Bought with the assistance of the Art an evocation of such Italian hilltop towns. Stevenson: ‘The Corots deserve a place in the Freud’s magisterial Italian Woman (NG).  Fund, 2014, NG6651–4           –      –         ’, 

Provenance Literature Sickert painted this loosely rendered interior The panels were painted for the artist Alexandre- H. Dumesnil, Corot: Souvenirs intimes, Paris 1875, impression of St Mark’s Basilica in Venice during Gabriel Decamps (1803–1860); his sale, Escribe, Paris, p. 67; A. Robaut, ‘Corot. Peintures décoratives’, L’Art, XXI,   23–4 January 1865, lots 31–4, bought by Alfred Cadart 15 October 1882, pp. 45–53 (48–9); A. Lang, ‘Sir Frederick his second visit to the city in – . It was probably (1828–1875) for 600, 850, 520 and 510 francs; bought Leighton, P.R.A.’, Art Annual, 1884, pp. 1–32 (30); executed in situ on one of the colder days of his stay, from Cadart by Frederic, Lord Leighton (1830–1896). A.G. Temple, A Catalogue of Pictures Forming the Collection when, according to the artist, he retreated inside the Leighton’s accounts show a payment of £180 to Cadart of Lord and Lady Wantage, London 1905, nos 47–50; in August of that year; Leighton House Sale, Christie’s, A. Robaut, L’Oeuvre de Corot. Catalogue raisonné et illustré basilica to paint. Continuing a series of exchanges 14 July 1896, lots 294–7, bought by Agnew for 6,000 précedé de l’Histoire de Corot et de ses oeuvres par Étienne with Tate Britain that commenced in , the guineas, from whom bought by Robert James Loyd- Moreau-Nélaton, ornée de dessins et croquis originaux du painting comes to Trafalgar Square at a particularly Lindsay, 1st Baron (Lord) Wantage (1832–1901); passed maître, 4 vols, Paris 1905, I, p. 188, II, nos 1104–7; L. Parris, from Lord Wantage to his widow, Lady Wantage The Loyd Collection of Paintings and Drawings, London opportune moment, coinciding with both the (1837–1920) (The Hon. Harriet Sarah Jones-Loyd, 1967, revised by F. Russell, 1990, p. 5, nos 11–14; B. Bryant, exhibition Inventing Impressionism and the special sole surviving child and heiress of Samuel Jones-Loyd, ‘An Artist Collects: Leighton as a Collector of Paintings and display Monet: The Water Garden at Giverny. 1st and last Baron Overstone, Trustee of the National Drawings’, in C. Gere, A. Anderson, B. Bryant and D. Robbins, Gallery 1850–71); bequeathed to Arthur Thomas Closer to Home: The Restoration of Leighton House and It is possible that Sickert’s decision to focus on Loyd (1882–1944), inherited by his son Christopher Catalogue of the Reopening Displays 2010, London 2010, St Mark’s was spurred on by Claude Monet’s series L. Loyd (1923–2013). pp. 22–9 (22); M. Hohn, ‘Stimmungsräume, Corots of paintings of Rouen Cathedral, which he would Wanddekorationen’, in Camille Corot – Natur und Traum, exh. cat., Staatliche Kunsthalle Karlsruhe 2012–13, have been able to see at the Durand-Ruel gallery in Exhibitions pp. 293–6 (294–5). Paris en route to Venice in . During a later visit Le Paysage français de Poussin à Corot, Petit Palais, Paris in , he wrote to Durand-Ruel about his intention 1925, nos 55–8; Pictures from Lockinge House, Wantage, Ashmolean Museum, Oxford 1934–5, nos 13–6; Paintings to produce a series of fi ve paintings capturing the and Tapestries from Lockinge House, Wantage, City varying effects of light in a corner of St Mark’s. Museum and Art Gallery, Birmingham 1945–52, no. 9 The – picture anticipates this project, with (collectively); Landscape in French Art, Royal Academy of Arts, London 1949–50, nos 154, 151, 158, 161; Corot to its observation of the subdued Venetian daylight Monet: A Fresh Look at Landscape from the Collection, glimmering across the basilica’s magnifi cent surfaces. National Gallery, London 2009; Artistic Exchanges: Corot, In , Durand-Ruel gave Sickert his fi rst solo Costa, Leighton, National Gallery, London 2014. exhibition in Paris. On show in the gallery at the same time was a series of water-lily paintings by Monet, which Sickert visited with Edgar Degas, Walter Sickert (1860–1942) his friend and the artist he revered above all others. Interior of St Mark’s, Venice, 1895–6 Oil on canvas, 69.8 x 49.2 cm In a characteristically provocative assertion, On loan from Tate: Purchased 1941, L1168 Sickert advised the collector Sir William Eden in , ‘Stick to the French school. Il n’y a que cela in modern art’. While Sickert would subsequently take his place solidly in the canon of British art, the display of Interior of St Mark’s in Room  emphasises his allegiance to the French school and suggests the infl uence of Degas.                     – – 

           

Born in Cortona, and taught by Piero della Lazarus of Bethany, a follower of Jesus and the The painting is ingeniously and rhythmically Francesca, Signorelli was one of the principal brother of Martha and Mary, had been dead for four composed: muscular male fi gures frame the Central Italian painters of the late fi fteenth and early days when Jesus visited his grave and miraculously scene at left and right, the one on the left shown sixteenth centuries. Today Signorelli’s work is much restored him to life (John ). The New Testament from the back and the one on the right from the less appreciated than it was during his lifetime (and description of the event demonstrated a crucial front. Their positions are paralleled by two women indeed than it was during the nineteenth century): aspect of Jesus’ divine authority, namely his (presumably Lazarus’s sisters), one next to Lazarus perhaps because his surviving paintings and drawings power over death. As Sebastiano del Piombo’s shown from the front; and the other, reaching are scattered worldwide, and because his greatest representation of the theme (NG) demonstrates, out to him, from the back. Jesus himself is placed work, a fresco cycle of the Last Judgement and the the story offered artists an opportunity to depict at the centre, reaching out to Lazarus as he End of the World, can only be seen by visitors to a supremely dramatic event and bystanders’ varied emerges from the grave. the Cappella Nova in Orvieto Cathedral. reactions to it. Lazarus’s emergence from the grave The recent restoration of the painting at Man on a Ladder is a fragment of a large was thus the perfect vehicle for Wtewael’s highly the National Gallery (see pp. –) yielded composition of the Lamentation at the Foot of the mannered approach to expression and gesture. fascinating information about Wtewael’s Cross, which Signorelli painted in the years – The Utrecht painter Joachim Wtewael was working process and the operation of his for the high altar of the church of Sant’Agostino in one of the leading exponents of Dutch mannerism. workshop. The Wycombe painting apparently the small town of Matelica in the Italian Marches, His style is characterised by the use of vivid, acidic served as the model for several copies made by just after completing the Orvieto frescoes. No work colours and elegant fi gures entwined in wilfully Wtewael and his studio. After the copies were by him in the National Gallery – and few elsewhere distorted poses. The Gallery already possesses an completed, Wtewael returned to his original – recalls the bold foreshortening and exuberant exquisite small painting on panel by Wtewael, The picture and instituted a number of changes. physicality of these frescoes as well as this lithe and Judgement of Paris (NG). The loan of The Raising Whether this was done to ‘improve’ the colour muscular fi gure viewed from below as he clambers of Lazarus (see p. ) from the Wycombe Museum, harmonies or to distinguish the original from down a ladder after removing the nails attaching High Wycombe, enables us not only to represent the copies is not clear. The long-term loan of Christ to his cross. The fragmentary painting enables Wtewael’s large-scale work but also to draw The Raising of Lazarus to the National Gallery us to understand why Signorelli’s work was of such attention to key trends in Netherlandish painting will enable us to learn even more about interest to his great contemporaries, Raphael and at the turn of the seventeenth century. Wtewael’s working methods. MEW Michelangelo. 

Luca Signorelli, about 1440/50–1523 Man on a Ladder, 1504–5 Oil on wood, 88.3 x 52 cm On loan from a private collection, L1172                 –   – 

  ,               

These two paintings were made in This category of decorative picture, often called commemoration of one of the most illustrious spalliere because they were displayed above shoulder marriages of late fi fteenth-century Florence. height (spalle in Italian), tended to depict narratives In June  the Florentine patrician Lorenzo with a moral application to the roles of husband and Tornabuoni, the eighteen-year-old cousin of wife within marriage. Jason’s betrayal of his wife, Lorenzo the Magnifi cent, celebrated publically and Medea’s murder of her brother, sons and Jason’s his wedding to Giovanna degli Albizzi, the subject uncle Pelias, made this a surprising choice of subject of a famous portrait by Domenico Ghirlandaio in such a context. Lorenzo Tornabuoni may have (Thyssen-Bornemisza Museum, Madrid). The had a special interest in this story: certainly, as a marriage, however, was tragically short-lived: in student at the Florentine Studio (a university-like less than two years the bride had died in childbirth. institution) in the early s, he attended a series The Departure of the Argonauts and The Argonauts of lectures delivered by the humanist Bartolomeo in Colchis belong to a group of fi ve mythological Fonzio on the Roman epic poet Valerius Flaccus’s pictures made shortly after the marriage to decorate retellings of Jason’s adventures. It is thanks to the the ‘camera di Lorenzo, bella’, the most private of skill of the painters that the unlikely raw material his suite of apartments in the Palazzo Tornabuoni. of Jason and Medea’s tempestuous relationship Painted by very different artists, they demonstrate became an appropriate compliment for the most the diversity of pictorial styles that were fashionable virtuous and conventional marriage of Lorenzo in the highest echelons of Florentine society. Tornabuoni and his bride.  Bartolomeo di Giovanni’s picture, with its cool, controlled palette, rigidly planned architecture and busy sequential composition, is intensely Florentine, and recalls the manner of Ghirlandaio Master of 1487, probably Pietro Donzello (1452–1509) and Botticelli (with whom he often worked). The Departure of the Argonauts, 1487 Oil on wood, 83.8 x 163.8 cm Pietro del Donzello’s Departure of the Argonauts On loan from The Mari Cha Collection Limited, L1176 is more unusual. The ethereal seascape and the dramatic pose of the horseman with a banner Bartolomeo di Giovanni (active 1488 – about 1500) The Argonauts in Colchis, 1487 in the foreground have affi nities with works by Tempera and oil on wood, 83.2 x 163.8 cm Piero di Cosimo, and even Leonardo da Vinci. On loan from The Mari Cha Collection Limited, L1175         –    :      

This spectacular view of Venice by one of the luminous water below. The artist’s fl uid leading view painters of the eighteenth century is brushstrokes are perfectly suited to capturing among Guardi’s most accomplished works. Long the energetic fi gures animating the scene or the considered the masterpiece of the collection formed dappled sunlight on the crumbling wall of a in the early twentieth century by the Comtesse de Venetian church or palazzo. Béarn (from which it was sold by her descendants Guardi has chosen to depict one of the less in ), it is only rivalled in scale and ambition by familiar views of Venice. We are looking west, his immense pair of paintings at Waddesdon Manor, up the Giudecca Canal, from the Bacino di San The Rothschild Collection (National Trust). Marco, and the island of the Giudecca is just visible Guardi, who was fi fteen years younger than at the far left. The painting provides important Canaletto, began his career as a fi gure painter and visual evidence of the Zattere’s appearance at this only turned to view painting quite late in his career; date for the campanile of Sant’Agnese, rising above probably when he was already in his mid-forties. the skyline just right of centre, was demolished Although Guardi certainly admired Canaletto, even in –. The work remained with its pendant, borrowing on occasion compositions from him, he showing ‘The Ducal Palace from the Basin of San consciously strove for a different artistic language. Marco’, until . The latter was subsequently Where Canaletto’s views are rigorously constructed, acquired by the Musée des Beaux-Arts, Strasbourg, their architecture precisely drawn and their but was destroyed in . topography seemingly accurate, Guardi’s paintings This is undoubtedly the artist’s most successful are more poetic and impressionistic in their vision. and scenographic representation of the subject Here, for instance, most of the canvas is given over and can be dated to his maturity, though still in to the atmospheric depiction of the sky and the a relatively early phase of his career as a vedutista. 

Francesco Guardi (1712–1793) Venice: The Giudecca Canal and the Zattere, probably 1765–70 Oil on canvas, 120 x 205.1 cm On loan from The Mari Cha Collection Limited, L1174 The restored and renovated dome in Room 15 70–1) in (see dome pp. Room renovated and The restored                    – –       ’    

When, in November , Wtewael’s The Raising The cleaning involved the removal of not just of Lazarus arrived at the National Gallery it was in an the varnish but also the old restoration applied to exceptionally fragile state (fi g. ). As well as the large cover all the damage. This earlier restorer did not tear in the canvas just to the right of centre there restrict the retouching to the damaged areas but were several holes and the edges of the nineteenth- instead took the expedient decision to repaint large century lining canvas had split. The whole painting parts of the picture, adding details such as the large was in danger of detaching from the stretcher. The tree behind the buildings on the right. None of varnish layers applied in the last restoration, which the copies shows a tree. Joachim Wtewael (1566–1638) dated from the time of the relining, must once have Treatment of the fragile canvas support included The Raising of Lazarus, been clear and transparent, but had deteriorated to the removal of the degraded lining from the back about 1605–10 a murky burnt caramel colour. of the picture, the repair of the many tears and Oil on canvas, 131 x 162 cm On loan from Wycombe Since little of the picture surface was visible punctures, and the setting in of new pieces of canvas Museum, L1171 through the darkened varnish, the fi rst procedure where the original had been lost. The previous The painting before treatment was to examine the painting using X-rays and repair in the upper right corner had been made infrared refl ectography. These techniques revealed using a piece of canvas cut from a different old basket in the foreground and with some differences painting (fi g. ) is now on display in a new frame that it must have had a long history of damage and painting; this was replaced with another piece of old of colour in the draperies. It seems that Wtewael made in the style of early seventeenth-century neglect. In the X-radiograph it could be seen that canvas that better matches the texture of the original decided to alter several of the colours and enlarge frames to be seen on pictures by Wtewael and the canvas seems to have been folded and perhaps support. The entire canvas was then reinforced the basket – now rather damaged and transparent other Utrecht artists of the period. For more crushed. The upper right area, including the face by backing it with two new lining canvases. with time, which allows the fi rst basket to show information about the painting, see p. .  of the old man looking out and the hand and The fi rst stage in the new restoration was to fi ll through – only after the copies had been painted. forearm of the gravedigger, was shown to be the in the areas of loss to match the light grey colour Unfortunately, the paint of Wtewael’s revisions has most damaged part of the painting. Nevertheless, of Wtewael’s original preparation layers (fi g. ). tended to fl ake away from the underlying colours, most of the other expressive heads and hands, Although the restoration has been carried out revealing that they were once the same as those of Paintings cleaned and restored in the which are so characteristic of works by Wtewael, using modern, easily reversible, resin paints, it was the copies. This has also been confi rmed by extensive Conservation Department 2014–2015 had survived and the lower part of the painting important to imitate the original layer structure as analysis of the paint layers and materials in the Guercino Saint Gregory the Great with Jesuit Saints, NG6622 appeared to be better preserved. An important far as possible to achieve the same rich colour effects. Scientifi c Department at the National Gallery. Hals Portrait of a Man holding Gloves, NG2528 Hals Portrait of a Woman (Marie Larp?), NG6413 factor in the decision to proceed with the cleaning Guided by photographs of the copies, the damaged In the restoration it was decided to honour Italian The Dead Christ supported by Angels, NG219 of such a badly damaged painting was the existence painting could gradually be pieced together. Wtewael’s fi nal intentions as to the drapery colours, Klimt Portrait of Hermine Gallia, NG6434 of at least four copies of Wtewael’s composition, For the fi nal stages of the restoration the copies even where much of the upper paint layer had Rembrandt Portrait of Frederick Rihel on Horseback, NG6300 Wtewael The Raising of Lazarus, L1171 including one on a smaller scale that he made made from the painting proved to be less useful as fl aked away, for example as in the lower sleeve of himself. These were to prove invaluable as it transpired that they were all made of the High the young woman behind Lazarus, initially a bright Supporters 2014–2015 guides for the subsequent restoration. Wycombe version in an earlier state, with a smaller orange but changed to a deep green. The restored J. Paul Getty Jnr Charitable Trust           –      –   

After cleaning and relining, The painting after treatment before retouching                 –   –    ’        

The frame recently acquired for Rubens’s A The naturalistic carved leaves, fl owers, nuts and Landscape with a Shepherd and his Flock (NG) is berries of the top knoll are only slightly scaled French from the middle of the seventeenth century. down and hint at the details suggested but unseen The quality of the carving is unusually fi ne and in the painting. The colour of the original gilding represents one of the best examples of this type. The is a harmonious echo of the low and distant sun. repeat leaf and shield motif and the tight guilloche at This frame had been altered at the short sides, the inner edge are sharp and miniaturised. The main and would originally have had an upright, wider ornament is remarkably naturalistic in its depiction format. When we considered the frame for Rubens’s of a wide variety of fruits and foliage, and with the painting we decided to leave it unchanged, as the inclusion of acorns and hazelnuts it seems ideally former centres at the short length, now no longer suited for an autumnal landscape. in the middle, are hard to identify, and it was High quality Flemish frames, such as the fi ne already cut to exactly the right size. example bought by the National Gallery for The enhancing effect of the new frame is most Rubens’s Miraculous Drought of Fishes (NG) in obvious when compared to the old. The painting , are very diffi cult to fi nd. Like the inner edge was previously framed in a poor quality, early of this frame, most of the carved and gilded Flemish twentieth-century version of a French eighteenth- frames show the infl uence of French designs and, century centre corner design, which was a particularly once taken out of context, would have been looked unfortunate choice for this wide landscape format. upon as French seventeenth-century frames. The purchase of this frame was made possible The Landscape with a Shepherd and his Flock was with the generous help of a group of supporters. painted by Rubens at the very end of his life, and We are very pleased that we have been able to add depicts the countryside near his fi nal residence at to other recently acquired French Louis III and Het Steen. Rubens painted about two thirds of the Louis XIV frames, and propose to undertake further left side before adding a further panel to the right research for a possible future Room  exhibition of the setting sun. The addition was made halfway devoted to French seventeenth-century frames.  through the painting process and seems to have been considered early on. The extra width of the landscape made space for the inclusion of the buildings and the shepherd and allows us to gaze into an almost infi nite aspect. The depth of the A Landscape with a Shepherd and his Flock, about 1638 Oil on oak, 49.4 x 83.5 cm view is greatly enhanced by the tightness and The National Gallery, London, NG157 narrow scale of the inner edge of the frame. The painting shown in its old and new frames         – 

Details of the new frame

Paintings reframed in 2014–2015 Supporters 2014–2015

Framed with newly acquired antique frames Mr L. Chase Bellini Saint Jerome reading in a Landscape, NG281 Mr Juan Corbella Elsheimer Saint Lawrence prepared for Martyrdom, NG1014 James & Clare Kirkman Gaudenzio Ferrari Christ rising from the Tomb, NG1465 Mr & Mrs Lowell Libson Liss Judith in the Tent of Holofernes, NG4597 The London Law Trust Mantegna The Introduction of the Cult of Cybele at Rome, NG902 Mr & Mrs Walter Marais Montagna The Virgin and Child, NG1098 Mr Gregory Martin Rembrandt The Lamentation over the Dead Christ, NG43 Mr Patrick Matthiesen Ercole de’ Roberti The Adoration of the Shepherds, NG1411.1 The Mercers’ Company Ercole de’ Roberti The Dead Christ, NG1411.2 Hannah Rothschild Rubens A Landscape with a Shepherd and his Flock, NG157 Sir Angus & Lady Stirling Andrea del Sarto The Madonna and Child, Supporters of the 2014–15 Titian Frame Appeal Saint Elizabeth and the Baptist, NG17 Signorelli The Adoration of the Shepherds, NG1133

Frame reproductions Costa The Virgin and Child, NG629.1 Costa Saint Peter, NG629.2 Costa Saint Philip, NG629.3 Costa Saint John the Evangelist, NG629.4 Costa Saint John the Baptist, NG629.5 Gaudenzio Ferrari Saint Andrew (?), NG3925 Rembrandt, Portrait of Jacob Trip, NG1674 Rembrandt, Portrait of Margaretha de Geer, Wife of Jacob Trip, NG1675 Wtewael, The Raising of Lazarus, L1171 Access abovesteps Access the renewed dome in 15Room (see pp. 70–1)                    – –     :        –   

Why did artists incorporate architecture in their Alasdair Flint. Their research, and that of several pictures? What does it mean for a painting to be other scholars, is presented in the National Gallery’s architectural? The aim of this exhibition was to fi rst online exhibition publication, supported by the explore these questions by examining the roles Arts and Humanities Research Council, and freely architecture played within Italian paintings from available on the Gallery’s website. the Late Middle Ages until the High Renaissance. The core of the exhibition was provided by Stylistic approaches to buildings and paintings the National Gallery’s exceptionally rich collection underwent radical change in Italy from the of Italian Renaissance painting. To contain a fourteenth to the sixteenth centuries, and these potentially vast subject within the physical confi nes developments remain fundamental to our of the Sunley Room, the curators focused their consideration of painting and architecture today. investigation on particular iconographic groupings. The three artists central to our conception of One of these, called ‘Entering the Picture’, the Renaissance – Leonardo, Michelangelo and examined thresholds and ways of entering the Raphael – combined the theory and practice of artifi cial world of a painting through a study of the The exhibition, although tightly focused architecture with their activity as painters. And Archangel Gabriel’s Annunciation to the Virgin on Renaissance Italy, was determined to make they were not alone. Both painting and architecture Mary. This was one of the most frequently depicted connections with architectural and artistic practice were underpinned by ‘disegno’, and only those subjects in late Medieval and Renaissance art, and today. A series of short fi lms, shown in the Sunley who were skilled draughtsmen were truly capable although the Gospel account seems to offer little Room cinema and on the Gallery’s website, of designing buildings or making paintings. Yet potential for imaginative freedom on the part of presented fi ve contemporary perspectives on the representation of architecture in painting the artist, painters placed the scene in different imagined architecture and demonstrated how remains a surprisingly neglected fi eld. This architectural settings to convey specifi c meanings. closely the modern arts of design parallel those exhibition provided a fresh interpretation of For instance, in Carlo Crivelli’s The Annunciation, of Italian Renaissance painters.  the role of architecture within images, arguing with Saint Emidius of , the apparent dichotomy that buildings and backgrounds, rather than between Mary’s purity, as a container for the Holy foreground fi gures, could provide the key Spirit, and her role as the intercessor between to understanding many pictures. God and Man is made manifest by her placement Building the Picture was an expression of the in an apparently private room. But while nothing Photograph of the installation, looking through the fi ctive arch linking the Sunley Gallery’s research partnership with the University separates us, the viewer, from Mary, she is protected Room with the foyer, towards Lorenzo of York, a collaborative project between Dr Amanda from Gabriel’s eyes by a barred window, and even Costa and Gianfrancesco Maineri’s Lillie, Reader in Art and Architectural History, and the Holy Spirit, in the form of a dove, requires The Virgin and Child with Saints, NG1119

the National Gallery’s Curator of Italian Paintings a specially created aperture in the outer wall to Detail from Carlo Crivelli, The Annunciation, before , together with their joint PhD student, enter her bedchamber. with Saint Emidius, NG739                    – –      –   

This novel exhibition was the fi rst of its kind in Making Colour examined painters’ colours from translucent pigments, known as ‘lakes’, which the United Kingdom to explore comprehensively the multiple perspectives of the origins of paint were prepared from natural dyes, were represented the material history of colour in paintings. Making sources, their constitution, supply, manufacture by a picture by Cosimo Tura and the Lady in Colour offered visitors an exceptional opportunity and application, as well as for their qualities of Red by Moroni. These natural colourants, such to discover the wide-ranging substances used to colour effect and permanence. A key theme as those extracted from madder, brazilwood, lac create colour in paintings and other works of art. explored the connections between the colours of and cochineal insects, used to make red pigments Based on the Gallery’s own spectacular collection, paint, and those used to produce colour in the sister for painting, were important also for dyeing rich the exhibition traced the history of use of colour in arts of glass-making, ceramics and textiles, of which silk and wool textiles in Renaissance times, and Western paintings, from the Middle Ages to the end loans from major British collections were included examples of these were included in the room. of the nineteenth century. It examined how all the to illustrate these important correlations of colour The fi nal section of the exhibition, mounted possibilities offered by the natural world – mineral, technologies. Large and beautiful specimens of in the adjoining cinema, introduced visitors to a vegetable and animal – were exploited in order natural minerals were on display to reveal the new world of contemporary and scientifi c thought to fi nd dramatic and reliable colours for painting, sources of natural pigments. The visitor was able on colour. An interactive experiment in colour along with those artifi cial forms that were the to journey across the world and over time from lapis perception – ‘New light on old art’ – engaged products of human ingenuity. lazuli ultramarine to cobalt blue, ancient vermilion participants by encouraging them to judge and The exhibition brought together the worlds to bright cadmium red, and verdigris to deep green record their responses to varying types of of art and science to explain how artists overcame viridian invented only in the nineteenth century. illumination of paintings. This was designed to the technical challenges involved in creating colour The spectacular colour effects of deep blue lapis demonstrate how we perceive and register colour, spanning  years of innovation and manufacture. lazuli ultramarine were highlighted in pictures by and to show that the eye and brain respond to The exhibition’s widely varied content relied on Giovanni da Milano and Sassoferrato, in contrast colour in unexpected ways. Over , visitors long-term research by the Gallery’s Scientifi c to the subtler mineral blue made from azurite, recorded their assessment and observations on Department involving study and analysis of paintings as revealed in paintings by Ugolino di Nerio and varying light effects in sequence produced by across the collection. Making Colour showed the Albrecht Altdorfer. The application of traditional ‘tuneable’ light-emitting diode lamps operating material problems faced by artists in achieving their green pigments such as green earth, in the under computer control. The experiment, painterly aims, the breakthroughs they struggled underpainted fl esh of a Ghirlandaio Virgin and introduced by a specially made explanatory for, and the challenges they faced in creating works Child, were set against the vivid new stable greens fi lm, was devised by researchers at the University of art that were both beautiful and enduring. of nineteenth-century painting, such as emerald of Newcastle and at the National Gallery, and The exhibition began by examining how theories green, exploited to powerful effect by Cézanne for has provided mass information on human visual of colour – such as an awareness of primary colour, his sunlit southern landscapes. The technological responses to differing lighting methods in picture or of the colour spectrum – have infl uenced connections to painting of colourants used for galleries. This will be used to refi ne and improve painters’ use of pigments, as well as their continual Renaissance maiolica ceramics on display were the ways paintings are displayed to the public search for new materials. Visitors were able to explored for yellows and orange colours in in the future. explore the exhibition colour by colour, as though particular, and illustrated with examples by Pietro The exhibition received generous support Rachel Ruysch (1664–1750) Flowers in a Vase, about 1685 they followed the rainbow arranged as a ‘colour da Cortona, Van Dyck and Gainsborough. The use from The Art Mentor Foundation Lucerne, Oil on canvas, 57 x 43.5 cm circle’, from blue and green, to yellow and orange, of the bright scarlet mineral pigment from cinnabar, with additional donations from Terry de Gunzburg The National Gallery, London NG6425 and red and purple. To heighten and focus the known as vermilion, brought together the unusual (‘By Terry’) and a number of other supporters. The rare poisonous mineral realgar supplied from Hungary visual experience, the exhibits were lit dramatically and striking conjunction of paintings by Masaccio The interactive experiment was supported by was used as an orange pigment for the lily in a Dutch in otherwise darkened rooms. and Degas, while the very important class of red a grant from The Wellcome Trust.  seventeenth-century fl ower piece by Rachel Ruysch (top)                    – – 

Rembrandt (1606–1669) Christ presented to the People (Ecce Homo), 1655 (state eight of eight) Drypoint, printed with surface tone on Japanese paper, 35.8 x 45.5 cm Rijksmuseum, Amsterdam, RP-P-OB-612 :       –   

In recent decades, the National Gallery has gained Rembrandt has memorably been described a reputation for mounting major international as ‘a printmaker who also paints’, an observation exhibitions of the work of Rembrandt van Rijn. that might seem curious to those most familiar Rembrandt (1606–1669) Rembrandt: the Master and his Workshop (–) with his painted oeuvre. But the ability to follow, Lucretia, 1666 Oil on canvas, 110.2 x 92.3 cm explored the artist’s relationship with his many through multiple states, the complex formal and Minneapolis Institute of Arts, pupils and followers, while Rembrandt by Himself iconographic evolution of prints such as The Three Minneapolis (–) offered a chronological survey of his Crosses or Christ presented to the People (Ecce Homo) many compelling self portraits. The Gallery’s most enhances our understanding of Rembrandt’s painted brushwork and the delicate nuances of colours struggling to bring the dagger to her breast, in recent offering, Rembrandt: The Late Works, was the work. Technical examination of paintings with freed from layers of discoloured varnish. the Minneapolis version she has already infl icted fi rst exhibition devoted specifi cally to the paintings, X-radiographs, infrared refl ectography, cross- Rembrandt’s penchant for re-considering the fatal wound, and we become more deeply drawings and prints made in fi nal years of the artist’s section analysis and other means can give hints his approach to a given subject was also a enmeshed in her pain, sorrow and noble resolve. life (–), arguably the most radical, inventive of what earlier stages might lie beneath the visible recurrent theme in the exhibition. Two very Rembrandt: The Late Works encouraged visitors and intensely creative phase of his career. image, but studying successive states of a print different interpretations of The Apostle Bartholomew to connect with the artist’s innovative and radical The thematic (rather than chronological) affords a clearer understanding of the types of (on loan from the Timken Museum, San Diego, technique, and with the universal human concerns arrangement of the exhibition encouraged visitors changes Rembrandt might have made as he and the J. Paul Getty Museum, Los Angeles) or expressed so powerfully and sympathetically in to consider the defi ning stylistic and iconographic painted, why, and in what order, thus aiding our of the tragic Roman heroine Lucretia (on loan from his works. Despite the tragic circumstances of his characteristics of Rembrandt’s late works. understanding of his working methods. Several the National Gallery of Art, Washington, and the personal life, Rembrandt’s late works reveal his Throughout the exhibition, the juxtaposition paintings were newly cleaned for the exhibition Minneapolis Institute of Arts) demonstrated how engagement with the world around him and a of paintings, drawings and prints was a constant – including the Gallery’s own Portrait of Frederick even subtle alterations might affect the interpretation profound understanding of the human condition. reminder of his restless creativity and the technical Rihel on Horseback (NG) – enabling visitors to of the scene. For example, while in the Washington We are indebted to Royal Dutch Shell plc for virtuosity he demonstrated in all three media. appreciate the extraordinary sensitivity of the artist’s painting, Rembrandt depicts Lucretia tearfully sponsoring this extraordinary exhibition.                     – –       –   

Peder Balke is, in the words of leading expert the following year. Next, Balke tried London Marit Ingeborg Lange, ‘the most original and most but when it too ended in disappointment in the puzzling Norwegian painter of the nineteenth early s he gave up professional painting in century’. Born in poverty and raised by benevolent favour of an infl uential career in radical politics farmers, he received practical training in decorative and the construction of workers’ housing in Oslo. painting which prepared him to make a modest He never laid down his brushes, however, and it is living. Feverishly ambitious, however, Balke set the increasingly experimental works of his so-called his sights on academic instruction in fi ne arts in retirement on which, after decades of oblivion, his Stockholm, and then in Dresden with the pre- burgeoning international reputation is largely based eminent Norwegian master of the day, Johan today. Or rather, he often laid down his brushes in Christian Dahl (–). Early on, he gained favour of the palette knife, or rags, or a comb or even a reputation for indefatigable walking tours of his fi ngers as he worked pigment in increasingly Southern and Central Norway in search of landscape adventurous ways, but he never stopped painting. motifs, including famous mountains and waterfalls, Balke is the master of storm-tossed seas, and he was among the fi rst to depict the Northern foundering ships, lonely lighthouses, vertiginous

Lights. He began to develop a painterly repertoire peaks half lost in fog, the standard Romantic Peder Balke (1804–1887) meant to appeal not only to countrymen but also repertoire retardataire by that time. What he did North Cape, 1870s to connoisseurs abroad. with it, however, was remarkable. He began to Oil on canvas, 124 x 152 cm Trondheim Kunstmuseum In the summer of  he travelled by ship experiment with ever-more-austere compositions, to the most inaccessible reaches of far Northern as if trying to capture the elemental in landscape. Peder Balke (1804–1887) Norway, including the North Cape, a mighty wall Outraged local critics thought them simple-minded. Northern Lights, 1870s Oil on board, 10 x 12 cm of rock jutting into the turbulent sea. He was the He wielded paint freely so that rapid, proto- The Hearn Family Trust, fi rst Norwegian artist to seek out this desolate locale. Expressionist brushstrokes animate his canvases. New York While only a few sketches survive from that single voyage, depictions of the North Cape were a constant of his art for fi fty years. The exhibition He began to work on a smaller and smaller scale, the second outside Scandinavia, included  opened with four large North Capes dating from often on wood panels held in one hand on which paintings, many from private collections, others  (the earliest known although many must have he manipulated thinned washes of colour until a treasures of the leading Nordic museums. It was preceded it) to the mid-s. They, and small-scale seascape suggested itself. With exceptions, he severely a reduced version, focusing on the later works, examples throughout the show, succinctly trace the limited his palette to black, white and grey so that of an exhibition in summer  held at and development of his painting style from detailed many of his tiny, late pictures resemble nothing organised in collaboration with the Northern naturalism in the manner of Dahl to free and so much as prints or even blurred photographs. Norway Art Museum, Tromsø. Curators were audacious improvisations. Perhaps more than any contemporary he liberated Lange, Knut Ljøgodt and Christopher Riopelle. Balke also travelled widely in search of clients painting in the direction of improvisation and The exhibition and accompanying catalogue – and in  received a commission from King chance procedure. the fi rst in English – were supported by Aud Jebsen Louis-Philippe in Paris for a cycle of Norwegian This exhibition, the fi rst monographic Balke and The Athene Foundation, Basel, along with views. It would have made him famous but was display in the English-speaking world and only several additional donations.  never completed as the king was overthrown                 –   – 

 :       –   

This exhibition, held in Room , was conceived energy Hambling has invested in these six-by-seven as a contemporary response to the concurrent feet canvases and sheer vigour of the sea she depicts.’ exhibition of paintings by Peder Balke in the Sunley The exhibition of paintings was complemented Room. Although Hambling was initially unaware by a display of Hambling’s monotypes on the same of Balke, it was felt that there were fascinating theme in the Gallery’s Espresso Bar. A monotype similarities between the two artists’ work, both in is a form of printmaking that, unlike etching or terms of subject matter and technique, and it would lithography, produces only one impression from be an ideal opportunity to demonstrate how a the plate. Hambling fi rst covers a zinc plate with contemporary painter can be seen in a direct line of a layer of black printing ink and then, using her descent from the little known yet radical Norwegian fi ngers, rags, brushes and solvent, she removes the painter of the mid-nineteenth century. ink, a process she describes as ‘drawing with light Eight large paintings with the generic title ‘Walls into dark’. The plate is then printed on white paper. of Water’ were exhibited alongside a smaller work This monochromatic and reductive process is on the same theme, dedicated to the late singer Amy comparable to several of Balke’s works, in which Winehouse. The series, begun in , was inspired he similarly scraped away already applied paint by Hambling’s experience of watching huge waves to reveal previous surfaces beneath. crashing over the sea wall during a winter storm at Born in , Hambling has established a Southwold, Suffolk, the county of the artist’s birth. reputation as a signifi cant painter, rooted in the All of the paintings were executed in oil on canvas. English tradition of Constable and Turner. She is The sea has been a recurrent theme of represented in all of the major British collections, Hambling’s work, both as a painter and sculptor. from the British Museum and National Portrait Reviewing the show, the Daily Telegraph observed: Gallery to the Tate, and her last museum show was ‘Certainly, her semi-abstract approach – with at the Fitzwilliam Museum, Cambridge in . dizzying splatters and swirls of blue, black and green Her sculpture, Scallop, of  is permanently sited – imparts a sense of foreboding. Especially in the on the beach at Aldeburgh, Suffolk, as a monument way the paintings envelop us from all four walls to the composer Benjamin Britten. In –, of this one-room show. Despite the deathly Hambling was the fi rst National Gallery Artist Maggi Hambling (b. 1945) Wall of Water V, 2011 connotations, however, one actually comes away in Residence and so with this exhibition, her Oil on canvas, 198.1 x 226.1 cm with an overriding sense of life: from the sheer relationship with the Gallery goes full circle.  Private collection                    – – 

 :  -         –   

Paul Durand-Ruel (–) did not want ferociously hostile critics but Durand-Ruel to be an art dealer, but when his father fell ill he understood that even negative press drew attention. reluctantly left military school to assist him selling In the early s he insisted that his artists mount paintings by Romantic and Barbizon masters such one-man shows, not a format with which they were as Delacroix, Corot, Théodore Rousseau and comfortable. Within a decade, however, such solo Courbet. Following his father’s death in  he displays had become, as they remain, the standard took over the gallery, investing daunting sums in means of introducing new artists to the public. The stock. When the Franco-Prussian War broke out current exhibition includes case studies of Monet’s Edouard Manet (1832–1883) The Battle of the U.S.S. ‘Kearsarge’ in  he shepherded his family and pictures into retrospective exhibition of  and the fi rst solo and the C.S.S. ‘Alabama’, 1864 exile in London. There he rented a gallery in exhibition of his series paintings, Poplars, nine years Oil on canvas, 137.8 x 128.9 cm Philadelphia Museum of Art, New Bond Street and continued to deal. later. In the eyes of the Parisian public Durand-Ruel John G. Johnson Collection One Barbizon artist, Charles Daubigny, was by now indissolubly linked to Impressionism. introduced him to young painter friends also in But it was America that saved him. In , Claude Monet (1840–1926) Pears and Grapes, 1880 exile, Claude Monet and Camille Pissarro. Thus, again near bankruptcy, he was invited to display Oil on canvas, 64 x 81 cm Durand-Ruel saw his fi rst Impressionist paintings, the ‘New Painting’ in New York. Doors opened Hamburger Kunsthalle, Hamburg and – instantly smitten – made his fi rst Impressionist to pioneering collectors such as Mrs Havermeyer purchases not in Paris but London, quietly inserting in New York, Mrs Potter Palmer in Chicago and John G. Johnson in Philadelphia. They bought. acquired from Durand-Ruel the masterpieces these brightly-coloured views of the British capital Museums followed. Within two years Durand-Ruel of modern art he bequeathed to a reluctant, into exhibitions at his gallery. Returning to Paris had opened a permanent gallery on Fifth Avenue, if not hostile, nation in , thus launching in mid-, he insisted on meeting their friends, which would be run by two of his sons. Success the Gallery’s modern collection. Mary Cassatt, Edgar Degas, Berthe Morisot, piled on success. German museums soon followed This pioneering exhibition tracing the career, Pierre-Auguste Renoir and Alfred Sisley chief suit, and by the early years of the twentieth century collection and business innovations of Paul among them, and bought their works in bulk as even French museums were overcoming their Durand-Ruel was a collaboration of the National well. In January  he met Edouard Manet and prejudices and beginning to hang Impressionist Gallery, the Musée d’Orsay and Réunion des musées purchased every fi nished painting in his studio. He works on their walls. nationaux, Paris – it was shown there at the Musée sent works to London for exhibition but found few Still, Durand-Ruel harboured hopes for du Luxembourg in autumn  – and the clients there and by , having bought heavily and London. In  he rented the Grafton Galleries in Philadelphia Museum of Art where it travelled after sold little, was on the brink of bankruptcy. He was Mayfair to mount arguably the greatest exhibition London. It was based on extensive research in the also now a widower, with fi ve children in his care. of Impressionist masterpieces ever seen, some Archives Durand-Ruel, maintained by the dealer’s Fiercely loyal to ‘his’ painters, Durand-Ruel  canvases. Only  sold, most to foreigners. descendants who also lent generously. Other major called on his every business skill to survive. He Nonetheless, the exhibition ‘wrote’ the history loans came from public and private collections organised the so-called Second Impressionist of Impressionism from Boudin to Cézanne to around the world. The Gallery is also grateful to Exhibition of  and commissioned critic which we still largely subscribe today. The present the supporters who made this exhibition possible. Edmond Duranty to write the closest thing to exhibition ends with a case study of that display, The story of how the Impressionists evolved from an Impressionist manifesto, the essay entitled a turning point not least for the National Gallery Paris opprobrium to international acclaim was told ‘The New Painting’. Both proved red fl ags to as it was there or soon after that Hugh Lane from a surprising and important new angle.                     – –    : , ,    –    During the nineteenth century the Roman British schools, intersected in the lesser-known Campagna played host to a dynamic and Italian painter Costa. Without a strong indigenous cosmopolitan community of artists, who were tradition of landscape painting in Italy to refer to, drawn to the area to develop their skills in landscape Costa was drawn to the work of Corot and his painting. They found inspiration not only in the followers. It was, in turn, Costa who prompted stunning natural setting, but also in their fellow Leighton’s fi rst foray into landscape sketches during painters, resulting in a thriving network of artistic his Roman sojourn in . Exhibiting the two exchange that transcended the national schools friends’ work side by side emphasised Leighton’s :      in which they had trained. debt to Costa’s characteristic sweeping panoramic Featuring oil sketches and paintings from the views worked out across a wide horizontal format.    –   Gere Collection and the National Gallery’s own This was a particularly enlightening display collection, as well as loans from Castle Howard in a year that would also see the National Gallery The National Gallery holds a small number of pictures as a gift to his country the day after the and the collection of Peter and Renate Nahum, acquire Corot’s decorative cycle The Four Times works painted during the First World War. Among Armistice was signed in . They are now the display in Room  told the story of this artistic of Day (see pp. –), once owned by Leighton. them is Claude Monet’s large Water-Lilies, started on display in the Musée de l’Orangerie, Paris. network by focusing primarily on the particular As his purchase demonstrated, Leighton greatly in  as the artist was embarking on a major Since the National Gallery’s Water-Lilies was constellation of painters made up of Jean-Baptiste- admired Corot, however by uniting the two decorative project with his water garden as its sole placed on long-term loan to the Tate in , Camille Corot, Giovanni (Nino) Costa, and masters’ work with that of Costa, Artistic Exchanges motif. Settled in Giverny from , Monet spent the Gallery’s holdings of Giverny pictures have Frederic, Lord Leighton. It showed how the added nuance to this connection, revealing a half of his life there focusing on his garden – both his been added to through the acquisition of Water- trajectories of Corot and Leighton, two towering painterly dialogue between all three in their creation and the subject of his creation – and for the Lilies, Setting Sun (NG), and the loan of the fi gures of the nineteenth-century French and mastery of the fl eeting effects of light.  last quarter of his life he painted it exclusively. The Japanese Bridge (L). The temporary return of Gallery owns some remarkable examples of these Monet’s monumental canvas to Trafalgar Square rich and sophisticated images of ‘silent dead waters allowed it to be shown alongside these and other refl ecting spreading fl owerings’. They range from an related views of the painter’s garden from the early view of the Japanese bridge across the pond to Gallery’s collection, creating juxtapositions never his huge Water-Lilies, the centrepiece of this display. seen before. The display also prompted a timely Begun at the start of the war – a time of anxiety and refl ection on the impact of the Great War on the personal tragedies for the elderly artist – Monet’s artist’s oeuvre, introducing new perspectives into ‘grandes décorations’ soon became bound up with these paintings, Monet’s most audacious and the confl ict. Retreating to his vast purpose-built infl uential – also his most poignant.  studio, he recreated a universe of colour and light which war seemed on track to destroy. Monet’s Giovanni Costa (1826–1903) project was also linked to the commemoration of Claude Monet (1840–1926) A Morning at Botri, near Lerici, 1878–81 Water-Lilies, after 1916 Oil on canvas, 33.6 x 55.2 cm the victory of French and Allied forces in the First Oil on canvas, 200.7 x 426.7 cm Castle Howard Collection World War, with the artist offering a group of the The National Gallery, London, NG6343                    – –               –      –   

This temporary display in Room  marked the delicacy of small-scale pictures aimed at a Canaletto’s A Regatta on the Grand Canal is the The three host venues organised exhibitions relating the exceptional loan of El Greco’s altarpiece, learned public, to the confi dent handling of those second of three famous National Gallery paintings Canaletto’s painting to their own collections. At the The Crucifi xion with Two Donors, from the Musée intended for private devotion, or the expressive to tour galleries and museums in the UK as part Victoria Art Gallery in Bath the work was shown du Louvre, Paris, alongside which the National brushwork of the great altarpieces destined for of the Masterpiece Tour, sponsored by Christie’s. alongside views of the city, highlighting Canaletto’s Gallery’s own holdings of El Greco’s works were religious settings. El Greco demonstrates a unique Canaletto’s painting depicts one of the popular infl uence on British artists and eighteenth-century brought together. An additional painting, The Agony and original approach to his subject matter and rowing races, which have been held in Venice enthusiasm for view painting. It then travelled to in the Garden, related to the Gallery’s own workshop the modernity of his vision is still admired today. since . These public spectacles traditionally Compton Verney in Warwickshire where it was variant shown nearby (NG), was on loan from When in  the National Gallery acquired took place during carnival season, and many of juxtaposed with Vanvitelli’s Posillipo with the Palazzo a private collection and exhibited publicly for the The Agony in the Garden, then considered a ‘superb the spectators wear the bauta. Canaletto represents Donn’Anna. This display coincided with the fi rst time in  years. masterpiece’ by El Greco but now rightly classifi ed the gondoliers passing the macchina della regatta, a Canaletto: Celebrating Britain exhibition. The tour The display took place more than a decade after as a workshop variant, the art critic Roger Fry wrote temporary fl oating pavilion in the left foreground, ended at Sunderland Museum and Winter Gardens, the large monographic show held at the National that the Director ‘has given the British public an and speeding towards the Rialto Bridge. Crowds where the painting was shown with a group of Gallery in , and it followed ‘Toledo ’; electric shock. People gather in crowds in front of enthusiastic onlookers cheer from lavishly nineteenth-century panoramic river paintings a year-long celebration of the fourth centenary of it, they argue and discuss and lose their tempers’, decorated boats, windows and balconies. depicting local ceremonial scenes.  of El Greco’s death, in the city where he worked talking about the painting ‘as they might talk about for more than half his life. The magnifi cent Louvre some contemporary picture’. The rediscovery of Crucifi xion exhibits the extraordinary drama El Greco in Britain in the early part of the twentieth  – associated with some of El Greco’s greatest works, century is well known and, with Cézanne and Picasso such as The Burial of the Count of Orgaz (–) as devotees, El Greco’s vital role in the development Building the Picture: Architecture Maggi Hambling: Walls of Water in Santo Tomé, Toledo, with which it is almost of modern painting has long been argued. This in Italian Renaissance Painting 26 November 2014 – 15 February 2015 30 April – 21 September 2014 Room 1 contemporary. The six paintings on display made temporary display encouraged visitors – artists and Sunley Room Supported by an anonymous donor, with additional it possible to follow El Greco’s stylistic evolution students among them – to return to the Gallery support from Hannah Rothschild and Angela Koulakoglou and appreciate the full range of his works, from and study El Greco with renewed interest.  Making Colour 18 June – 7 September 2014 Inventing Impressionism Sainsbury Wing 4 March – 31 May 2015 Supported by the Art Mentor Foundation Lucerne, Sainsbury Wing with additional support from Terry de Gunzburg Supported by Eurotunnel, Philippe & Stephanie Camu, (‘By Terry’), The Wellcome Trust, The Tavolozza The Jacaranda Trust, The NDL Foundation and several Foundation – Katrin Bellinger, Simon and Virginia anonymous donors Robertson and Dr Nicola Coldstream Supporters 2014–2015 Rembrandt: The Late Works 15 October 2014 – 18 January 2015 Associate Artist Programme Sainsbury Wing Supported by the Rootstein Hopkins Foundation Sponsored by Royal Dutch Shell plc Exhibition Colloquia Peder Balke Supported by The Elizabeth Cayzer Charitable Trust 12 November 2014 – 12 April 2015 Sunley Room Friday Lates Supported by: Aud Jebsen; the Athene Sponsored by Credit Suisse Foundation, Basel; The Daniel Katz Gallery, London; the Deborah Loeb Brice Foundation; Sunley Room Exhibition Programme Installation view of the Royal Norwegian Embassy, London; and Supported by The Bernard Sunley Charitable the El Greco display the Norwegian Ministry of Foreign Affairs Foundation                    – – 

 Replica of Madame de Pompadour’s dress from Drouais’s painting made by students on the BTEC Diploma in Theatrical Costume at Kensington        and Chelsea College.

The Making Colour summer exhibition provided proved to be a popular and well-received strand of For children with multiple and severe learning the theme for a holistically devised education the adult learning programme. Over six consecutive diffi culties, exploring a picture does not only involve programme for all ages. Events were incorporated weeks, visitors to the exhibition could attend a looking and discussion. Touching purpose-made into a broader interpretation plan, including the demonstration of how Italian Renaissance artists objects and listening to the story behind the painting in-exhibition text, fi lms and family trail. Activities made their paints by grinding coloured rocks or also play an important role. included taster sessions on how artists have used clays on a slab with water and egg. In October, the National Gallery launched colour and family workshops themed around Artist educator James Heard showed how colours a new programme of two-phase Explore It! the colour wheel, to lectures by experts from a change according to how they are prepared and workshops, tailored for students with diverse wide range of disciplines including optometry applied, using examples of fresco and oil painting and complex educational needs, based on a and neuroscience. technique with explanations of their application multi-sensory exploration of Bartolomé Bermejo’s The integrated interpretation and programme in National Gallery pictures. This was brought Saint Michael Triumphs over the Devil (NG). plan was the result of collaborative work with to life in the workshops with a series of practical Getting to know the children at their school colleagues from the Scientifi c and Curatorial demonstrations, which included gilding techniques. and prior to their gallery visit meant that we could departments. The success of this approach could The use of an overhead camera to live-stream the learn about their individual requirements and be seen in the variety of events designed for more intricate aspects of the workshop ensured abilities in the pupils’ own familiar surroundings. different audiences and learning styles as well that all participants had a close-up view. Children experienced sensory storytelling in as in the high attendance rates. This focus upon the make-up of a painted surface their classroom, using tactile resources like Saint Engaging our audiences in the practicalities and examination of what lies beneath provided Michael’s armour, and experimented with coloured of preparing to paint was a particular highlight. visitors with a detailed understanding of how ‘stained glass’ cellophane and simulated candlelight. ‘Making Colours: Paints, Painters and Pigments’ paintings are made.  They also looked at images of the gallery spaces in preparation for their visit and to remove anxieties about going to a new place. In front of Bermejo’s painting, the children additional paintings. Our next two-phase recreated the story once more, enacting it with workshops will be based on François-Hubert their own sound and movement. Guided by Drouais’s Madame de Pompadour at her Tambour gallery educators they investigated the painting Frame (NG). Participants will be immersed and surrounding environment through sketching in Madame de Pompadour’s cultured and musical or mark-making. Object-handling exercises were world and take part in activities that many of also used to develop cognitive ability and fi ne us might take for granted. Audio and tactile motor skills; one young child with developmental exploration, such as listening to a soundscape, disabilities was so enthused that he placed his left touching the lace or even wearing the bonnet foot into the replica of Saint Michael’s sabaton – a from an exquisite life-size replica of Madame notable achievement for this particular individual. de Pompadour’s outfi t, will enable depth of Still from the Making Colour exhibition fi lm showing how Following the success of these fi rst Explore It! engagement for children with multiple or to make green paint sessions, we are now developing resources for severe learning diffi culties.          – 

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

Inspired by the National Gallery’s exhibition Supporters 2014–2015 Rembrandt: The Late Works, this new digital resource Access Programme for Adults explores how secondary school teachers can use Supported by the BAND Trust and the Lord Leonard Rembrandt’s paintings and research undertaken by and Lady Estelle Wolfson Foundation the Gallery’s Scientifi c Department as part of the   Belle Shenkman Music Programme curriculum for art and science Key Stages to . Supported by Miss Dasha Shenkman OBE The resource is available on the National Gallery’s website in an updated format designed Explore It! Special Needs Programme Supported by the Lord Leonard and Lady Estelle to encourage cross-curricular learning and to be Wolfson Foundation easier to use interactively in the classroom. Focusing on four of Rembrandt’s portraits in the National Rembrandt: The Late Works Public Programme supported by the Siebold Gallery, specifi c areas of investigation include Foundation and Fukushima Medical University composition, the functions of portraiture, technical imaging techniques and an examination into how School Visits Programme Supported by The Garfi eld Weston Foundation paint is made and how it degrades. The core and The Sackler Trust information is accompanied by PowerPoint Sense It! Special Needs Programme presentations, suggested activities, discussion points Supported by Daniel & Elizabeth Peltz and word banks, all of which are free and available for teachers and students to download. The art and Take Art Supported by The John S. Cohen Foundation design resource provides support in building student awareness about the different ways in which a Take One Picture portrait can be interpreted. For example, students Supported by The Dorset Foundation, The Tavolozza Foundation and Christoph Henkel are encouraged to consider how their views alter depending upon the information they are given Ten-Minute Talks regarding the sitter, the meaning of the objects in Supported by Angela Koulakoglou the portrait or the role of conservation. Practical activities range from re-staging group portraits and curating displays using archive photographs as prompts, to exercises in drawing and making paint. The resource will be a permanent addition to our website with a legacy beyond the exhibition and it is the fi rst to be launched in a new range of self-guided and digital learning resources for teachers and students, which will be developed over the coming year. The art and design and science curricula will continue to form a strategic focus of future work with secondary schools.  Cast-iron fl 70–1) pp. (see Hall Central the in grate oor fl Cast-iron                    – – 

Detail of Lodovico Mazzolino’s Christ and the Woman taken in Adultery, probably 1522 (NG641)

Paint cross-section showing galena mixed with lead white taken from the architecture in Mazzolino’s Christ and the Woman taken in Adultery

Detail of the soldier saint from  Lorenzo Costa and Gianfrancesco Maineri’s The Virgin and Child with  Saints, about 1498–1500 (NG1119)   :        

The National Gallery’s scholarly catalogues form pigments that are conventional in sixteenth-century Oratory of S. Pietro in Vincoli (NG), dated important reference works, and the long-term Italian painting. However, a few examples did . In another large altarpiece, The Virgin and programme for their revision generates new emerge of a rare group of pigments that seem to Child with Saints known as ‘La Pala Strozzi’, galena research that adds to the body of knowledge on have been used in Italy almost exclusively in the was used to depict the grey metallic elements of the collection, which refi nes and enhances what is fi rst two decades of the sixteenth century. These the soldier saint’s armour and sword. It is clear communicated to the public. The programme, led include stibnite (antimony sulphide), galena (lead from stylistic differences, and from the extensive by curators, includes multidisciplinary collaboration sulphide) and metallic bismuth, with only a handful changes to both architecture and fi gures evident with the Scientifi c and Conservation departments of occurrences so far recorded. Viewed under the in infrared and X-ray images, that more than one in preparing contributions to the catalogue entries microscope and in bulk they share a distinctive hand was involved in the painting. The work was on the technique and materials of each work, metallic lustre, but when used as a pigment powder previously catalogued as having been begun by and on condition and conservation history. they are grey rather than black, and could be Gianfrancesco Maineri and completed by Costa, This year work has concentrated on the employed to achieve a more subtle shade than but the features of the soldier saint (painted during catalogue of The Sixteenth Century Italian Paintings with a simple mixture of black and lead white. the fi rst campaign on the altarpiece) are similar Volume III: Bologna and Ferrara, co-authored by These characteristics can be seen in Lodovico to other works by Costa in this period. It is now Giorgia Mancini and Nicholas Penny. Each Mazzolino’s Christ and the Woman taken in Adultery suggested that he was involved already at an earlier painting has been examined in the Conservation (NG), where galena is mixed with lead white point in the production, perhaps coming back to Department to describe its support, structure and in the warm grey architecture. it again at a later stage, a conclusion based mainly state of conservation. Infrared and X-ray imaging The other National Gallery paintings from on style but supported by the observation that have been used to investigate the production Ferrara and Bologna in which pigments of this type Costa seems to have been among the few artists and development of the works, and analysis of have been found are all associated with Lorenzo that used this unusual grey pigment.  samples has identifi ed pigments and binding media, Costa. Stibnite was used for the soft greys in the usually on existing paint fragments from earlier draperies of the angels fl anking the central scene of examinations, but using new techniques. The Adoration of the Shepherds with Angels (NG), This research showed that paintings from Ferrara and galena was a component of the donkey brown and Bologna were made mainly using well-known architecture paint in Costa’s large polyptych for the                    – –        In November , the National Gallery hosted Rembrandt’s palette; and new research into a well-attended and highly successful three-day Rembrandt’s use of red lake pigments with special international specialist conference on scientifi c reference to brazilwood lakes known for their   and technical study of paintings by Rembrandt propensity to fade. spanning the whole of his career. A keynote lecture – ‘Rembrandt: The End of A vital element in the National Gallery’s ability to more universities are now collaborators with It was considered particularly timely to re- Connoisseurship?’ – was given by Professor Ernst promote the study and appreciation of Old Master us under this scheme. A collaboration with the evaluate the results of technical investigations van de Wetering, former director of the Rembrandt paintings is the fruitfulness of its research partnerships. Courtauld Institute investigates the reception of Rembrandt’s paintings, since many researchers Research Project (based in the Netherlands), the This year it has been involved in more collaborations of fourteenth- and fi fteenth-century Sienese around the world, particularly in Europe, the leading scholar in technical research applied to than ever before with museums, universities and painting in Britain, –, and another, United Kingdom and the United States of America, interpretation of works by Rembrandt and to questions research organisations worldwide. The Gallery with the University of the West of England, have turned fresh eyes and, recently, newer of attribution. A panel discussion on the value and co-organised several international conferences, two focuses on .D and D image capture and print technologies to Rembrandt studies. No freely future of technical research on paintings, led by David of which tied in with the exhibitions Strange Beauty: in the cultural heritage fi eld. Other collaborations available meeting for scholars had dealt with this Bomford, Director of Conservation, Museum of Fine Masters of the German Renaissance and Rembrandt: The with the universities of Manchester and Liverpool fast-moving subject comprehensively in recent Arts, Houston, concluded the third day. During the Late Works. A third, titled ‘Animating the Eighteenth- focus on a newly acquired research resource: years. At the same time a number of important course of the conference, delegates were able to attend Century Country House’, encouraged fresh the archive of Thos. Agnew & Sons. conservation treatments of paintings by Rembrandt a private view of Rembrandt: The Late Works and thinking about country houses as ever-evolving Agnew’s archive was purchased by the National have been carried out in collections around the were encouraged to consider the status of the An environments, animated by interactions between Gallery Trust and donated to the Gallery in world in the last fi ve years, and the revelations Old Man in an Armchair (NG), once one of the objects and people. The art criticism of William February , following the fi rm’s sale in . brought about by cleaning of these paintings most admired Rembrandts in the Gallery, relegated Hazlitt (–) was addressed at a fourth event. The archive, dating to the s, consists of stock- are of great interest to the Rembrandt scholarly by the ‘Rembrandt Committee’ some twenty years The Gallery continues its commitment to the books, daybooks, diaries, account ledgers and and curatorial community. ago but now reinstated by Van de Wetering. teaching of post-graduate students. The MA photographic material, which elucidate the activity The meeting, organised under the title The Siebold Foundation and Fukishima in‘Christianity and the Arts’, co-taught with King’s of this very important international art dealer. An ‘Rembrandt Now: Technical Practice, Conservation Medical University provided generous support College, London, has enjoyed several years of archivist was appointed in October  to start the and Research’, invited papers given by Rembrandt for the conference, and enabled a number of success, while the MA in ‘Art History, Curatorship cataloguing process, with funding provided by the experts from the Netherlands, Germany, Belgium, delegate tickets to be offered at a discount to and Renaissance Culture’, run with the Warburg John Murray Trust and the National Cataloguing France, the USA and Britain. younger post-graduate researchers in the fi eld Institute, had its second intake of students in Grants Programme for Archives. By the end of Twenty-three papers were presented, with who are at the start of their careers.  October . The Gallery continues to be a partner this eighteen-month project the whole archive, four given by National Gallery staff from the of the Arts and Humanities Research Council, conserved and catalogued, will be searchable online Scientifi c and the Conservation departments. through the Collaborative Doctoral Partnership through the Gallery’s website. One PhD student These in-house papers dealt with the results of Supporters 2014–2015 scheme, which offers PhD studentships on topics has started to research the history of the Gallery’s conservation treatment of Rembrandt’s very large National Gallery Technical Bulletin relevant to the Gallery’s collection and its research engagement with Agnew’s, investigating the impact late painting, Portrait of Frederick Rihel on Horseback Supported by the American Friends themes. In January  two National Gallery CDA of the latter on the Gallery’s formation as a national   of the National Gallery with a generous (about , NG ); new results on National donation from Mrs Charles Wrightsman students became the fi rst to pass their PhD ‘vivas’: collection and its operation within the art market. Gallery Rembrandts using the imaging technique Harriet O’Neill, who investigated Renaissance A second is examining the history of provenance of infrared refl ectography; investigations into the Rembrandt Now: Technical Practice, Frames at the National Gallery, –, research in commercial and public contexts between Conservation and Research   colour and composition of the unstable cobalt-glass Supported by the Siebold Foundation and Alasdair Flint, who researched Architectural and , when approaches to attribution and pigment known as smalt, a regular material on and Fukushima Medical University Narratives in Renaissance Marian Painting. Four authentication were vigorously debated.           –       , –,      

In , the National Gallery completed a sales too – would be improved by having better collaboration with the Getty Research Institute, informed clients. The current project covers the California, to transcribe and index British art century of change when the art sale catalogue sales from the period – when Britain developed from modest sales lists into a sophisticated consolidated its primacy in the international art economic tool and literary genre, and when the market. The Getty’s Provenance Index databases need for trustworthy attributions in the market place now include more than , records from encouraged the development of scholarly catalogues , catalogues from these decades. raisonnés. The project will also seek out and record During the conference ‘London and the any hand-written annotations to be found in Emergence of a European Art Market (c. – surviving sales catalogues, such as those in the Lely )’, held at the Gallery to mark the end of that sale catalogue, which provide further information project in June , it was agreed to continue the about the prices paid and names of buyers. collaboration. This new partnership – Phase II – British Art Sales Phase II will trace approximately which started in August , will take the story , catalogues for the period –. Through of the British art market back to its beginnings in agreement with the University of York, we are the seventeenth century. One of the earliest extant fortunate to be able to draw on work already British art sale catalogues relates to the collection achieved by its ‘The Art World in Britain  of the court painter Sir Peter Lely. The sale took to ’ online project, from which Dr Richard place in April  and was advertised as including Stephens is sharing with us previously unpublished the artist’s ‘Great Collection of Pictures, and other catalogue information. Many institutions have Rarities, as Statues, Bronzes, &c.’ The items were generously assisted in the provision of rare, to be ‘Sold by way of Outcry’, which is an old word annotated catalogues, including the British for auction (still in use in some parts of the USA), Museum, British Library, Courtauld Institute, derived from the Dutch word uitroeper – literally Barber Institute, University of Glasgow Library ‘one who cries out’. This also explains the use of as well as the Bibliothèque nationale de France, the term ‘outroper’ in British sales; the ‘Outroper’s National Gallery of Art, Washington DC, and Offi ce’ was established in London as early as  State Hermitage Museum, St Petersburg. With the to record and monitor public auctions. Individual successful completion of this twenty-two-month lots in the Lely sale catalogue are described cursorily, project, the databases will cover a continuous with only the artists’ names and picture titles given. span of British sales from  to .  This was then common practice, when British auctioneers tended to save any show of expertise for A page from Agnew’s Picture Stock Book 6 (1874–98) the rostrum. It was only during the later eighteenth in the NG Library Archive Store, recording Agnew’s century that they began to follow the well-established acquisition of nine paintings from Lady Eastlake’s French practice of including information about sale in 1894. Soon afterwards, Agnew’s offered to cede to the National Gallery Filippino Lippi’s attribution and provenance in auction catalogues, The Virgin and Child with Saint John (NG1412), perhaps realising that their standing – and in turn then attributed to Botticelli.    

        Supported by The Pilgrim TrustPilgrim by The Supported EuropeanSpecialist Network: Subject pre-1900Paintings by Christie’sSponsored Masterpiece TourGallery National The Vivmarof The Foundation Supported by Fund The Art assistance with the Curatorial Traineeships TrustCayzer Charitable Elizabeth by The Supported ProjectBritish Inventories The National Programmes Dorset Foundation The by Suppported M. WeinrebeHarry AssistantCuratorial Vivmarby The Supported Foundation Assistant Curatorial Vivmar TrustCayzer Charitable Elizabeth by The Supported Gallery ResearchNational Seminars National Archives The and Charitable TrustR. Murray John by The Supported Gallery National ResearchCentre – Agnew’s Archives the Arthur and HollyMagill Foundation Supported by & HollyArturo Melosi through series Gallery Catalogues National Supported by The JosephF. McCrindle Foundation Curatorial Assistant McCrindle Asset Limited Horizon by Supported Dutch Painting Supported by & I. PilkingtonR. CharitableThe Trust Students ResearchDoctoral Needs Berg Gillian & by Robert Supported of Cataloguing pre-1850s Archive Collection Research andPublications Supporters 2014–2015 by MarjorieE. Wieseman – 

Detail of a frame in Room A showing original fi tting for the attachment of glass (see pp. 70–1)                    – –        

The National Gallery is becoming more reliant received lead support from Aud Jebsen. Our thanks Department for Culture, Media and Sport and supporters of our successful appeal to purchase on multi-year gifts from donors, corporate also go to numerous other supporters who assisted the Mayor of London. The Wolfson Room has a new frame for Titian’s An Allegory of Prudence. members, sponsors and Patrons, which our new with exhibition costs and our deepest appreciation undergone renovation, thanks to a considerable The Belle Shenkman Music Programme has supporter groups, established in –, recognise. to the Bernard Sunley Foundation, for renewing grant from the Wolfson Foundation, and we provided opportunities for Royal College of The Director’s Circle underpins the work of the support of the Sunley Room exhibition space. continue to be grateful to the Michael Hintze Music students to perform music in the Gallery, curatorial department, while the Benefactors’ Several major donors continue their signifi cant Family Charitable Foundation for its valued inspired by the National Collection, since . Circle supports core areas of the Gallery’s work, long-term commitments, led by the generosity of support. The Art Fund continued its generous We remain grateful to Miss Dasha Shenkman from education and curatorial to conservation Howard and Roberta Ahmanson, in creating the support with a grant assisting in the acquisition OBE for her support. and framing, offering the Director the confi dence Ahmanson Fellow in Art and Religion, and by of The Four Times of Day, a cycle of landscapes Take One Picture, the Gallery’s fl agship to plan with ambition. Our sincere thanks go the Arthur and Holly Magill Foundation whose by Jean-Baptiste-Camille Corot, alongside schools education project, has fl ourished, thanks to the inaugural members for their generosity ongoing support facilitates the continuation of the its support of curatorial trainees. to funding from the Dorset Foundation, the and foresight. National Gallery Catalogues series. The National The impact of leaving gifts in wills was Tavolozza Foundation and Christoph Henkel. Credit Suisse’s contribution, as the Gallery’s Gallery’s Learning Programme continues to receive underlined in November  with a legacy gift Renewed support of the Access Programme by long-term partner, is pivotal to our ongoing multi-year support. The School Visits Programme from art teacher Marcia Lay, enabling the Gallery the BAND Trust enables adults who are blind fi nancial good health. Its support provides the has enjoyed its second year of funding from the to purchase a rediscovered painting by Sir David and partially sighted or deaf and hard-of-hearing foundation of our exhibitions programme and Garfi eld Weston Foundation, and the Sackler Trust Wilkie: A Young Woman kneeling at a Prayer Desk. to enjoy our collection, while support from the provides us with the security to plan forthcoming has generously agreed to support this initiative for We would like to thank all those who have Peltz Trust and the Lord Leonard and Lady Estelle seasons, as well as contributing to the wider work the next fi ve years. We are enormously grateful pledged to leave the Gallery a gift in their will. Wolfson Foundation enables the Gallery to provide of the Gallery. to both Trusts for these signifi cant commitments. Philanthropic support extends to many areas specially designed, multi-sensory programmes We are delighted to have received strong support The George Beaumont Group celebrated its of the Gallery’s work. We are grateful to the for young people with learning diffi culties. in the last year for our exhibition programme. twentieth anniversary with an enhanced programme J. Paul Getty Jnr Charitable Trust for enabling We would like to acknowledge the great Rembrandt: The Late Works, so generously supported of events. We are hugely grateful for over £ million us to begin the conservation of Giovanni Bellini’s generosity shown to the Gallery by lenders, by Royal Dutch Shell plc, not only celebrated the of support from our Patrons since the group began. The Assassination of Saint Peter Martyr and to the the general public, individual donors, companies great Dutch artist but also drew attention to his January  saw the launch of the George many donors to the Gallery’s framing department. and trusts, and to express our sincere gratitude innovative approach, a theme which informed Beaumont Circle, a higher level of Patronage, Donations have increased this year thanks to for their ongoing support.  ∕ ∕ Shell’s approach to their sponsorship. Making Colour which will run alongside the highly valued received signifi cant support from the Art Mentor George Beaumont Group. Foundation, while the Sunley Room exhibition The introduction of Wi-Fi to the Gallery in of the little-known Norwegian artist Peder Balke – was made possible by a grant from the           –      –   

Lenders to the National Gallery Director’s Circle Christoph Henkel The Bernard Sunley Charitable Sarasin & Partners George Beaumont Group The Gallery is pleased to acknowledge all Mr Mark Getty The Hintze Family Charitable Foundation Foundation TowerBrook Capital Partners (UK) LLP those listed below, and those who choose Chris Rokos Horizon Asset Limited The Tavolozza Foundation – Weil, Gotshal & Manges Life Members to remain anonymous, who have lent Professor Anya Hurlbert Katrin Bellinger White & Case LLP Mr & Mrs Marcus Agius works to the collection between April 2014 The Robin & Inge Hyman Charitable Trust Mr & Mrs Michael Thron Lady Alexander of Weedon and March 2015. Benefactors’ Circle The Jacaranda Trust The Philip and Irene Toll Gage Foundation Corporate Supporters Mr & Mrs Harold Blatt Andrew Bentley & Fiona Garland Aud Jebsen The Vivmar Foundation Anglo American plc Mr & Mrs Charles Booth-Clibborn Royal Collection Trust / Her Majesty James & Clare Kirkman Mr & Mrs Daniel Katz Wellcome Trust ExxonMobil International Ltd Mr Ivor Braka the Queen Susan & John Singer James & Clare Kirkman The Garfi eld Weston Foundation G3 Comms Mrs Deborah Brice The Warden and Fellows of All Souls Lady Wolfson of Marylebone Angela Koulakoglou The Wolfson Foundation Morgan Stanley Sir Ronald & Lady Cohen College, Oxford Lois & Butler Lampson The Lord Leonard and Lady Estelle Sotheby’s Michael & Licia Crystal American Friends of the National Christian Levett Wolfson Foundation Mr Johannes de Gier Gallery, London Major Supporters of the Cecil and Hilda Lewis Charitable Trust Mrs Charles Wrightsman If you would like to fi nd out more Sir Harry & Lady Djanogly Andrew Brownsword Arts Foundation National Gallery Mr & Mrs Lowell Libson about the Gallery’s corporate Mme Alice Goldet The Castle Howard Collection, York The Director and Trustees would like to The London Law Trust membership scheme, please contact Sir Nicholas & Lady Goodison The Mari Cha Collection Limited thank the following, and those who wish Mr & Mrs Walter Marais Corporate Membership Sofi ja Matich on 020 7747 5802, or Mr & Mrs Thomas Griffi n Dunrobin Castle Collection to remain anonymous, for their generous Mr Gregory Martin The corporate membership programme email [email protected]. Sir Joseph Hotung The Gere Collection support of the National Gallery during Mr Patrick Matthiesen provides a vital source of income which James & Clare Kirkman The Government Art Collection the period April 2014 to March 2015. Mayor of London each year helps the Gallery to fund Lady Lever Collection of Sir Laurence Graff The Joseph F. McCrindle Foundation programmes across all areas of activity. The George Beaumont Group Mr Michael Mackenzie Sir James & Lady Graham ADAM Architecture The Paul Mellon Centre for Studies We would like to thank the following and George Beaumont Circle Mr Donald Moore The Earl of Halifax Howard & Roberta Ahmanson in British Art companies for their generous and During 2014, the National Gallery Mr & Mrs Shigeru Myojin The Daniel Katz Family Trust American Friends of the National Arturo & Holly Melosi through the loyal support. celebrated twenty years since the Mrs Araceli Navarro The Executors of the late 9th Marquess Gallery, London Arthur and Holly Magill Foundation founding of the George Beaumont Mr Mark Pigott KBE, OBE of Londonderry Mr Henry Angest The Mercers’ Company Corporate Benefactors Group, and in 2015, we are celebrating Mr & Mrs Jeremy Sacher Longford Castle Collection The Fagus Anstruther Memorial Trust The Peter Meyer Charitable Trust Aon PLC the launch of the George Beaumont Mr & Mrs John Sacher The Collection of Asbjørn Lunde The Art Fund The John R. Murray Charitable Trust Citigroup Circle. The generosity of our Patrons Mr & Mrs Michael Sacher The Peter Meyer Collection Art Mentor Foundation Lucerne Joy Nalpanis CQS (Grosvenor) LLP is invaluable to the Gallery, not least Sir Anthony & Lady Salz Musée du Louvre, Paris, Département The Athene Foundation, Basel The National Archives Credit Suisse in helping to preserve our collection. Mr Adrian Sassoon des Peintures The BAND Trust The National Gallery Trust PricewaterhouseCoopers Services Limited Lord & Lady Sassoon National Maritime Museum, London Stephen Barry Charitable Trust The NDL Foundation Prudential PLC We remain extremely grateful for Mr & Mrs Nicholas Stanley National Museums Liverpool, Robert & Gillian Berg The Norwegian Ministry of Foreign Affairs. Royal Dutch Shell plc all the support we receive from Patrons The Lady Juliet Tadgell Walker Art Gallery The Deborah Loeb Brice Foundation Daniel & Elizabeth Peltz of both the George Beaumont Group Mrs Susie Thornton Peter & Renate Nahum Philippe & Stephanie Camu The Pilgrim Trust Corporate Contributors and George Beaumont Circle, and would Mr & Mrs Michael Zilkha Rijksmuseum, Amsterdam The Elizabeth Cayzer Charitable Trust The R. & I. Pilkington Charitable Trust ABN AMRO Bank N.V. like to thank all of the individuals listed Royal Picture Gallery Mauritshuis, Mr L. Chase Pilkington Anglo-Japanese Cultural Allen & Overy below, as well as those who wish to Members The Hague Christie’s Foundation Ashurst remain anonymous, for their loyalty Mr Julian Agnew The Rector and Churchwardens of Mr Colin Clark Madeleine & Timothy Plaut Bloomberg L.P. and dedication to the Gallery over Lady Agnew St Mary Magdalene Church, Littleton The John S. Cohen Foundation Simon & Virginia Robertson Christian Dior Couture the past year. Miss Vanessa Aubry The Society of Antiquaries of London Dr Nicola Coldstream The Rootstein Hopkins Foundation CVC Capital Partners Sir Nicholas & Lady Bacon The Trustees of the Stansted Park Mr Juan Corbella Hannah Rothschild EY George Beaumont Circle Sir Jack & Lady Baer Foundation Dr Peter Corry The Royal Norwegian Embassy, London Farrer & Co Robert & Gillian Berg Mr Edward Baker & Mrs Annie Tate, London Credit Suisse Neil L. Rudenstine & Angelica Zander Grant Thornton UK LLP Ms Amanda Bradley Yim Baker The Master Governor of Trinity Terry de Gunzburg (‘By Terry’) Rudenstine J.P. Morgan Limited Margaret & Michael Fowle Mr & Mrs Robin Baring Hospital, Retford Department for Culture, Media and Sport The Sackler Trust Latham & Watkins Mrs Jean Gillespie The Barness Trust Van Gogh Museum, Amsterdam The Dorset Foundation The Savings Bank Foundation DNB Linklaters LLP Mr & Mrs Manfred Gorvy Mr & Mrs Stephen Barry (Vincent van Gogh Foundation) Eurotunnel Royal Dutch Shell plc Macfarlanes Christoph & Katrin Henkel The Duke of Beaufort The Earl of Verulam Claire & Harry Fitzalan Howard Miss Dasha Shenkman OBE Marsh Ltd Lady Heseltine Mr & Mrs Richard Bernays Victoria and Albert Museum, London J. Paul Getty Jnr Charitable Trust The Siebold Foundation The Moody’s Foundation Flavia Ormond Mr Elliott Bernerd Winchester College Mr Mark Getty Margaret & Chris Smart in memory of their Permira Advisers (London) Ltd Mr Jan-Christoph Peters Mr & Mrs Konrad Bernheimer Wycombe Museum, High Wycombe The Golden Bottle Trust son David Christopher Macklin Smart Rio Tinto Sir Hugh & Lady Stevenson Mrs Diana Berry York Art Gallery, York † Dr George Harwood Sir Angus & Lady Stirling Russell Reynolds The Hon. Mrs Simon Weinstock Mr & Mrs Steven Berzin           –      –   

Mr David Borthwick & Mrs Molly Sir Michael & Lady Heller Mr William Northfi eld Mr & Mrs Johnny Van Haeften Howard & Roberta Ahmanson Gallery in their wills and would like Lowell Borthwick Mr Jacques Hennessy Oakmoor Trust Countess Cornelia von Rittberg The Deborah Loeb Brice Foundation to express our profound gratitude Mr Gavin Boyle Dr Jackie & Mr Mark Higson Mr & Mrs Richard Oldfi eld Ms Rebecca Wang Lois & Butler Lampson for the legacies received this year. Mr Mark Brockbank Ms Marianne Hinton Mr & Mrs Nicholas Oppenheim Mr & Mrs Michael Wates Arturo & Holly Melosi through the Dr Irene & Mr Sebastian Brooke Mr & Mrs William Hobhouse Simon & Midge Palley Mr & Mrs Paul Wates Arthur and Holly Magill Foundation Ms Martha Doris Bailey Mr & Mrs Michael Burrell Mr Andrew Hochhauser Mr & Mrs Charles Park The Duke & Duchess of Wellington Neil L. Rudenstine & Angelica Zander Mrs Grace Patricia Hills Mr Charles Cator Mr & Mrs Patrick Hungerford Mr & Mrs Roger Phillimore Mr Richard West & Ms Shiells Rudenstine Mr Patrick Lindsay The Marchese & Marchesa Mr Bernard Hunter Mr & Mrs Ugo Pierucci Mrs Mary Weston CBE Miss Dasha Shenkman OBE Mr David Medd OBE Cattaneo Adorno Mr & Mrs Robert Johnson, through Mr William Shawcross CVO Mr Neil Westreich Mr & Mrs Michael Thron Miss Janet Paula Dunbar Steen Mr Alec & The Hon. Mrs Cobbe the Robert and Sherry Johnson & Mrs Olga Polizzi CBE Miss Maxine White & The Philip and Irene Toll Professor Hamish F.G. Swanston Mr & Mrs Henry Cobbe Charitable Trust Barbara, Lady Poole Mr James Mortimer Gage Foundation Dr David Cohen CBE Mrs Ellen Josefowitz The Countess of Portsmouth Mr Nicholas White Mrs Charles Wrightsman Our recognition of those who have Mrs Veronica Cohen Mr & Mrs Daniel Katz † Mrs Victoria Press Mr & Mrs Charles Wilkes demonstrated their foresight and Mrs Jennifer Coombs Sir Henry & Lady Keswick Mrs Ivetta Rabinovich Lady Wolfson of Marylebone generosity in remembering the Gallery Miss Sian Coombs Mr & Mrs Naguib Kheraj Mr & Mrs Hans K Rausing Mr & Mrs Henry Wyndham Legacies to the National Gallery in this way is expressed in our Memorial Mr & Mrs Rob Cope Mr & Mrs James King Lady Rayne Lacey Nadia Zilkha The National Gallery is dependent Book, both online and on permanent Mr Juan Corbella Dr Anita & Mr Gary Klesch Mr Broocks Robertson upon, and immeasurably thankful for display in the vestibule inside the Mr & Mrs Karl Dannenbaum Mr Christopher Kneale Mrs Victoria Robey OBE the generosity of our legators. These Sir Paul Getty Entrance. The Countess of Dartmouth Mr & Mrs Arthur Koenig Mr & Mrs Murray Rosen Donations to the American Friends gifts, no matter how large or small, Mr & Mrs Michel David-Weill Mr & Mrs David Koetser Mrs Sarah Ross Goobey of the National Gallery, London Inc. make an enormous impact on our If you would like to fi nd out about Ms Miel de Botton Mr Norman Kurland & Ms Deborah David The Dowager Viscountess Rothermere The Director and Trustees would like work, and benefi t not only the future leaving a gift in your will to the Baron & Baroness Jean de Gunzburg Dr Anne Varick Lauder Hannah Rothschild to thank the following, and those who of the National Gallery, but also future National Gallery and what your support Mr & Mrs Frank Destribats Dr Antony & The Hon. Mrs Laurent Lord & Lady Rothschild wish to remain anonymous, for their generations of art lovers and visitors. could achieve, please contact Aimée Richard Deutsch & Graciela Fairclough Mr & Mrs Peter Leaver Mrs Jane Ruffer generous support during the period We are indebted to the many generous Hooper on 020 7747 5982, or email Polly Devlin OBE The Hon. James & Mrs Leigh-Pemberton Dame Theresa Sackler DBE April 2014 to March 2015. individuals who have remembered the [email protected]. Mr & Mrs Ludovic de Walden Mr & Mrs Marc Leland Lord & Lady Sainsbury Mr & Mrs Peter Dubens Mr David Leventhal The Rt Hon. Sir Timothy Dame Vivien Duffi eld DBE Dr Hilda Lewis PhD & Lady Sainsbury Mrs Maurice Dwek Miss Laura Lindsay Mrs Coral Samuel CBE Mr Guy & The Hon. Mrs Sophia Elliott Viscount Linley Mr & Mrs Victor Sandelson Mr & Mrs Henry Elphick Mr & Mrs Timothy Llewellyn Mr Matthew Santos & Mrs Mary Kuusisto Mr & Mrs Louis Elson The Hon. Robert Lloyd George Dr Gian Cristoforo Savasta Mr Eric Fellner Mr William D. Lock René & Margriet Scholten-Krijgsman Sir Ewen & Lady Fergusson José-Ramón & Mantina López-Portillo Mr Peter Scott QC CBE J A Floyd Charitable Trust Mr Leonard Louloudis Mr & Mrs Charles Sebag-Montefi ore Mr Sam Fogg Mr & Mrs Patrick Lowther Mr Nick Segal & Ms Genevieve Muinzer Mr & Mrs Antonio Foglia Mr Asbjørn R. Lunde The Countess of Shaftesbury Mr Gerald Fox Mr Nicholas Maclean The Rt Hon. Richard Sharp Mr & Mrs Andrew Fraser & Mr Christopher Eykyn Miss Dasha Shenkman OBE Mr & Mrs Jonathan Gaisman Mr & Mrs Walter Marais Mrs Veronica Simmons Ms Gabriela Galcerán Montal & Mr Ball Marina, Lady Marks Mr & Mrs Michael Simpson The Robert Gavron Charitable Trust Lord & Lady Marks of Broughton Susan & John Singer Mr & Mrs Robin Geffen Viviane & James Mayor Mr & Mrs Brian Smouha Mr & Mrs Jonathan Gestetner Mrs Carol Michaelson Sir Angus & Lady Stirling Mr Christopher Gibbs Mr & Ms Wesley Mitchell Mr Mark Storey Mr Christophe Gollut Mr William Mitchell Mr Peter Stormonth Darling Mr & Mrs William Govett Mr Fabrizio Moretti Lady Strathmore & Mrs Catherine Soames Mr Andrew Green QC & Ms Hirschl Mr & Mrs John Morton Morris Mr James Swartz Mr Jonathan Green Mr & Mrs Sherif Nadar Mr & Mrs Rhoddy Swire Mr Louis Greig Miss Catherine Newman QC Lady Tennant Mr & Mrs Jeffrey Gruder Mr & Mrs Alan Newton The Hon. Michael D.D. Tollemache Lady Hamlyn The Marquis & Marchioness of Normanby Baron & Baroness Willem van Dedem                    – –      extremely successful exhibition Rembrandt: The Late     Works and the launch of a new membership scheme. The Gallery’s total charitable expenditure of Trustees (with dates of appointment) Development Committee Nominations Committee £.m for / saw an increase against the Grant in Aid (£m) Revenue Mark Getty 1999 (Chair) John Nelson (Chair) Mark Getty (Chair)     Capital Lady Heseltine 2008 Timothy Clark Lady Heseltine previous year ( / : £ . m), due in part to Sir Michael Hintze, AM 2008 Carolyn Eadie Hannah Rothschild the cost of setting up the new membership scheme 30 Caroline Thomson 2008 Sir Michael Hintze, AM Caroline Thomson and additional costs relating to the collection. 25 Hannah Rothschild 2009 James Leigh-Pemberton Remuneration Committee Gautam Dalal 2009 Charles Miller Smith The Gallery continues to exercise tight 20 Mark Getty (Chair) Professor Anya Hurlbert 2010 Ian Powell Caroline Thomson budgetary control and implemented a number 15 John Nelson 2010 Tim Wise (from April 2014) Hannah Rothschild (from March 2015) of effi ciency measures during the year in response Lance Batchelor 2011 10 Finance Committee Professor Dexter Dalwood 2011 National Gallery Scientifi c to the reduction in public funding. Gautam Dalal (Chair) 5 John Singer 2012 Consultative Group Mark Getty The number of visitors to the Gallery this year saw Charles Sebag-Montefi ore 2012 Professor Anya Hurlbert (Chair) 0 Hannah Rothschild (from February 2015) a signifi cant increase to .m (/: .m).  2011/12 2012/13 2013/14 2014/15 2015/16 *Monisha Shah Professor Dr Andreas Burmester John Singer The Lord King of Lothbury, KG GBE Professor Richard Evershed Sir Colin Southgate (from September 2014) Professor Wendy Hall Governance Committee Professor Julia Higgins *Tate liaison Trustee Income 2014/15 Operating Expenditure 2014/15 Charles Sebag-Montefi ore (Chair) Professor Laurence T. Maloney Audit Committee Gautam Dalal Professor David Phillips (excluding donations for acquisitions) Gautam Dalal (Chair) John Singer Dr David Saunders Mark Getty Caroline Thomson Dr Paul Williams Hannah Rothschild (from February 2015) John Singer Donations and legacies £3.3m Broaden our appeal and provide an Investment income £0.3m exceptional visitor experience £12.3m Sir Colin Southgate Grant in Aid £25.9m Preserve, enhance and develop the Other income £9.2m potential of our collections £8.5m Exhibitions £3.4m Inspire learning and engagement £2.8m  Cost of generating funds £1.4m Invest in our staff, increase income and care for our physical activities £7.3m Governance costs £0.3m  Exceptional item £0.5m

Government Grant in Aid remains the Gallery’s Membership, donations and support from the principal source of funds. For the year ended corporate sector, trusts and foundations, and Number of Visitors (millions) Exhibition Attendance 2014/15  March , the amount allocated for running private individuals are vitally important for the costs was £.m. There was an additional grant continued success of the Gallery’s programme 7 Building the Picture: Architecture in Italian of £.m restricted to expenditure on capital, of exhibitions, education programmes and Renaissance Painting* 180,892 6 Making Colour 65,537 including ongoing essential capital repairs, which for outreach work. Rembrandt: The Late Works 264,488     5 – included an extraordinary grant of £ . m. Total incoming resources this year, including Peder Balke* 237,157 The Gallery has faced signifi cant and sustained donations for acquisitions of £.m, were £.m 4 Maggi Hambling: Walls of Water* 95,994 cuts to Grant in Aid over recent years, which has compared with £.m in /. The high level Inventing Impressionism 175,422 3 made private income even more critical to the future of income in / was largely attributable to well-being of the Gallery. We await the outcome a grant of £.m to purchase George Bellows’s 2 Free exhibitions are indicated by an asterisk Men of the Docks of the forthcoming government spending review, . Self-generated income excluding 1 but do so expecting further reductions in funding donations totalled £.m, signifi cantly higher than 0 allocations for the next three to fi ve years. the £.m recorded in /, as a result of the 2011/12 2012/13 2013/14 2014/15                    – – 

our own edition, and well-controlled costs, sales guides for sale in the Gallery. Antenna’s strong   to Philadelphia worth £, and ongoing trade performance contributed £, to NGC and sales boosted revenue and margin. The paperback, the Gallery. We also launched two new products, at £., sold out before the end of the show. with our British Sign Language Tour in February ,   Our licensing income improved signifi cantly this and The Essential Tour in all foreign languages. year with positive contributions from existing licensees The Gallery’s cafés and restaurants, operated as well as new business brought in by the JELC licensing by Peyton & Byrne, generated sales of £.m The year was very successful in terms of trading with Search Engine Optimisation (SEO) and improved data agency, appointed in July . This was the fi rst and served just under , visitors, delivering the National Gallery Company (NGC) recording a tracking, which began to yield increased sales from full year of our working partnership with Antenna a contribution to the Company of £,         net profi t for the year of £ , ( / £ , ), October . NGC continues to invest in e-commerce, International, which supplies audio and multimedia – an increase of % against last year.  after payments to the National Gallery of £, with further site development, SEO, increased digital (/ £,). In total, the Company achieved marketing and new staff to support our growth plan.  sales of £.m, with contributions of £.m from In Publishing, titles included The Sixteenth-Century external publishing sales, product licensing, cafés Netherlandish Paintings, with French Paintings before , The following titles were published between 1 April 2014 and 31 March 2015 and restaurants, audio guide sales and royalties and Volume  of National Gallery Technical Bulletin. Exhibition Catalogues Lorne Campbell Der Späte Rembrandt from the Picture Library. A Closer Look: Colour was reprinted for Making Colour. 285 x 216 mm; 856 pp, 900 illustrations Bikker, Weber et al. Rembrandt: The Late Works The Gallery shops recorded a % year-on-year Over , sales placed it third in the trade listing Two hardback volumes, slipcased, £95, 280 × 230 mm; 304 pp; 250 colour Jonathan Bikker and Gregor J.M. Weber June 2014 illustrations increase in revenue, refl ecting the impact of a strong for , in the general art and reference section. with Marjorie E. Wieseman and Erik Supported by Arturo & Holly Melosi through PLC 45¤, October 2014 Hinterding, and with contributions by exhibition programme, which included Making Colour We also collaborated with Usborne on an attractive the Arthur and Holly Magill Foundation (Published under licence by Hirmer Verlag) and Inventing Impressionism. The major driver, however, children’s book, The Usborne Art Book about Colour. Marijn Schapelhouman and Anna Krekeler 280 × 230 mm; 304 pp; 250 colour The National Gallery Review of the Year Late Rembrandt was Rembrandt: The Late Works, which generated For Rembrandt: The Late Works retail revenue from illustrations April 2013 – March 2014 Dutch trade edition       Hardback £35/Paperback £19.95, £ , of revenue in store from , visitors. NGC titles exceeded £ , . We published co- 245 × 200 mm; 63 pp; 48 colour illustrations Bikker, Weber et al. October 2014 E-commerce sales improved over the last quarter of editions in English, Dutch and French and licensed Paperback £7.99, November 2014 280 × 230 mm; 328 pp; 250 colour Special editions were published for the illustrations the fi nancial year but fell short of budget. In conjunction a German edition. Initial sales to the Rijksmuseum ¤     Rijksmuseum in Dutch and English, in National Gallery Technical Bulletin Volume Hardback 45 , October 2014 with the Gallery, NGC launched online exhibition generated £ , , with £ , from a reprint of the ¤ ¤ 35: Joshua Reynolds in the National Gallery (Published with Mercatorfonds)    hardback and paperback, 328 pp, 45 /25 , ticket sales in June and the development work Dutch paperback. Trade sales of , copies generated October 2014 and the Wallace Collection required for this took priority over our own website £,. Paintings by Peder Balke was reprinted; sales of Series Editor: Ashok Roy Rembrandt: Les Années de Plénitude     Paintings by Peder Balke 297 × 210 mm; 136 pp; 245 colour Bikker, Weber et al. development plans. Once this work was completed , delivered £ , revenue. Inventing Impressionism Marit Ingeborg Lange, Knut Ljøgodt, illustrations 280 × 230 mm; 304 pp; 250 colour we were able to focus on more cross-selling, technical was budgeted as a buy-in. In the event, we published Christopher Riopelle Paperback £40 and online at www. illustrations 260 × 240 mm; 128 pp; 90 colour illustrations nationalgallery.org.uk/technical-bulletin/ Hardback 45¤/ Paperback 25¤ and £19.95, Hardback £16.95, November 2014 technical-bulletin-vol-35, December 2014 October 2014 Payments to the National Gallery and National Gallery Trust Revenue Analysis 2014/15 Supported by The Athene Foundation, Basel Supported by the American Friends of the (Published with Mercatorfonds) National Gallery with a generous donation 2,500,000 Inventing Impressionism: Paul Durand-Ruel from Mrs Charles Wrightsman On-line publication National Gallery Trust and the Modern Art Market Rembrandt: The Late Works. Supplement National Gallery Sylvie Patry, with contributions by Anne Co-publications with Provenance, Selected Literature 2,000,000 Stores 74% Robbins, Christopher Riopelle, Joseph Rishel, The Usborne Art Book about Colour and Bibliography Catering 6.8% Jennifer Thompson, Flavie Durand-Ruel Publishing/Trade 9.1% Rosie Dickins Marjorie E. Wieseman, Jonathan Bikker, and Paul-Louis Durand-Ruel Picture Library 2.5% 260 × 205 mm, 48 pp Erik Hinterding and Marijn Schapelhouman, 1,500,000 280 × 230 mm; 304 pp; 150 colour E-commerce/Mail Order 4.4% Paperback £6.99, July 2014 with Albert Godycki and Lelia Packer illustrations Business Development 0.7% A4; 35 pp, October 2014 Audio Guide 1.4% PLC £35/Paperback £19.95, February 2015 1,000,000 The Usborne Renaissance Sticker Book Downloadable PDF, free to view and print: Tickets & Membership Commission 1% Ruth Brocklehurst http://www.nationalgallery.org.uk/ Academic Books 276 × 216 mm; 32 pp rembrandt/the_late_works/supplement 500,000 National Gallery Catalogues: The Sixteenth Paperback £6.99, January 2015 Century Netherlandish Paintings, with (Both published by Usborne in association French Paintings before 1600 with the National Gallery)

2010/11 2011/12 2012/13 2013/14 2014/15           –      –      

New building projects tend to be far better in the east of the building were originally devised documented than the constant efforts made to for naturally ventilated hot air but are now adapted maintain or improve the older parts of the building, for the close control air conditioning system. The and the scrupulous restoration of buildings and circular elements were added to the original design related fi xtures and fi ttings stretched over many to diffuse the supply of air into the rooms. The years is less likely to be celebrated than one major pattern of overlapping circles in the border appealed effort of that kind. The illustrations serving as more than any of the paintings to a grandson of the dividers for this Annual Review are intended Director on his fi rst visit to the Gallery. as a correction to this. The polluted air in the Gallery’s fi rst hundred The Gallery is fortunate in being able to consult years made it necessary to protect all the paintings original drawings for the plaster mouldings which with special glass from France. This operation have now been restored throughout the older involved the cutting of frames to create ‘windows’ parts of the building. One example from the archive which could be opened by means of screws or bolts. of the Offi ce of Works (see p. ) was identifi ed Some of these remain (see p. ) but many hundreds by Peter Gooderham of Purcell UK who has have been removed and they are not commonly seen undertaken the lead architect role for all work in frames on the main fl oor. Now of course, in order of this kind for us: it provided essential evidence to provide extra protection for some of the more for the restoration of Room . vulnerable and usually small pictures, we are glazing The plaster of Paris used for the ceilings is paintings again, this time with glass from Germany exactly the same kind that was originally employed, and without inserting screws and bolts.  then as now reinforced with hessian scrim such as can be seen in the illustration here beside the bucket on the plaster-spattered planks of the highest scaffolding platform in Room  when work was underway there. However, many of the ornaments are now cast in Glass Reinforced Gypsum, which is lighter in weight. Restoration is accompanied by improved technology. In the Edwardian dome of Room  (see p. ), glass has been replaced with polycarbonate panels. Above these there is an elaborate structure (see p. ). The steps providing access for cleaning and repair correspond with the ribs on the inside of the dome. The pitched roof above includes external louvres, which open and Opposite The application of close by remote computerised adjustment of plaster of Paris in Room 33 daylight control. Victorian and Edwardian fi xtures have been Stacked sections of new mouldings for Room 33, altered in other ways. The cast-iron fl oor grates cast in Glass Reinforced in the Central Hall (see p. ) and other rooms Gypsum (GRG) © The National Gallery 2015 ISBN 978-1-85709-595-1 ISSN 0143 9065

Published by National Gallery Company on behalf of the Trustees The National Gallery Trafalgar Square London WC2N 5DN

Tel: 020 7747 2885 www.nationalgallery.org.uk [email protected]

Editor: Kate Bell Design: Smith & Gilmour Picture Research: Suzanne Bosman Production: Jane Hyne and Penny Le Tissier

Printed and bound in Hong Kong by Printing Express

Key to authors: SAQ – Susanna Avery-Quash CB – Chloe Brand CC – Caroline Campbell JD – Jill Dunkerton SF – Susan Foister AG – Allison Goudie GH – Gill Hart SH – Sarah Herring JK – Judith Kerr EK – Esha Khanna JM – Julie Molloy DM – Deborah Myers LP – Lelia Packer NP – Nicholas Penny ER – Emma Rehm CR – Christopher Riopelle AJR – Anne Robbins AR – Ashok Roy PS – Peter Schade KS – Kate Sheerin MS – Marika Spring LT – Letizia Treves MEW – Marjorie E. Wieseman CW – Colin Wiggins

Photographic credits All images © The National Gallery, London, unless stated below: © National Archives, London: p. 9; © Tate, London 2015: p. 17; © The Mari Cha Collection Limited. Photo: The National Gallery, London: pp. 21, 22; © Wycombe Museum, High Wycombe. Photo: The National Gallery, London: pp. 25, 26, 27; © Rijksmuseum, Amsterdam: p. 36; © Minneapolis Institute of Arts: p. 37; The Hearn Family Trust, New York © Photo courtesy of the owner: p. 38; © Trondheim Kunstmuseum, photo Tore Strønstad: p. 39; Private collection © Maggi Hambling / Photograph by Douglas Atfi eld: p. 41; © Philadelphia Museum of Art: p. 42; Hamburger Kunsthalle, Hamburg © Photo Scala, Florence / bpk, Bildagentur für Kunst, Kultur und Geschichte, Berlin: p. 43; © Castle Howard Collection, Castle Howard, Yorkshire: p. 44.