National Gallery
The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the mid-13th century to 1900.
The Gallery is an exempt charity, and a non-departmental public body of the Department for Digital, Culture, Media and Sport. Its collection belongs to the government on behalf of the British public, and entry to the main collection is free of charge. In 2019, it was ranked seventh in the world on the List of most visited art museums.
Unlike comparable museums in continental Europe, the National Gallery was not formed by nationalizing an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein in 1824. After that initial purchase the Gallery was shaped mainly by its early directors, especially Sir Charles Lock Eastlake, and by private donations, which now account for two-thirds of the collection. The collection is smaller than many European national galleries, but encyclopedic in scope; most major developments in Western painting "from Giotto to Cézanne" are represented with important works. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, but this is no longer the case.
The present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, as the building has been expanded piecemeal throughout its history. Wilkins's building was often criticized for the perceived weaknesses of its design and for its lack of space; the latter problem led to the establishment of the Tate Gallery for British art in 1897.
Contents
History
Call for a National Gallery
The late 18th century saw the nationalization of royal or princely art collections across mainland Europe. The Bavarian royal collection (now in the Alte Pinakothek, Munich) opened to the public in 1779, that of the Medici in Florence around 1789 (as the Uffizi Gallery), and the Museum Français at the Louvre was formed out of the former French royal collection in 1793.[8] Great Britain, however, did not follow other European countries, and the British Royal Collection still remains in the sovereign's possession. In 1777 the British government had the opportunity to buy an art collection of international stature, when the descendants of Sir Robert Walpole put his collection up for sale. The MP John Wilkes argued for the government to buy this "invaluable treasure" and suggested that it be housed in "a noble gallery... to be built in the spacious garden of the British Museum".[9] Nothing came of Wilkes's appeal and 20 years later the collection was bought in its entirety by Catherine the Great; it is now to be found in the State Hermitage Museum in St Petersburg.
A plan to acquire 150 paintings from the Orléans collection, which had been brought to London for sale in 1798, also failed, despite the interest of both the King and the Prime Minister, Pitt the Younger.[10] The twenty-five paintings from that collection now in the Gallery, including "NG1", arrived later by a variety of routes. In 1799 the dealer Noel Desenfans offered a ready-made national collection to the British government; he and his partner Sir Francis Bourgeois had assembled it for the king of Poland, before the Third Partition in 1795 abolished Polish independence.[8] This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, on his death. The collection opened in 1814 in Britain's first purpose-built public gallery, the Dulwich Picture Gallery. The Scottish dealer William Buchanan and the collector Joseph Count Truchsess, both formed art collections expressly as the basis for a future national collection, but their respective offers (both made in 1803) were also declined.
Following the Walpole sale many artists, including James Barry and John Flaxman, had made renewed calls for the establishment of a National Gallery, arguing that a British school of painting could only flourish if it had access to the canon of European painting. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, attempted to address this situation. The members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre,[11] some artists resented the Institution and saw it as a racket for the gentry to increase the sale prices of their Old Master paintings.[12] One of the Institution's founding members, Sir George Beaumont, Bt, would eventually play a major role in the National Gallery's foundation by offering a gift of 16 paintings.
In 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London; his collection numbered 38 paintings, including works by Raphael and Hogarth's Marriage à-la-mode series. On 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumont's offer, which came with two conditions: that the government buy Angerstein's collection, and that a suitable building was to be found. The unexpected repayment of a war debt by Austria finally moved the government to buy Angerstein's collection, for £57,000.
Foundation and Early History
The National Gallery opened to the public on 10 May 1824, housed in Angerstein's former townhouse at No. 100 Pall Mall. Angerstein's paintings were joined in 1826 by those from Beaumont's collection, and in 1831 by the Reverend William Holwell Carr's bequest of 35 paintings. Initially the Keeper of Paintings, William Seguier, bore the burden of managing the Gallery, but in July 1824 some of this responsibility fell to the newly formed board of trustees.
The National Gallery at Pall Mall was frequently overcrowded and hot and its diminutive size in comparison with the Louvre in Paris was a cause of national embarrassment. But Agar Ellis, by then a trustee of the Gallery, appraised the site for being "in the very gangway of London"; this was seen as necessary for the Gallery to fulfil its social purpose. Subsidence in No. 100 caused the Gallery to move briefly to No. 105 Pall Mall, which the novelist Anthony Trollope described as a "dingy, dull, narrow house, ill-adapted for the exhibition of the treasures it held". This in turn had to be demolished for the opening of a road to Carlton House Terrace.
In 1832 construction began on a new building by William Wilkins on the site of the King's Mews in Charing Cross, in an area that had been transformed over the 1820s into Trafalgar Square. The location was a significant one, between the wealthy West End and poorer areas to the east. The argument that the collection could be accessed by people of all social classes outstripped other concerns, such as the pollution of central London or the failings of Wilkins's building, when the prospect of a move to South Kensington was mooted in the 1850s. According to the Parliamentary Commission of 1857, "The existence of the pictures is not the end purpose of the collection, but the means only to give the people an ennobling enjoyment".
Growth under Eastlake and his successors
15th- and 16th-century Italian paintings were at the core of the National Gallery and for the first 30 years of its existence the Trustees' independent acquisitions were mainly limited to works by High Renaissance masters. Their conservative tastes resulted in several missed opportunities and the management of the Gallery later fell into complete disarray, with no acquisitions being made between 1847 and 1850.[19] A critical House of Commons report in 1851 called for the appointment of a director, whose authority would surpass that of the trustees. Many thought the position would go to the German art historian Gustav Friedrich Waagen, whom the Gallery had consulted on previous occasions about the lighting and display of the collections. However, the man preferred for the job by Queen Victoria, Prince Albert and the Prime Minister, Lord Russell, was the Keeper of Paintings at the Gallery, Sir Charles Lock Eastlake. Eastlake, who was President of the Royal Academy, played an essential role in the foundation of the Arundel Society and knew most of London's leading art experts.
The new director's taste was for the Northern and Early Italian Renaissance masters or "primitives", who had been neglected by the Gallery's acquisitions policy but were slowly gaining recognition from connoisseurs. He made annual tours to the continent and to Italy in particular, seeking out appropriate paintings to buy for the Gallery. In all, he bought 148 pictures abroad and 46 in Britain,[20] among the former such seminal works as Paolo Uccello’s The Battle of San Romano. Eastlake also amassed a private art collection during this period, consisting of paintings that he knew did not interest the trustees. His ultimate aim, however, was for them to enter the National Gallery; this was duly arranged upon his death by his friend and successor as director, William Boxall, and his widow Lady Eastlake.
The Gallery's lack of space remained acute in this period. In 1845 a large bequest of British paintings was made by Robert Vernon; there was insufficient room in the Wilkins building so they were displayed first in Vernon's town house at No. 50 Pall Mall and then at Marlborough House.[21] The Gallery was even less well equipped for its next major bequest, as J.M.W. Turner was to bequeath the entire contents of his studio, excepting unfinished works, to the nation upon his death in 1851. The first 20 of these were displayed off-site in Marlborough House in 1856. Ralph Nicholson Wornum, the Gallery's Keeper and Secretary, worked with John Ruskin to bring the bequest together. The stipulation in Turner's will that two of his paintings be displayed alongside works by Claude is still honoured in Room 15 of the Gallery, but his bequest has never been adequately displayed in its entirety; today the works are divided between Trafalgar Square and the Clore Gallery, a small purpose-built extension to Tate Britain completed in 1985.
The third director, Sir Frederick William Burton, laid the foundations of the collection of 18th-century art and made several outstanding purchases from English private collections. The acquisition in 1885 of two paintings from Blenheim Palace, Raphael's Ansidei Madonna and Van Dyck's Equestrian Portrait of Charles I, with a record-setting grant of £87,500 from the Treasury, brought the Gallery's "golden age of collecting" to an end, as its annual purchase grant was suspended for several years thereafter.[24] When the Gallery purchased Holbein's Ambassadors from the Earl of Radnor in 1890, it did so with the aid of private individuals for the first time in its history. In 1897 the formation of the National Gallery of British Art, known unofficially from early in its history as the Tate Gallery, allowed some British works to be moved off-site, following the precedent set by the Vernon collection and the Turner Bequest. Works by artists born after 1790 were moved to the new gallery on Millbank, which allowed Hogarth, Turner and Constable to remain in Trafalgar Square.
Early 20th century
The agricultural crisis at the turn of the 20th century caused many aristocratic families to sell their paintings, but the British national collections were priced out of the market by American plutocrats.[26] This prompted the foundation of the National Art Collections Fund, a society of subscribers dedicated to stemming the flow of artworks to the United States. Their first acquisition for the National Gallery was Velázquez's Rokeby Venus in 1906, followed by Holbein's Portrait of Christina of Denmark in 1909. However, despite the crisis in aristocratic fortunes, the following decade was one of several great bequests from private collectors. In 1909 the industrialist Dr Ludwig Mond gave 42 Italian renaissance paintings, including the Mond Crucifixion by Raphael, to the Gallery. Other bequests of note were those of George Salting in 1910, Austen Henry Layard in 1916 and Sir Hugh Lane in 1917.
