Reopened Sainsbury Wing at London's National Gallery: Enhanced Accessibility Aims to Attract a Broad Audience.
In recognition of its 200th anniversary, London's National Gallery has recently completed a transformative $113 million revamp of its Sainsbury Wing, a project that spanned three years and faced some criticism. Despite these setbacks, the gallery's director, Gabriele Finaldi, appeared pleased with the outcome, stating that the renovated wing is more inviting for those who may feel the gallery is not for them. Despite the controversy surrounding the design, the ground floor of the wing is now bathed in natural light, offering a fresh and uplifting atmosphere.
Over 3 million visitors walked through the National Gallery's doors last year, maintaining its position as one of the most popular museums globally. In an effort to increase accessibility and engagement with a younger audience, the gallery plans to utilize the revamp and bicentenary festivities to boost its appeal.
Upon meeting Finaldi in the wing's spacious, airy foyer, it was evident that the construction was concluded. The museum director, knighted this year, has overseen modernization projects previously, having opened the extension of Madrid's Prado Museum in 2007, followed by a research center the following year.
Finaldi acknowledged the significant sacrifice of closing one-third of the museum for three years during the renovation process. He voiced his excitement about the revitalized Sainsbury Wing's potential to resonate with the public and create a fresh, engaging experience for visitors.
One approach to achieving this is through acquiring new art. In a significant move for the bicentenary year, the gallery purchased a mysterious painting titled The Virgin and Child with Saints Louis and Margaret and Two Angels from an anonymous artist for $20 million. The work, dated around 1500-1510, showcases remarkable technical skill and is noteworthy for its scale, quality, and well-preserved state. The composition, now the first piece visitors encounter upon entering the second-floor gallery, has been described by Finaldi as "one of the most significant acquisitions" of the year.
The Dutch Old Master is well-represented in the museum, with Jan Gossaert's impressive Adoration of the Kings (1510-15) distinctly displayed just two paintings away. Finaldi proceeded to guide me through the central galleries, showcasing religious works and large-scale altarpieces that evoke the feel of Florentine basilicas. The arrangement offers visitors a fascinating glimpse into how altarpieces were displayed during the 14th and 15th centuries in Italy.
Those concerned about the permanence of certain cherished works will be relieved to know that Leonardo da Vinci's Virgin of the Rocks, Piero della Francesca's Baptism of Christ, and other beloved pieces remain on display. The reinstalled Battle of San Romano by Paolo Uccello is a personal favorite of Finaldi.
While there is potential for rehangs to generate controversy, as shown by the Tate Britain's 2020 rehang that faced criticism for prioritizing politics over art, the National Gallery's rehang does not seem to push the same boundaries. Instead, the works have become more prominent within the gallery, providing a fresh perspective without significantly altering their arrangement or meaning.
Finaldi expressed concern for regional museums across the UK, which have been adversely affected by budget cuts in recent years. In particular, he highlighted the challenges faced by civic museums run by corporations due to reduced Arts Council funding. He stressed that the National Gallery, though well-supported, must carry a growing share of the burden of raising funding, either through its commercial activities or philanthropy.
Finally, when asked about the impact of Brexit on the gallery, Finaldi mentioned the increased difficulty in recruiting talented staff from abroad. He also acknowledged concerns about London potentially losing its status as a cultural powerhouse alongside New York, Paris, and other art capitals. However, he emphasized that the city still offers an unparalleled cultural experience and boasts an abundance of knowledge and expertise.
In conclusion, the renovation of the Sainsbury Wing and the acquisition of The Virgin and Child with Saints Louis and Margaret and Two Angels have marked significant milestones in the National Gallery's bicentennial celebrations. The new works and revamped layout offer visitors a unique opportunity to engage with the gallery's collection and learn more about Northern Renaissance art.
- The revamped Sainsbury Wing of London's National Gallery, following a $113 million overhaul, now provides a more inviting atmosphere for visitors, particularly the younger audience the gallery aims to attract.
- In a bid to boost engagement with a younger audience, the National Gallery plans to leverage the bicentenary festivities and the revamped Sainsbury Wing to increase accessibility.
- Knighted this year, museum director Gabriele Finaldi has demonstrated a knack for modernizing museums, as evident in the Sainsbury Wing's transformation and his previous work in Madrid's Prado Museum extension and research center.
- Finaldi has expressed his excitement about the newly acquired painting, The Virgin and Child with Saints Louis and Margaret and Two Angels, as one of the most significant acquisitions of the year, which is now the first piece visitors encounter upon entering the second-floor gallery.
- Visitors can explore the central galleries of the National Gallery, where religious works like Jan Gossaert's Adoration of the Kings and large-scale altarpieces evoke the feel of Florentine basilicas, providing a fascinating glimpse into the 14th and 15th-century Italian display arrangements.
