The Exhibition we Almost Didn't Have!

Botticelli to van Gogh: Masterpieces from the National Gallery, London.
At the National Gallery of Australia, Canberra
March 5 to June 14, 2021

Reviewed by Tony Magee

WHEN Winston Churchill was elected Prime Minister of the United Kingdom in May 1940, one of the first things he did was to have all artworks from the National Gallery in Trafalgar Square moved to underground safety bunkers for preservation, lest the gallery be bombed during German air raids.

The now empty gallery also provided an alternative artistic opportunity, whereby British pianists Myra Hess and Moura Lympany joined forces and used their considerable list of contacts to establish weekday lunchtime concerts at the venue, numbering 1,968 over a six year period, to help boost British morale.

Founded in 1824 with an initial collection of just 38 paintings, the National Gallery in London now boasts a collection of 2,300 works.

61 of these masterpieces have been selected for the “Botticelli to van Gogh” exhibition at the National Gallery of Australia in Canberra, the first time in its almost 200 year history, that the London Gallery has allowed an international touring exhibition.

In addition, Canberra is currently the only place in the world where one can see these works up close and personal, as the London Gallery itself is still closed due to COVID 19 restrictions.

The earliest piece on display is Paolo Uccello’s “St George and the Dragon”, painted circa 1470.

Paolo Uccello, Italy. Saint George and the Dragon. c 1470. © The National Gallery, London.

This interpretation of one of the most popular Christian stories from the middle ages has compressed two parts of the story into one, showing Saint George spearing the dragon, whilst a princess holds a leash around its neck.

The art of perspective is brilliantly showcased in Botticelli’s “Four scenes from the early Life of Saint Zenobius” from 1500 and “The Annunciation, with Saint Emidius”, painted in 1486 by Carlo Crivelli.

Botticelli, one of the most celebrated Florentine Renaissance painters, configures this work to be read from left to right, like a cartoon strip, presenting Zenobius moving through the streets of Florence as he rejects marriage, is baptised, witnesses his mother’s baptism and is ordained as Bishop of Florence.

Botticelli, Italy. Four Scenes from the early life of Saint Zenobius, 1500
© The National Gallery, London.

Titian’s “Noli me tangere” (Do not Touch Me), dates from 1514 and depicts Mary Magdalene reaching out to Christ in the Garden of Gethsemane. Christ commands “Noli me tangere”, as it is time for his followers to let go of his earthly presence.

Titian, Italy. Noli me tangere, c 1514 © The National Gallery, London.

Dutch Painting of the Golden Age features landscapes, still life and domestic scenes - the new painting genres pioneered by artists working in the Netherlands in the seventeenth century.

“Still Life with a Lobster”, painted between 1650 and 1659 by Willem Claesz Heda, shows a sumptuous meal of lobster with bread rolls and green olives on an elegant table setting, ready for consumption.

Willem Claesz Heda, The Netherlands. Still Life with a Lobster, c 1650-59
© The National Gallery, London.

The Golden Age of Spanish Art includes “Kitchen scene with Christ in the house of Martha and Mary”, painted in 1618 by Diego Velázquez.

Christ, with Mary kneeling and Martha standing behind, can be seen through a small window within the painting. A meal of silver bream, garlic, eggs and chilli is being prepared, with garlic and spices being crushed in a mortar and pestle by the kitchen staff.

Diego Velazquez, Spain. Kitchen Scene with Christ in the House of Martha and Mary, 
c 1618 © The National Gallery, London.

18th and 19th century British artists are represented with works by Constable, Gainsborough and Turner.

Turner’s “Ulysses deriding Polyphemus” from 1829 shows a great ship with Ulysses on board, escaping from an island where the one-eyed monster Polyphemus has held him captive.

JMW Turner, Great Britain. Ullysses deriding Polyphemus, 1829
© The National Gallery, London.

Turner revisited his ship theme 10 years later in 1839 with his ghostly “The Fighting Temeraire”.

Handel also touched on the subject in his opera “Acis and Galatea”.

Impressionism is represented with works by Cézanne, Degas, Renoir, van Gogh and Monet.

Monet painted “The Water-lily Pond” in 1899, and it is the youngest of the paintings represented in the NGA exhibition. The scene is from Monet’s own garden in Giverny, Normandy. The humpback bridge was inspired from examples seen by Monet in Japanese prints.

Claude Monet, France. The Water-lily Pond. 1899 © The National Gallery, London.

The final work in the exhibition is “A Basket of Roses” painted in 1890 by Henri Fantin-Latour.

Despite working alongside the impressionists, Fantin-Latour remained committed to painting in a traditional style, “representing things as they are found in nature”.

Henri Fantin-Latour, France. A Basket of Roses, 1890 © The National Gallery, London.

In the exhibition shop, I noticed that prints of this work were outselling everything else by vast quantities.

“Botticelli to Van Gogh” is essential viewing for anyone interested not only in great art, but history, humanity and the changing times.

Up-close view of famous artworks

Thursday 4th March, 2021

Botticelli to van Gogh: Masterpieces from the National Gallery, London

at the National Gallery of Australia

March 5 to June 14, 2021

Reviewed by Rob Kennedy

Rembrandt, "Self portrait at the age of 34", 1640. © The National Gallery, London.

MASTERPIECES always draw the big crowds, and “Botticelli to Van Gogh” is the first time that the National Gallery, London in its near 200-year history, has toured an exhibition of works internationally. Australians now have a rare opportunity to see this amazing selection.

Spanning 450 years, the 61 paintings in this exhibition offer a review of western European art through seven defining periods. Art lovers on their cultural pilgrimage to the National Gallery of Australia (NGA) will gain an experience of art that has helped shape culture in the world.

Standing in front of one masterpiece after another is daunting. Seeing the brushstrokes, the lines, colours and shapes of these master works come alive in the refurbished space. The money that the NGA has spent on renovations assure that they have the best backdrop and viewing experience for this exhibition.

One of the most famous of Rembrandt’s self-portraits is “Self Portrait at the Age of 34”. This speaks loudly about the artist’s position and self-esteem. Dressed in the clothes of a wealthy gentleman, Rembrandt pays homage to some of history’s famous artists. Also, an up-close view of his signature explains so much about his refined artistic skills.

Vermeer, "A young woman seated at a virginal", c. 1670-72.
© The National Gallery, London. Salting Bequest, 1910.

Just to the right of the Rembrandt, there is a work by Johannes Vermeer titled, “A Young Woman Seated at a Virginal”. One of only 34 paintings by Vermeer, this delicate and provocative work shows the importance of musical arts to visual artists. The young woman’s focus is directed at the artist/viewer, but the suggestive placing of a bow in between the strings of a viola da gamba says something else. It is full of suggestion.

John Constable’s painting “Cenotaph to the Memory of Sir Joshua Reynolds” is an astounding work of art. The textures, the depth, those Constable clouds, the internal darkness and ghost-like figures, with a startlingly life-like elk towards the bottom centre, while everything is encased with heavy shadow in a dense landscape punctuated the exhibition for this reviewer.

Vincent van Gogh, "Sunflowers", 1888. © The National Gallery, London.

Botticelli, Titian, Rembrandt, El Greco, Velázquez, Goya, Turner, Constable, Van Dyck, Gainsborough, Renoir, Cézanne, Monet, Gauguin and others stand in another light when you see “Sunflowers” by Vincent Van Gogh. The brightness of the work alone compels a viewer to draw closer. It looks like it has been backlit and only recently painted. It is alive, just as the rest of this intensely fascinating exhibition is. This is a must-see.

First published in Canberra City News Digital Edition, March 4, 2021