The National Gallery in London Rehangs Its Collection
The redisplayed Gallery opened on May 10, its 201st anniversary.
Initially, Parliament founded the National Gallery in London on May 10, 1824, with a collection of 38 paintings housed at 100 Pall Mall, the former home of financier John Julius Angerstein (1735–1823) who had acquired the works. The Gallery opened to the public four days a week and to artists two days a week.
In 1838, the National Gallery collection moved to its new purpose-built gallery, designed by architect William Wilkins (1778–1839), in Trafalgar Square.
On July 24, 1929, the financial secretary to the Treasury, Baron Frederick Pethick-Lawrence, highlighted the National Gallery collection in Parliament:
'It is of great importance that works which are recognised as masterpieces should not be allowed to leave this country, but should remain the heritage of the people of these islands; and, further than that, that they should not be locked away in some private collection, where they will only be viewed by a few selected people, but that they should be in a public place where people of all positions in life, if they choose to take the trouble, can avail themselves of the opportunity of seeing them.'
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Today, the nation's painting collection spans seven centuries and some 2,400 works.
National Gallery visitors can now view over 1,000 Western European artworks from the 13th to 20th century anew, including works by Bellini, Leonardo, Raphael, Rembrandt, Rubens, Anthony van Dyck, and Diego Velázquez.
The Sainsbury Wing
The Gallery's Sainsbury Wing has been closed for over two years, for remedial repairs, and for New York City-based Selldorf Architects working with London heritage architects Purcell to create a more welcoming main entrance foyer.
The new, vast entrance foyer of the Sainsbury Wing, with its low ceiling, stark stone columns, and nearly 40-foot-wide digital screen, seems more akin to an airport lounge or swanky advertising office than the main entrance to a world-renowned painting collection.
Despite the renovations' corporate rather than civic feel, the saving grace is that the foyer leads to the staircase abutted with double-floor-high windows that flood the area with sunlight and anticipation for what's to come. As visitors ascend the steps to the earliest paintings in the Gallery's collection, these windows afford a view of the original 1830s National Gallery building with its marble pilasters and Corinthian columns, and beyond—further into Trafalgar Square. It's a welcome reminder of the Gallery's prominent home and eminent 201-year history.
Sunlight guides visitors up the staircase of the Sainsbury Wing at the National Gallery in London.
Phil Starling/Copyright The National Gallery, London
At the top of the staircase, a newly commissioned artwork—a sun made of river sediment—completes the corporate entrance feel. It's an odd choice for the first artwork the public encounters before entering the gallery of Medieval and Early Renaissance art, the traditional highpoints of Western art.
All is forgiven when entering room 51, with its warm welcome of Gallery favorites such as 'The Virgin of the Rocks' by Leonardo da Vinci (1452–1519) and 'The Manchester Madonna' by Michelangelo (1475–1564), which is an unfinished egg tempera painting that gives a wonderful peek into his painting practice.
London's National Gallery members view 'The Virgin of the Rocks,' circa 1491–1508, by Leonardo da Vinci. Two doorways on either side of the painting lead to Leonardo's 'The Burlington House Cartoon.'
Copyright The National Gallery, London
Light enters the main Sainsbury Wing rooms through a series of skylights. As in a church, the sunlight makes the gold gilding shimmer, heightening its heavenly effect.
The curators thoughtfully demonstrate how these altarpieces were used in private and public devotion. A darkened side room and alcove bench behind 'The Virgin of the Rocks' invites one to sit and contemplate Leonardo's '
(L) 'The Wilton Diptych,' by an unknown English or French artist. Egg tempera on wood; 20 7/8 inches by 14 9/16 inches. Room 51 of the Sainsbury Wing at the National Gallery, London. The Sainsbury Wing houses the nation's collection of medieval and early Renaissance (1250–1550) paintings.
Copyright The National Gallery, London
When acquiring the diptych for the Gallery in 1929, politician Andrew MacLaren said in a Parliamentary debate: 'It has simplicity, it has evidence of having been done by an artist not merely for payment but for the honour and glory of God. Only by such an impulse can any great work of art be produced.'
Wherever possible, the altarpieces are arranged to evoke their original religious settings. Notably, the astounding 'The San Pier Maggiore Altarpiece' is situated at the front of the room, in a newly created frame that Gallery staff volunteers burnished in gold leaf. In front of the 'The San Pier Maggiore Altarpiece,' a predella from the altarpiece of San Domenico convent in Fiesole, Italy, is encased in glass. It demands particularly close attention. Fra Angelico (circa 1395–1455) depicted the hierarchy of heaven: In the central panel, Christ in heaven is surrounded by angels; on the left panel is 'The Virgin Mary With the Apostles and Other Saints' and on the right panel 'The Forerunners of Christ With Saints and Martyrs.'
'The San Pier Maggiore Altarpiece,' 1370–1371, by Jacopo di Cione and workshop. Egg tempera on wood. Room 57 of the Sainsbury Wing at the National Gallery, London.
Copyright The National Gallery, London
Walking from the 'The San Pier Maggiore Altarpiece' to an adjoining room, an early-14th-century crucifix hangs from the ceiling. It's a first for the Gallery and replicates the way the crucifix would have originally hung high in the church. Artist Segna di Bonaventura (active by 1298, died around 1326) painted the figure of Christ specifically to be seen from below, so seeing the work suspended from the ceiling makes sense. The unsettling three-dimensionality of Christ's wounded body must have served as a moving reminder of his sacrifice.
Fresh Gallery Rooms
Leaving the Medieval and Early Renaissance (1260–1550) gallery rooms of the Sainsbury Wing behind, the next 400 years of paintings on display reside in the Wilkins-designed Gallery building, accessed via an internal bridge.
The Gallery remains divided into art eras: Renaissance (1500–1600) in rooms 2 to 14, Baroque (1600–1700) in rooms 15 to 32, Rococo to Romanticism (1700–1800) in the central hall and rooms 33 to 37, and Towards Modernism (after 1800) in rooms 38 to 46.
Some artists now have their own dedicated rooms, including Piero della Francesca (circa 1415–1492) and Rembrandt (1606‒1669), enabling visitors to fully appreciate their artistic progression.
The Baptism of Christ,' circa 1437–1445, by Piero Della Francesca. Room 66 of the Sainsbury Wing at the National Gallery, London.
Copyright The National Gallery, London
Other, new rooms focus on specific genres and mediums. There's a room full of still-life paintings. Pastel artworks hang together in room 42, the Gallery's first space dedicated to the medium, demonstrating the wide appeal, versatility, and different styles of pastel painting in two different art eras. Jean-Etienne Liotard (1702‒1789) brilliantly commanded the medium with fine works such as 'The
Collection favorites such as Thomas Gainsborough's (1727–1788) family portraits hang together like a family album. Similarly, Peter Paul Rubens's (1577–1640) portrait assumed to be Susanna Lunden hangs beside Elisabeth Louise Vigée Le Brun's (1755–1842) 'Self Portrait in a Straw Hat,' demonstrating how the old master directly influenced her more than 150 years later. Thoughtful and surprising curatorial touches like these run throughout the Gallery space, reinvigorating the collection even for seasoned Gallery visitors.
A portrait assumed to be of Susanna Lunden ('Le Chapeau de Paille'), probably 1622–1625, by Peter Paul Rubens. Oil on wood; 31 1/8 inches by 21 1/2 inches. National Gallery, London.
Copyright The National Gallery, London
"Self Portrait in a Straw Hat," 1782, by Elisabeth Louise Vigée Le Brun. Oil on canvas; 38 1/2 inches by 27 3/4 inches. National Gallery, London.
Copyright The National Gallery, London
New Acquisitions From Old Favorites
As well as seeing the collection afresh, there are over 20 new loans and eight new acquisitions to celebrate the Gallery's bicentenary. Among the acquisitions are an early 16th-century French or Netherlandish altarpiece titled '
'The Virgin and Child with Saints Louis and Margaret,' circa 1510, by an unknown Netherlandish or French painter. Oil on wood; 48 1/8 inches by 41 5/8 inches. Bought with the support of the American Friends of the National Gallery, London, 2025; National Gallery, London.
Copyright The National Gallery, London
'After the Audience,' 1879, by Sir Lawrence Alma-Tadema. Oil on wood; 36 inches by 26 inches. The National Gallery in London acquired the painting to mark its 200th anniversary year.
Copyright The National Gallery, London
Poussin's painting of the Last Supper, titled 'Eucharist,' is one in the first series of seven paintings depicting the Roman Catholic rites: Baptism, Penance, Eucharist, Confirmation, Marriage, Ordination, and Extreme Unction. Six in the series survive, two of which are in American collections: 'Baptism' in the National Gallery of Art in Washington and 'Ordination' in the Kimbell Art Museum in Fort Worth, Texas.
'Eucharist,' circa 1637–1640, by Nicolas Poussin. Oil on canvas; 37 5/8 inches by 47 5/8 inches. The National Gallery in London acquired the painting to mark its 200th anniversary year.
Copyright The National Gallery, London
Poussin's sensitive treatment of light in 'Eucharist' is wondrous. He directed candlelight from the double-wicked lamp and the candle on the stool. Set in architectural grandeur, Christ sits at the center of the symmetrical composition and the 12 apostles flank him. He holds the bread and wine in one hand and holds his other hand in a gesture of blessing. Some apostles raise their hands in gestures receptive to Christ's blessing. Judas may be the only figure who has turned his back on Christ, perhaps indicative of the apostle's betrayal.
Founding president of the Royal Academy of Arts, Sir Joshua Reynolds viewed Poussin's seven sacraments series in 1785 and
The rehung National Gallery in London truly celebrates the nation's painting collection, and is testimony to the entire curatorial team's efforts and passion for the legacy of Western art.
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Polina Grinbaum/NYT Wirecutter Polina Grinbaum/NYT Wirecutter Key specs Dimensions: 21 by 17 inches (diameter by height) Colors/finishes: ivory bouclé, beige fabric, brown synthetic leather (availability varies) Materials: wood frame, polyester fill, polyester upholstery Weight limit: not listed (mainly used as a footrest) Return policy and warranty: You can return this model for a full refund, or exchange it within 30 days of receipt with a valid proof of purchase (shipping fees will not be refunded.); a case-by-case guarantee. West Elm Nothing gets buried. Setting itself apart from our hinge- and lift-top storage benches, the slim West Elm Mid-Century Storage Bench has sliding doors. So it's perfect for stacking items like board games or throw blankets, since you can see everything at a glance. And there's a slim wall dividing the interior into two cubbies, to prevent anything from getting lost in the middle (this does mean that you can't store anything that's really long). 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The back of this bench looks more unfinished, so you can't leave it exposed like you can with our other picks. Key specs Dimensions: 18.5 by 42 by 15.75 inches (height by width by depth; small bench) Colors/finishes: acorn Materials: solid eucalyptus wood and engineered wood with an acacia wood veneer Weight limit: 300 pounds Return policy and warranty: You can return this bench within 30 days, with proof of purchase. There is no listed warranty. (But West Elm told us it will review any product defects within a year of purchase.) Marki Williams/NYT Wirecutter You can grab and go. We tested Article Maribo Storage Ottoman in large, and, like the medium version, it has a hinged top (the small version has a lightweight lift-off top). We found it was a breeze to get into, even using just one hand. More generous than some of the other hinge-top benches we tested, this bench props open to 70 degrees (instead of the more-common 45 degrees), so it's easier to see and access what's inside. Despite that hinged lid, the bench sits flush against a wall, even when it's open. The 48-inch Article Maribo Storage Ottoman has a hinged lid that props open widely, so it's easy to store (and access) a lot of stuff. Marki Williams/NYT Wirecutter It comes in several sizes. This bench is available in three lengths: a nearly perfect 19-inch cube, a 32-inch medium option, and a large, 48-inch option, so there's a lot of room for creativity. It would look great used in place of a coffee table in a living room, placed at the foot of a bed, situated under a bedroom window, or used as an ottoman by a couch. We can vouch for its longevity. This bench has been used as a prop in our photo studio for several years, and it hasn't pilled or stained, even though it's been sat on and moved around regularly. One of our other staffers has had the cube-size version of this bench in her home for a little over a year, and she reports that it's doing just fine; she vacuums it occasionally, when she vacuums her couch. Flaws but not dealbreakers The bouclé will need some upkeep. With the Article Maribo bench, if you choose the bouclé upholstery (like the one we tested), it will require occasional vacuuming, since dust can more easily settle between the fabric's nubs (though no major stains have appeared on our testing model). Key specs Dimensions: 18.5 by 48 by 15.5 inches (height by length by depth; large bench) Colors/finishes: tan leather, ivory bouclé, green felt, sandstone bouclé Materials: solid pine, engineered wood frame; foam filling; upholstery varies by material Weight limit: not listed Return policy and warranty: You can return this bench within 30 days for a refund or exchange. There is a one-year warranty limited to defects. Three of the boucle benches we tested, from left to right: Article's Maribo Storage Ottoman, Target's Threshold Havenstone Pill-Shaped Storage Bench, and Crate & Kids' Wally Nursery Storage Ottoman. Marki Williams/NYT Wirecutter The All Modern Williams 59" Storage Bench has drawers, so it's ideal for storing underwear, bras, socks, or workout clothes (and this bench is especially useful if your bedroom is too small to accommodate a dresser, as mine is). However, when it arrived it smelled very strongly of chemicals, and that smell remained for several weeks. And the drawers only pull out three-quarters of the way, so it is hard to see anything stored toward the back. We appreciated that the IKEA Förlunda pouffe was light and stackable, as well as nicely priced, but we wish it were of better quality. It would look at home in a children's playroom, concealing toys, or as an ottoman for a very certain type of modern living room. With its pretty rattan weave, the IKEA Tolkning bench is great for someone looking for affordable, bohemian, beachy furniture. But when it came to closing the lid, it was hard to get it to line up with the base. And lifting the lid took both hands, another irksome situation if you just want to take something out quickly. The finish was also a bit cheap, and the rattan could get caught on clothing or throws. There is nothing wrong with the IKEA Valtorp; if you like the look, you'll probably be quite happy with it. The lid opens via a hinge, and it stays open as well, at a 45-degree angle. But we thought the finishes looked a little sloppy, especially the inside lining. And building this bench was more difficult than building the other IKEA pieces we tried. With the Valtorp, I had to enlist the help of colleague Evan Dent, who happened to be working next to me while I struggled to build this bench. (I owe you a coffee, Evan, thank you.) Many testers loved the Nofred Cube Long Storage Box; this is a beautiful piece of birch plywood furniture at a very reasonable price. And you can order optional wheels to make it mobile (one of the wheels is lockable). We originally thought it would make a great toy chest. However, after just a few days of testing, some edges of the wood had already started to chip. We had to lean in close to notice those details, but the chipping doesn't bode well for the bench's long-term durability. Sabai's The Essential Storage Bench is incredibly customizable, with your choice of several upholstery colors and fabrics, as well as leg shapes and finishes. The velvet one we ordered was comfortable to sit on, and it looked elegant, but it left a noticeable imprint when we sat on it. It was also annoying to get into: The wide, heavy top requires two hands to lift it, and you have to carefully lower it to align with the base. However, if you plan to use your storage bench for things you don't need to access often, this bench may be an excellent choice. With its woven water hyacinth material and acacia wood feet, the Target Casafield 17" Round Storage Ottoman with Lid has a beachy look. But it felt a bit scratchy to sit on. The Target Threshold Havenstone Pill-Shaped Storage Bench was a decent dupe for our similarly shaped, similarly boucle-d pick from Article. But looking closer, you can see that the polyester fabric of the Havenstone is glossy in an obviously synthetic way, and its lid lifts off rather than hinges, making it a nuisance to open. The Target Threshold Tufted Round Storage Ottoman is not particularly comfortable or beautiful, nor is it uncomfortable or unattractive. The lid was a little hard to fit evenly onto the base. But if you like the look of it, and you need an ottoman only for storing a few items (it could fit a few light blankets or a throw pillow), this is a serviceable option. This article was edited by Daniela Gorny and Joanne Chen
Associated Press
2 days ago
- Associated Press
India celebrates Independence Day, in photos
India celebrates the day the country gained independence after the partition of British India in 1947. This is a photo gallery curated by AP photo editors.
