(1900-1970)

A vigorous public campaign to keep the so-called ‘Rokeby Venus’ in the country led to the founding of the Art Fund, as a means by which many contributors can help to purchase key works of art. Bequests brought Dutch old masters such as Cuyp, Hals and Vermeer into the fold in the early twentieth century, and a purchase fund from Samuel Courtauld in the 1920s enabled ‘modern’ masters such as Vincent Van Gogh to enter the collection – though some members of the public didn’t think much of his ‘wonky’ chair. The death of Hugh Lane during WWI brought Renoir’s 'Umbrellas', and Manet’s 'Music at the Tuilleries' to the public’s attention in London, and later Dublin. During WWII the evacuation of London’s paintings to a secret location in Wales (and their safe return) makes for an intriguing story, as does the purchase and reception of Gainsborough’s Mr and Mrs Andrews in 1960.  

(1970 to 2000)

During the 1970s, and preceding decades, the ornate nineteenth century interiors, with their gilding and elaborate imagery went out of fashion as the ‘white cube’ display model took hold. In more recent years, the partitioned display spaces were opened up again, with a return to the notion of ‘history and heritage’ which saw coloured damask silk fabrics return to the walls. The educational activities of the National Gallery expanded dramatically in these decades, both within and without the Gallery. Amongst important acquisitions of this era were an impressive portrait of Madame de Pompadour, a newly-discovered Rococo masterpiece by a young Fragonard, and an important late painting by Titian. Claude’s 'Enchanted Castle' intrigued audiences in the 1980s, and Durer’s 'Saint Jerome', and Bermejo’s 'Saint Michael' found pride of place in the Sainsbury Wing in the 1990s. When the magnificent painting 'Whistlejacket' was bought in 1997, the public were treated to the sight of the image of an enormous horse projected onto the outside of the building. 

(2000 to the future)

The rehang, and subsequent remodelling, of the Sainsbury Wing bookend this era. Education and outreach have gained an increased importance, as ways are sought to make the collection truly national and broaden its appeal. The NG200 ‘National Treasures’ programme creates connections across collections throughout the UK and therefore aims to reach new audiences. The associate artist scheme (begun in 1990s) brought fresh eyes and approaches, and the opportunity to focus on work by women, as Alison Watt followed in the footsteps of Paula Rego, Anna-Maria Pacheco (and others). Australian and American artworks were purchased in this era, plugging gaps in collection by expanding geographical reach and diversity. The purchase of a work by Artemisia Gentileschi in 2018 placed a spotlight on the male bias of the historical collection, and the difficulties involved in challenging this as works by female artists of the past rise in demand, and therefore market value. What does the future hold for the collection and its public? Join the discussion.