National Gallery Reveal Fresh Treasures, But Women's Representation Lingers

The Sainsbury Wing has reopened after two years – which felt much longer due to the constant steps, lines, and narrow side entrances. Refreshed and redesigned, the wing is now back in business. National Gallery’s The much-criticised 1990s car-park style expansion now serves as the primary entrance – large, open, and brightly lit, due to the wise decision to remove both the dark glass panels and certain support pillars. These pillars were either downsized or completely eliminated.

With fewer stairs, increased elevator access, and enhanced amenities (notably including the stylish Bar Giorgio, strategically placed right at the new entry point), this place will surely become more approachable and appealing to a much broader audience. However, the real game-changer is the recuration featuring over 1,000 artworks – an increase from barely 900 previously – which accounts for roughly 40% of the entire collection.

Nevertheless, unless you're a regular visitor to the National Gallery, you'll observe more subtle enhancements rather than drastic alterations. Even if this location feels like a second home to you, you won’t encounter any outlandish "reinterpretations." Yet, the unconventional choice to showcase an early 16th-century triptych with its shutters closed—showing only its black-and-white exterior panels—was generating mild uproar as recently as press day earlier this week.

However, even as it stays comfortably recognizable, the collection has undergone a fresh and thorough reconsideration, highlighting just how extraordinary this treasure truly is. Piero della Francescas ! all those Titians ! — encouraging visitors to revisit beloved artworks with new eyes.

Mud Sun A bespoke piece created by Richard Long using large amounts of Avon mud greets visitors at the top of the Sainsbury Wing staircase; however, upon arrival, one will find that the fundamental layout stays the same—turn left for medieval and early Renaissance artworks, then proceed eastward towards masterpieces by Degas, Monet, Van Gogh, among numerous other treasures from the 19th century onwards. ^th and 20 ^th centuries.

The expansive views revealed through the galleries serve as a reminder of just how extraordinary this journey truly is. Stretching from the Sainsbury Wing to the opposite end of the initial structure, the lengthy alignment provides an awe-inspiring glimpse over distances both vast and significant, connecting moments across eras and geography—a testament to Raphael’s masterpieces. Mond Crucifixion, c.1502-3,and Stubbs’s Whistlejacket, 1762.

Conversations such as these are a particularly effective element of the reinstallation, where the Sainsbury Wing highlights the religious intent behind many early works of Western art by accentuating the church-like qualities within the architectural design. The main " nave" serves as a striking focal point with its light-colored walls evoking stone structures, complemented by precise lighting to enhance the overall impression.

The imagined east-west axis provides another significant meeting point, this time with Jacopo di Cione’s work. San Pier Maggiore Altarpiece , circa 1370-1, with its pieces recently placed within an impressive frame crafted by the gallery’s framing team, now facing The Sacrifice of Saint Sebastian In 1475, created by the Pollaiuolo brothers, dating roughly a century afterward. In contrast, Segna di Bonaventura’s 14th-century painted crucifix is strategically placed high above, reminiscent of a chancel arch.

Smaller galleries were painted a deep grey and illuminated to create an atmosphere of intimacy, suitable for displaying smaller-scale pieces. Included among these was a selection of portable altarpieces such as those created by Simon Marmion. Pieces of Shutters from the St Bertin Altarpiece Around 1459, these pieces have been placed inside glass display cases. These cases feature cleverly designed lighting that enhances the understanding of their colors and intricate details without affecting the general illumination. By being removed from the walls, the winged altarpieces can now be appreciated as multi-faceted artworks, with painting visible on both sides.

There isn’t a simple solution to address the noticeable absence of female painters, but the curators have made the most of their resources by prominently showcasing recent acquisitions like those of Eva Gonzalès. The Full-Length Mirror , around 1869-70. Elisabeth Vigée Le Brun’s Self-Portrait with a Straw Hat In 1782, it was hung alongside the Rubens that inspired it, among the illustrious company of Titian and Rembrandt, engaging in a distant conversation with Tiepolo.

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Expanding areas for guests to move around and congregate near notable artworks, like Holbein’s The Ambassadors, 1533, has clearly been a priority – though a room of late Monets is rather a tight squeeze. It has, though, limited the scope for the sort of characterful, period hangs done at the National Portrait Gallery. Still, a number of themed rooms add extra interest, and in room 41, creative connections between the snow scenes of Monet, and umbrellas of Renoir, and Manet’s painting "The Execution of Maximilian" around 1867-1868, highlight the effect of the 19th century. ^th Industrial Revolution in blue pigments, on walls as dark as thunderclouds.

Seurat represents a logical, though perhaps unsurprising, conclusion to a space filled with Cézannes and Van Gogh’s cherished works. Sunflowers and Chair Are strategically positioned at opposite ends of the space, which emphasizes their iconic significance. Additional delightful dialogues occur between Constable and Turner, who stays near the Claudes he held in such high regard and admiration.

More will unfold with every visit. As always, it remains free, and all the better for being so.

'C C Land: The Wonder of Art' at the National Gallery is free to visit and will open on 10 May.