How national is the National Gallery in London?

 
 
Plus: Frank Stella (1936–2024)
 
 
 
 
Get more great writing every day – from just £1 a week
Kirsten Tambling on how the National Gallery got started
 
Kirsten Tambling on how the National Gallery got started
The union of art and commerce made the National Gallery distinctively mercantile in origin, a point that was underlined in Lord Liverpool's 1824 budget statement announcing the allocation of £57,000 for the new gallery. With an implicit swipe at the contents of the Louvre, where a pre-existing royal collection had been liberally supplemented by the rapacious hand of Napoleon, Liverpool asserted that every Englishman who entered the new gallery 'may gaze with proud satisfaction of reflecting that they are not the rifled treasures of plundered palaces, or the unhallowed spoils of violated altars', but rather the trophies of honest trade. (This assertion has not aged well; it was the same Lord Liverpool whose government had authorised the purchase of the Parthenon Marbles.)
 
Read the full article
 

Advert

 
Morgan Falconer on Frank Stella's dedication to abstraction
 
Morgan Falconer on Frank Stella's dedication to abstraction
Frank Stella, who died on 4 May at the age of 87, was only 23 when a clutch of his Black Paintings was included in '16 Americans' at the Museum of Modern Art in New York. The critic Irving Sandler later described them as the most important paintings of the 1960s: the fact that the show opened in 1959 says everything about their agenda-setting power. They were intensely dark, glossy pictures, severely and impersonally structured with grid patterns, optically indigestible in their scale and patterning. Minimalists such as Donald Judd adored their anti-pictorial, thing-like quality, while the critic Michael Fried thought that what mattered in them was precisely how they threw off their 'objecthood' to achieve ethereal qualities. That quarrel, central to mid '60s debate, would be called by some 'the battle for Stella's soul', and it raged on even while the young painter strived to reproduce that first success.
 
Read the full article
 

Subscribe

 
Acquisitions of the month: April 2024
 
Acquisitions of the month: April 2024
Among the most important works to have entered museums last month are a lush, fantastical portrait of two sisters by Johann Richard Seel; a magnificent bronze statue of Mars, god of war, by Giambologna; and an immaculately detailed painting of a seated woman by Sophie Frémiet, which has become the first canvas by the painter to enter a US collection.
 
Read the full article
 

Advert

 
Tom Stammers on a French dealer with really grand designs
 
Tom Stammers on a French dealer with really grand designs
A fascinating demonstration of Léonce Rosenberg's cult of modern art can currently be seen at the Musée Picasso in Paris, in an exhibition that reconstructs the contents of the dealer's apartment at 75 rue de Longchamp in the 16th arrondissement. Rosenberg's house was a total work of art, a vast decorative scheme that was also a key document in the history of interwar modernism. The decorative scheme began in earnest in 1928, but Rosenberg's interest in how art could inhabit domestic space had a longer gestation. The first to exhibit Mondrian in Paris, in 1921, Rosenberg had been fascinated by the De Stijl movement, with Theo van Doesburg coming up with designs for a proposed hôtel particulier. If this functionalist villa was never built, the way in which Rosenberg combined modern art with classic French style was no less remarkable. For, in contrast to dealers who chose to live among their past acquisitions, Rosenberg commissioned entirely new works for the space. All of these were delivered and installed in only 15 months. For the dealer, it was a way of demonstrating his authority as a new breed of 'amateur'.
 
Read the full article
 

Advert

 
In the studio with… Erwin Wurm
 
In the studio with… Erwin Wurm
'Right now, I'm reading something that I always overlooked: Casanova's life stories. They're not just about sex. They're so interesting, because they give a picture of the society he was growing up in. He was well educated and he travelled a lot, meeting all these grand and fantastic people, and he described it so well – it's a great image of the past. And because I'm about to turn 70, I've been reading Philip Roth. I like the way he describes getting old and impotent and all the problems that come with ageing. The way he writes about himself is so cynical – it's fantastic. I love it.'
 
Read the full article
 

 
In the current issue…
 
Eve M. Kahn is bowled over by the ceramics at TEFAF New York
 
Eve M. Kahn is bowled over by the ceramics at TEFAF New York
Women ceramicists are proving just how far they can experiment with clay, stretching, tinting and firing it in new ways, which galleries will highlight at TEFAF New York from today until Tuesday. The wares for sale range from being so ethereal or monumental that you can barely imagine how they are structurally sound, to so unabashedly preposterous that you cannot resist a smile.
 
Read the full article
 

 
In the next issue…
 
The fine art of food
 
More from Apollo
Current issue | Advertise | Podcasts
 
View this email in your browser
 
Follow us
Follow us on Facebook Follow us on Twitter
 
Apollo Magazine, 22 Old Queen Street, London, SW1H 9HP.
All Articles and Content Copyright © 2024 by Apollo Magazine. All Rights Reserved.
If you no longer wish to receive these emails, you can unsubscribe at any time.
To ensure our emails are delivered to your inbox, please add Apollo to your email address book and safe-sender list.
 
 

Commentaires

Posts les plus consultés de ce blog

Kid draws a hilarious family portrait, featuring his mother on her period

This Is What Fish Oil Supplements Actually Do

Chris Froome sends out strong message to his rivals as he storms back to win Criterium du Dauphine for the second time