National Gallery's 200th Birthday Rehang: A Spectacular Treat for Art Lovers!

The National Gallery's gift to the nation for its bicentenary It includes the reopening of its Sainsbury wing and a fresh exhibition of its collection. What a splendid birthday present this is.

Approximately a thousand images are showcased here, and their reinterpretation is quite striking. This experience encourages viewers to examine well-known pictures from a fresh perspective and rediscover those they might have overlooked before as though encountering them anew. As I wandered through with guidance, my response mirrored that of Mole in "The Wind in the Willow" when opening Ratty’s picnic basket: Oh my, oh my!

Upon entering the Sainsbury Wing, what immediately catches your eye is the vast expanse of space. Above the atrium, which formerly housed a restaurant, glass panels now create transparency, enhancing both illumination and openness. This area feels expansive when unoccupied yet will typically accommodate groups such as students and visitors who should experience less congestion here than before. Rest assured, essential amenities like shopping areas and dining options remain intact. At the entryway, there’s a chic café serving aromatic beverages alongside a store offering creative playthings for kids and stylish tote bags featuring artworks, including Titian’s "Bacchus and Ariadne." Upstairs, diners can enjoy gourmet pastas at Locatelli's restaurant and browse through another boutique stocked with art literature and distinctive gifts.

As you ascend the staircase, the initial sight that greets you is a massive grey sphere mounted on the wall—a piece titled "Mud Sun" by Richard Long. Peculiar as it may seem. However, upon entering the collection, marvels abound. Your inaugural meeting will be with Leonardo da Vinci’s “Madonna of the Rocks,” alongside it lies the elegant drapery of a stunning triptych. A short distance away stands the Wilton Diptych, depicting King Richard II presenting himself to the Virgin Mary, which appears perfectly fitting within this setting.

This leads us to the most remarkable aspect of the reinstallation: the concept of devotional space. Much of the art from the Renaissance and before had religious themes, and there’s nothing more sorrowful than witnessing paintings meant for prayer being transformed into highbrow artistic pieces, separated from their purpose.

Here lies the brilliant concept of situating the artworks designed for personal devotion in more confined, dimly lit areas akin to side chapels, whereas the expansive central area connecting these spaces mirrors the nave of a church linking various altar pieces together. These large basilica-like chambers house creations meant for ecclesiastical settings and communal viewing. Suspended above is an imposing crucifix attributed to Segna di Bonaventura, echoing how such crosses hung during medieval times; this evokes images of a rood screen. At the far end stands the San Piero Maggiore Altarpiece, exhibited much as it was originally framed within a reconstructed setting. Just ahead of this masterpiece sits a fragment from yet another altarpiece’s pedestal. From afar, visitors might feel they're actually inside a cathedral itself.

This changes the backdrop for the images, situating them in an environment that echoes their original purpose. Centuries separate the altar paintings at each extreme...and within this span, you can observe the progression of the Renaissance.

The assembly of the San Piero Maggiore altarpiece allows one to appreciate how all its components harmonise. Staff from the National Gallery had the opportunity to assist the framemakers during the gilding process—a fortunate occurrence for them. This underscores the impressive capabilities possessed by the gallery. Displaying artworks within their authentic contexts (though these may be contemporary reconstructions) can bring them vividly to life—but it’s somewhat amusing how infrequently this practice occurs. An additional impactful detail involves positioning altarpieces atop pediments, thereby replicating their original viewing experience.

Away from the main nave, which might be stretching the term, there are spaces dedicated to individual artists, regional works, or thematic displays; the collection of Cranach pieces is particularly stunning – as are the Piero della Francesca paintings. One entire room is mostly filled with golden-hued artworks that create a truly divine atmosphere.

However, the designers kept the long term vision in mind; as you look across the gallery, you can trace a path from the Renaissance crucifix in the Sainsbury Wing, passing through various chambers, all the way to the impressive Stubbs horse located at the opposite end. This creates a sense of horizontal depth. Similarly, they employed this technique to draw attention to the Bronzino Venus and Cupid painting—when viewed from afar, Venus’s radiant pale skin draws your gaze irresistibly toward her.

Various sections of the gallery have been rearranged. The Titians housed here form an impressive ensemble—displayed beautifully against a deep emerald setting, which serves as an excellent contrast. Adjacent to each other, you'll find the trio of artworks created specifically for the Spanish king’s chamber—a truly remarkable arrangement on the wall. Across from these pieces, you can observe his first Madonnas alongside his final ones… encapsulating an entire career within this single area.

The sole minor letdown in this series of marvels is the last chamber, which houses impressive Monets (one wouldn’t typically associate the National Gallery with being a haven for Monets) such as a captivating iris painting; however, these artworks are somewhat undermined by dull whitewashed walls. Following the inventive displays found throughout, this feels rather underwhelming.

Nevertheless, the National Gallery deserves praise as it celebrates its bicentennial. It has introduced impressive new additions to its collection and has showcased its existing pieces with renewed vigor, highlighting just how exceptional this assembly of art truly is. London is indeed fortunate to possess such an institution. Visit and be reminded of our good fortune.

https://www.nationalgallery.org.uk/

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