#CulturedPeachy #LondonPeachy @NationalGallery Tells #WhomYouKnow @ManhattanPeachy Additional 2018 Exhibitions Announced
ADDITIONAL 2018 EXHIBITIONS
The Wohl Galleries
COURTAULD IMPRESSIONISTS: FROM MANET TO CEZANNE
17 September 2018 – 20 January 2019
Room 1
LANDSEER’S THE MONARCH OF THE GLEN
28 November 2018 – 3 February 2019
COURTAULD IMPRESSIONISTS: FROM MANET TO CEZANNE
17 September 2018 – 20 January 2019
The Wohl Galleries
Admission charge
For the first time since 1948 the National Gallery will display major Impressionist paintings from the Courtauld Gallery alongside works from its own collections.
This exciting exhibition is made possible thanks to a major loan of works from the Courtauld Gallery, which is closing in September 2018 for a redevelopment.
Opening at the National Gallery this autumn, Courtauld Impressionists: From Manet to Cézanne will trace the development of Impressionist and Post-Impressionist paintings through a wide ranging survey of over 40 masterpieces from Daumier to Bonnard.
As well as providing the perfect introduction to this art movement, the exhibition will focus on the vision of the Courtauld’s founder Samuel Courtauld. It will focus on his role in shaping national collections and paving the way for the acceptance of modern art in the United Kingdom.
Having purchased works from the first Impressionist exhibition, Samuel Courtauld went on to build one of the world’s most important art collections but stopped acquiring paintings after the death of his wife, revealing a strong emotional connection to the works.
Highlights from the Courtauld’s collection will include Manet's A Bar at the Folies-Bergére, Cézanne's The Card Players and Man with a Pipe, Toulouse-Lautrec's Jane Avril in the Entrance to the Moulin Rouge, putting on her Gloves, Renoir’s La Loge and Seurat's Young Woman Powdering Herself.
The exhibition unites these works with those the National Gallery acquired in the 1920s through Samuel Courtauld’s fund, such as Cézanne’s Self Portrait, Pissarro's The Boulevard Montmartre at Night, Renoir’s At the Theatre (La Première Sortie) and Seurat’s Bathers at Asnières. This exhibition is a collaboration between the National Gallery and the Courtauld Gallery.
Edwin Landseer The Monarch of the Glen, about 1851, Scottish National Gallery Purchased by the National Galleries of Scotland as a part gift from Diageo Scotland Ltd, with contributions from the Heritage Lottery Fund, Dunard Fund, the Art Fund, the William Jacob Bequest, the Turtleton Trust and through public appeal 2017 (NG 2881) © National Galleries of Scotland.
LANDSEER’S THE MONARCH OF THE GLEN
28 November 2018 – 3 February 2019
Room 1
Admission free
One of the world’s best known animal paintings, Edwin Landseer’s The Monarch of the Glen, will be displayed at the National Gallery this autumn for the first time since 1851. The large painting of a stag, which is also on show for the first time in London since 1983, has been loaned by the National Galleries of Scotland, who acquired the work in 2017 following a public fundraising appeal. The picture will be the centrepiece of an exhibition that will reveal the close connections between Landseer (1802-73) and the National Gallery.
While The Monarch of the Glen is usually associated with Scotland it is less well-known that it was originally commissioned for the Houses of Parliament in Westminster. Sir Charles Eastlake, the Gallery’s second Keeper and later first Director, was closely involved in this project. The painting was first exhibited at the Royal Academy in 1851, which was then housed in the National Gallery building. Landseer designed the lions for Nelson’s Column in Trafalgar Square and the exhibition will also include paintings and drawings connected with these famous sculptures.
As well as highlighting the artist’s close relationship to Queen Victoria, whom he tutored in etching and accompanied to the Scottish Highlands, Landseer’s The Monarch of the Glen will include other paintings and drawings by Landseer of Highland scenes showing how he developed his distinctive approach to the representation of the stag as hero.
A representation of the painting made in 1966 by former National Gallery Associate Artist Sir Peter Blake will provide a living artist’s response highlighting The Monarch of the Glen’s enduring appeal.
