NEW  GALLARY

 

 

     Central Hall  of the New Gallery, from the catalogue New Gallery Notes, Summer 1888.

Центральный зал Новой Галереи по каталогу New Galery notes  Лето 1888

Новая Галерея была основана в 1888 году by J. Comyns Carr and Charles Edward Hallé.

         The New Gallery was founded in 1888 by J. Comyns Carr and Charles Edward Hallé. Carr and Hallé had been co-directors of Sir Coutts Lindsay's Grosvenor Gallery, but resigned from that troubled gallery in 1887. The building was designed by Edward Robert Robson FSA, and constructed in little more than three months to ensure that it could open in the summer of 1888.

        The gallery was built on the site of an old fruit market. Existing cast-iron columns supporting the roof were encased with marble to give the impression of "massive marble shafts" topped with gilded Greek capitals. The architrave, frieze, and cornices above the columns were covered with platinum leaf. At the opening, the West and North Galleries on the ground floor were devoted to oil paintings, and the first floor balcony around the Central Hall displayed smaller works in oils, watercolours, etchings and drawings. Sculpture was displayed in the Central Hall itself.

 

     The New Gallery continued the ideals of the Grosvenor, and was an important venue for Pre-Raphaelite and Aesthetic movement artists. Edward Burne-Jones, then at the height of his popularity, supported the new venture, serving on its Consulting Committee and lending three large oils for the opening, thus ensuring its financial success. Lawrence Alma-Tadema and William Holman Hunt also joined the Consulting Committee, and George Frederic Watts and Lord Leightontransferred their loyalty to the New Gallery.

The private view of the first exhibition was held on Tuesday, 8 May 1888, and the exhibition opened to the public on Wednesday, 9 May, for three months. The private view was a great social success, with former Prime Minister William Ewart Gladstone among the early arrivals.

In October and November 1888, the New Gallery hosted the first showcase of industrial and applied arts by the Arts and Crafts Exhibition Society under the direction of its founding president, illustrator and designer Walter Crane. No attempt had been made to show contemporary decorative arts in London since the Grosvenor Gallery's Winter Exhibition of 1881, which included cartoons for mosaic, tapestry, and glass, and the Society's annual (later triennial) exhibitions at the New Gallery were important events in the Arts and Crafts Movement at the end of the 19th century.

In 1893 the New Gallery exposed for the first time four panels by Masaccio, later attributed to the Pisa Polyptych (now in Staatliche Museen, Berlin).

     Carr continued as co-director until 1908. The Arts and Crafts Exhibition of 1910 was the last to be held at the New Gallery.

 

1888

Burne-Jones.

 

 

 

 

 

 

 

 

 

 

 

 

The Rock of Doom.   

 

 

 

 

 

 

 

 

 

 

 

                                                               The                                                  Tower of Brass.

 

 

 

 

The Depths of the Sea.

 

 

 

 

 

 

 

 

 

 

 

 

 

1892

 

A REVERY

Albert Moore

The New Gallery was the setting for a major Burne-Jones retrospective in 1892–93 and a memorial exhibition of his works in 1898.

 

Marie Spartali Stillman  exhibited at the Dudley Gallery, then at the Grosvenor Gallery and its successor, the New Gallery. 

 

 

Серия сообщений "ПРЕРАФАЭЛИТЫ":
Часть 1 - ПРЕРАФАЭЛИТЫ
Часть 2 - СОВМЕСТНАЯ ДЕЯТЕЛЬНОСТЬ ЧЛЕНОВ БРАТСТВА
...
Часть 12 - СИМВОЛЫ В ЖИВОПИСИ ПРЕРАФАЭЛИТОВ
Часть 13 - ЖИВОПИСНАЯ ТЕХНИКА ПРЕРАФАЭЛИТОВ
Часть 14 - NEW GALLERY
Часть 15 - Dudley Museum and Art Gallery
Часть 16 - Charles Allston Collins
...
Часть 20 - King René's Honeymoon Cabinet
Часть 21 - СПРАВКИ ПО ПРЕРАФАЭЛИТАМ (ЛИЧНОСТИ)
Часть 22 - ССЫЛКИ, ЛИТЕРАТУРА, САЙТЫ

     Второе поколение прерафаэлитов выставлялось в London's Grossvenor Galary and New Gallery и представляло доминирующую тенденцию наряду с нео-классицизмом и эстетизмом.

 

Grosvenor Gallery

          С 1877 года новой "витриной" прерафаэлитов стала Grosvenor Gallery, главным образом там выставлялся Бёрн-Джонс, но приглашались и другие: Милле, Холман Хант, Мэдокс Браун, Хьюз, Мари Спартали, Спенсер Стэнхоп, Эвелин де Морган и Хелен Allingham.

         Interior of the Grosvenor Gallery - West Gallery, published in The Illustrated London News, 5 May 1877

     Галерея Гросвенор была основана в 1877 году сэром Коутсом Линдсеем (Sir Coutts Lindsay) и его женой Бланш. Первым директором стал  J. Comyns Carr and Charles Hallé. Галерея сыграла критическую роль в развитии Эстетического Движения, став домом тем художникам, чей подход к живописи консервативная Королевская академия не приветствовала, например Edward Burne-Jones and Walter Crane и других членов Братства Прерафаэлитов. Линдсэй и его жена были знатного происхождения и имели хорошие связи, оба они были художниками любителями. Бланш происходила из семьи Ротшильдов и это её деньги сделали возможным подобное предприятие. В галерее выставлялись полотна художников не входивших в британский мэйнстрим.

 На открытие галереи Бёрн-Джонс выставил восемь своих работ, включавших Дни творения, Зеркало Венеры и Обольщение Мерлина.

        В 1877 Джон Рескин посетил галерею, чтобы увидеть работы Берн-Джонса.  Картины Джеймса Макнила Уистлера также демонстрировалась в это время в галерее.  Взбешённый Рескин жестоко раскритиковал работы Уистлера в своём ревю, что привело к известному делу о клевете, возбуждённому художником против критика. Уистлер выиграл дело и получил фартинг в качестве компенсации  убытков. Иск сделал галерею известной как штаб Эстетического движения. Основанная как альтернативное   Королевской Академии выставочное пространство, галерея на Бонд-Стрит стала мгновенно восприниматься как прибежище художников авангарда  , особенно связанных с понятием "искусства ради искусства".

  Линдси заявил:" Есть несколько людей в Лондоне, идеи которых и метод воплощения их странны для нас; но поскольку я не считаю странность и даже эксцентричность метода достаточным оправданием для игнорирования работ известных в остальных отношениях художников, я построил галерею Grosvenor, чтобы их картины... могли быть справедливо и честно оценены". Художник-любитель  в росписях и  дизайне керамики - Линдси был сторонником декоративной живописи.

    The Grosvenor Gallery was an art gallery in London founded in 1877 by Sir Coutts Lindsay and his wife Blanche. Its first directors were J. Comyns Carr and Charles Hallé. The gallery proved crucial to the Aesthetic Movement because it provided a home for those artists whose approaches the more classical and conservative Royal Academy did not welcome, such as Edward Burne-Jones and Walter Crane.  Lindsay and his wife were well-born and well-connected, and both were amateur artists. Blanche was born a Rothschild, and it was her money which made the whole enterprise possible. The Grosvenor displayed work by artists from outside the British mainstream, including Edward Burne-Jones, Walter Crane and other members of the Pre-Raphaelite Brotherhood. In 1877 John Ruskin visited the gallery to see work by Burne-Jones. An exhibition of paintings by James McNeill Whistler was also on display. Ruskin's savage review of Whistler's work led to a famous libel case, brought by the artist against the critic. Whistler won a farthing in damages. The case made the gallery famous as the home of the Aesthetic movement. Founded as an alternative exhibition space to the Royal Academy, the Bond street venue was istantly perceived as a haven foe avant-garde artists, particularly those associated with the notion of art for art's sake.Lindsay stated:"There are several men in London whose ideas and method of embodying them are strange to us; but as I do not think strangeness, ore even eccentricity of method, sufficient excuse for ignoring  the woks of men otherwise notable, I have built the Grosvenor Gallery that their pictures... may be fairly and honestly judged".An amateur artist in mural and ceramic design, Lindsay was a particular supporter of decorative painting.

 

ЧТО  ЭКСПОНИРОВАЛОСЬ  В ГАЛЕРЕЕ.

 

1877

На открытие галереи Бёрн-Джонс выставил восемь своих работ, включавших Дни творения, Зеркало Венеры и Обольщение Мерлина.

       

 

 

 

   Альберт Мур на открытии галереи выставил Конец истории, Сапфиры и Бархатцы.

Moor contributed The end of story, Sapphires and Marigolds to the inagural ehxibition of the Grosvenor Gallery.

 

 

  The End of Stoty, Sapphires, Marigolds.

 

 

             Affronted byThe Falling Rocket, John Ruskin accused Whistler of “flinging a pot of paint in the public's face” in the Fors Clavigera. As a leading art critic of theVictorian era, Ruskin’s harsh critique of The Falling Rocket caused an uproar among owners of other Whistler works. Rapidly, it became shameful to have a Whistler piece, pushing the artist into greater financial difficulties. With his pride, finances, and the significance of his Nocturne at stake, Whistler sued Ruskin for libel in defence. In court, he asked the jury to not view it as a traditional painting, but instead as an artistic arrangement.^[5] In his explanation, he insisted that the painting was a representation of the fireworks from the Cremorne Gardens. During the trial, Sir John Holker asked, “Not a view of the Cremorne?” to which Whistler was quoted as saying, “If it were a view of Cremorne, it would certainly bring about nothing but disappointment on the part of the beholders.”^[6] However, his case was not helped when The Falling Rocket was accidentally presented to trial upside down.^[7] His explanation of the composition proved fruitless before the judge. The Ruskin vs. Whistler Trial, which took place on November 25 and 26, 1878, was disastrous for Whistler. While he did not lose, he only won a farthing.^[8] After all the court costs, he had no choice but to declare bankruptcy. Whistler was forced to pawn, sell, and mortgage everything he could get his hands on.^[9] Whistler included a transcript of the case in his 1890 book The Gentle Art of Making Enemies.

   Оскорблённый видом The Falling Rocket Раскин обвинил Уистлера в том, что тот "швырнул горшок красок в лицо публике".Суровое  осуждение ведущего критика Викторианской эпохи вызвало скандал среди владельцев работ Уистлера. Очень скоро стало постыдным иметь его работы,что привело художника к финансовым трудностям. Под угрозой также оказалась гордость Уистлера и значение его Ноктюрна. Защищаясь он обратился в суд,обвиняя Раскина в клевете.

1878

      На второй выставке Бёрн-Джонс представил Laus Veneris (восхваление Венеры) и как основной опус Le Chant d' Amour.  

In 1878 Moor's Birds and Burne-Jone's Laus Veneris were hanging in close proximity at the Gallery.

  BIRDS    

LAUS VENERIS

 

1879

  TOPAZ      

1880

Jasmine

1882

 

The Tree of Forgiveness, by Burne-Jones

  According to Burne-Jones' own list of works, he worked on 'The Tree of Foregiveness' in 1881 and completed it in 1882. The face of Phyllis was most probably modelled on Maria Zambaco, a member of the Ionides family, with whom Burne-Jones had an affair in the late 1860s. He exhibited it at the Grosvenor Gallery in that year where it received mixed reviews. Some critics found the approach to the figures strange, The Times for example noted that: ‘The picture is a strange one, its effect repellent in the extreme…the anatomy is not only shown, but insisted on – flung violently in the spectator’s face, so that for some time nothing can be seen but muscles of every description, all of them twisting and straining...’.In contrast all the critics agreed that the details of the painting such as the almond blossom and flowers, were painted with great accuracy and appreciation of colour. Henry James, the American writer, wrote in support of the picture pointing out that the subject was difficult and impossible to make natural. The artist had to content himself with making the work look ‘lovely’. The art dealers Thomas Agnew & Sons purchased the painting from the Grosvenor Gallery exhibition and sold it to the Liverpool businessman William Imrie for £2,100 in December 1882.

 

Cupid's Hunting Fields

Sir Edward Coley Burne-Jones

 

1884    

 

1890  The third Grosvenor pastel exhibition.

A bathing place

 

Marie Spartali Stillman  exhibited at the Dudley Gallery, then at the Grosvenor Gallery and its successor, the New Gallery

 

 

      Когда в 1890-м галерея закрылась, её место заняла New Gallery, где не только демонстрировались новые произведения, но и предоставлялись вниманию публики ранние произведения прерафаэлитов.

 

 

 

 

 

 

 

 

 

 

 

Серия сообщений "ПРЕРАФАЭЛИТЫ":
Часть 1 - ПРЕРАФАЭЛИТЫ
Часть 2 - СОВМЕСТНАЯ ДЕЯТЕЛЬНОСТЬ ЧЛЕНОВ БРАТСТВА
...
Часть 7 - ЖИВОПИСЬ ПРЕРАФАЭЛИТОВ
Часть 8 - ВЫСТАВКИ
Часть 9 - ВЫСТАВКИ ПРОДОЛЖЕНИЕ
Часть 10 - MORRIS, Marshall, Falkner & Co
Часть 11 - ПРЕ
...
Часть 20 - King René's Honeymoon Cabinet
Часть 21 - СПРАВКИ ПО ПРЕРАФАЭЛИТАМ (ЛИЧНОСТИ)
Часть 22 - ССЫЛКИ, ЛИТЕРАТУРА, САЙТЫ