ÂŁ2 when sold
A new Norman Conquest? John Sell Cotman in Normandy
A new Norman Conquest? John Sell Cotman in Normandy
Exhibition curator Timothy Wilcox reflects on the preeminent English watercolourist and draughtsman of architecture – and on the impact of Normandy on his work
Cotman in Normandy 10 October 2012 – 13 January 2013
aurence Binyon, poet, curator and author of the first book on John Sell Cotman, wrote that the artist was ‘unrivalled as a draughtsman of architecture’. He was echoing an opinion expressed in Cotman’s own lifetime, by the critic of Ackermann’s Repository, who wrote in 1826: ‘He is the first architectural draughtsman in England’, adding ‘I say not this myself but have high authority for my assertion.’ Since the reawakening of interest in Cotman around the turn of the 20th century, brought about largely by the publication of Binyon’s book in 1897 and his acquisition of hundreds of Cotman watercolours and drawings for the British Museum in 1902, it is for his landscapes that Cotman has been most admired. His uncluttered sense of In View Autumn 2012 3
design, supported by a strong, clear handling of colour, made him the pre-eminent English watercolourist, revered by collectors and connoisseurs and emulated by amateurs who bought ‘Cotman’ paper and ‘Cotman’ watercolour boxes to aid their own efforts. Cotman’s drawings, and his hundreds of etchings, suffered by comparison. Prints were – and remain – one of the best ways of distributing an artist’s work and Cotman was no exception in seeing them as the foundation of his public reputation. Having devoted five years to scouring his home county of Norfolk for suitable material, what better opportunity could there be, with the reopening of Europe after the defeat of Napoleon in 1815, than for Cotman to continue his architectural explorations in France? Fortunately, Cotman’s employer,
the Great Yarmouth banker and all-round amateur scholar Dawson Turner, had good connections there, men whose passion for their own history had only been sharpened by the many upheavals – not to mention countless demolitions of historic buildings – of the revolutionary period. Despite the fact – or was it because of it? – that in recent years Gothic architecture had been a topic of intense rivalry between the English and the French, with both claiming to be its originator, Cotman wanted to concentrate on the earlier, round-arched Norman style; this was familiar to him from Norwich Cathedral, and from Durham, which he had drawn in 1805, and there was a definite desire to stress what the two nations might have in common, after more than 20 years of armed conflict.
‘Normandy, its places and its people, exercised a powerful hold on Cotman’s imagination’
Michael Marks Charitable Trust
Cotman in Normandy Supporters’ Group
4 In View Autumn 2012
Expeditions to France
Front and back cover: John Sell Cotman, Dieppe Harbour, 1823, watercolour, 29.6 × 54.2cm,© Victoria & Albert Museum, London. Page 2: John Sell Cotman, Mont St Michel, 1818, watercolour, 235 × 426 cm, By permission of the Keepers and Governors of Harrow School. John Sell Cotman, St George de Bocherville, National Galleries of Scotland. Page 3: John Sell Cotman, Alençon, 1823, watercolour, 432 × 584 mm, © Birmingham Museum and Art Gallery. Page 4: John Sell Cotman, A Ruined House, c. 1808, watercolour over graphite, on paper, 43.2 × 58.4cm © Ashmolean Museum, Oxford. Page 5: John Sell Cotman, South Porch of Rouen Cathedral, graphite and sepia wash, 43 × 30.5cm, © ING Commercial Banking UK. John Sell Cotman, View of Granville, c. 1820-22, Graphite and watercolour on paper, 19.9 × 44.0cm, Sir Robert Clermont Witt bequest, 1952, © The Samuel Courtauld Trust, The Courtauld Gallery, London.
Thus it was that Cotman set out for France in the summer of 1817. His journey lasted seven weeks and took him from Dieppe, in the far north-east of Normandy, to Mont St Michel in the west. The following year he returned for an even longer trip of 11 weeks. After the eviction of the monks, Mont St Michel was turned into a prison; visitors to the area were treated with suspicion, as Cotman shows in his spectacular watercolour of the site. The great Abbaye aux Dames in Caen, founded by William the Conqueror’s wife, Queen Matilda, had been carved up, part given over to an army store, the rest to a workhouse. Fortunately for Cotman, its superintendant turned out to be a local aristocrat with an interest in antiquities, who took Cotman on a tour of some of the surrounding churches. Cotman’s skill and efficiency in sketching all the buildings he came across were greatly admired by the French. Charles de Gerville, an émigré who had spent several years in England before returning to his family estates south of Cherbourg, accompanied Cotman on a fortnight’s tour of the region, and tempted him back with promises of many more discoveries for a final excursion in 1820. The simple, bold forms of many of these great Norman churches evidently appealed to Cotman. Yet the 97 etchings he made for the two volumes of The Architectural Antiquities of Normandy seem to have been too stark, too primitive, in a way, for most people’s taste. Despite all his efforts, the publication was not a success. Nothing daunted, he took up his sketches as the basis for a host of watercolour paintings. The best of these, such as Alençon,
unite Cotman’s unmistakeable clarity of conception with reminiscences of the passing delights of French street life. Presented in the exhibition alongside views of the same places by his contemporaries, J M W Turner, Bonington, Prout and many others, Cotman appears anything but disenchanted. Normandy, its places and its people continued to exercise a powerful hold on his imagination. Cotman in Normandy promises to be much more than a simple exhibition of English watercolours. It invites us to reconsider the inspiration Cotman gained from the complexities and uncertainties of both past and present, alongside his sheer delight in the woods, waterfalls, and beaches which provide such a vivid memorial to his tours. At a time when Britain’s place in Europe is again the subject of open debate, the experiences of one intrepid romantic traveller command our attention in more ways than one.
Curator’s Lecture Cotman in Normandy
Thursday 11 October 12.30 – 1.30pm/Linbury Room Tickets: £10, £8 Friends Book tickets online at dulwichpicturegallery.org.uk
Exploring Cotman’s Normandy: a study day
Saturday 12 January 10 for 10.30am–5pm/Linbury Room See Special Events (page 17) for details
In View Autumn 2012 5
The painting before restoration.
Venus and Adonis: unveiled Dr Xavier Bray, chief curator, Dulwich Picture Gallery
ne of the joys of being a curator is the discovery that, post-cleaning, a painting is far better than it might have previously been considered. Such was the case with Dulwich’s Venus and Adonis. When it was sent to be cleaned in 2010, it was thought to be a late 17th century copy, with some differences in composition, of Titian’s celebrated Venus and Adonis now at the Prado. Substantial cleaning and restoration revealed that it was in fact a very interesting 16th century version, most probably painted in Titian’s studio while the master was still alive (see images of before and after). The prime Prado version of Venus and Adonis was one of six mythological paintings made by Titian between 1551 and 1562 for King Philip II of Spain. The subjects of all six were unusually selected by Titian himself. The story of Venus and Adonis derives from the Roman poet Ovid’s epic poem Metamorphoses in which the goddess Venus falls in love with the mortal Adonis. Venus 6 In View Autumn 2012
implores Adonis not to join the hunt for fear he will meet his death; the hunter is determined, however, and pulls away from her, spear in hand, towards his eager hounds. In Ovid’s text, Venus takes off from this final meeting in her swan-driven chariot, visible in the upper right of the Dulwich painting. Ovid tells us that she turned back upon hearing Adonis’s death moans, her beloved having being fatally wounded by a boar during the hunt. Dynamic Poses
Dulwich’s Venus and Adonis is identical to the Prado original save for the addition of Adonis’s Tyrolean hunting hat. The composition’s signature element is the dynamic poses of the central figures. Precariously balanced, Venus pivots her body to restrain Adonis and in doing so exposes her naked back to the viewer. In a letter to King Philip, Titian described this dorsal view as a device intended to complement the www.dulwichpicturegallery.org.uk
The painting after restoration.
In View Autumn 2012 7
frontal view of Danaë (also in the Prado), a painting he had sent earlier which shows a female nude lying on a bed about to be ravished by Jupiter in the form of a shower of gold. The room in which the two paintings were to hang, described by Titian as a camerino, would, he explained, be more pleasing to the King’s eye as a result of this variety of viewpoints of the naked female form. Dulwich’s version of Venus and Adonis was purchased as a full autograph Titian by Noel Desenfans in the 1790s, most likely as part of the collection he was amassing for the King of Poland. Although Desenfans put the painting up for sale in 1802, it remained unsold and was insured for £500 in 1804, the equivalent of £400,000 today. The painting ranked highly among Desenfans’s most valuable works, hanging prominently on the staircase of the home in Marylebone that he shared with his business partner Sir Francis Bourgeois. They provided the painting with a highly ornate frame, an important signifier of the esteem in which it was once held. Most likely commissioned by Bourgeois to show off their prized Titian, it is tailored to match the painting’s theme - crowning the top edge are the remnants of a pair of billing doves that mimic the lovers in the painting. Although the frame has miraculously survived, it is in a terrible state of conservation and the gallery will be seeking funds to restore it to its original splendour.
to restore the painting in 2009. Two and a half years of painstaking work by restorer Sophie Plender has brought back the delicate luminosity of Venus’s flesh tones and the exuberance of Adonis’s hounds as well as some high quality features, such as Adonis’s left arm, which might suggest the input of Titian himself. To celebrate its return to the gallery, the curatorial department has organised a focused display at the end of the enfilade in gallery 1 that will run until 13 January 2013. The painting will be joined by two other works from the permanent collection: the gallery’s 17th century copy of Titian’s Rape of Europa, which was part of the original poesie series Titian painted for Philip II, and Rubens’s oil sketch of Venus Mourning the Death of Adonis to illustrate the tragic conclusion to the story of the two lovers. This celebration of Titian’s poesie painting coincides with the National Gallery’s Metamorphosis: Titian 2012 exhibition in which contemporary artists of all disciples have been invited to respond to three of Titian’s poesies in the National Gallery, Diana and Actaeon, Diana Callisto and The Death of Actaeon.
Previous page: DPG 209 Workshop of Titian, Venus and Adonis, second half of the 16th century, oil on canvas. By permission of the Trustees of Dulwich Picture Gallery, London.
Venus and Adonis: unveiled
Tuesday 2 October 7 for 7.30pm/Linbury Room See In the Gallery Series (page 17) for details
A watercolour of the gallery interior in the 1860s with the painting hanging in gallery 2.
‘None More Worthy’
When Dulwich Picture Gallery opened to the public in 1817, the attribution to Titian remained unchallenged. Antonio Canova, the great neo-classical sculptor, on his visit to Dulwich told Mr. Baugh Allen, master of Dulwich College, that ‘he had seen many pictures of the same subject by Titian but none more worthy of the master.’ This was not going to last however. When the National Gallery acquired yet another version in 1824 (today also thought to be workshop), it was unanimously considered superior and as a result the Dulwich version was demoted as a late 17th century copy. Despite remaining on view throughout the 19th century, hanging in gallery 2 above Van Dyck’s Samson and Delilah, it was eventually removed and relegated to storage. The painting found deep in storage three years ago was covered with layers of yellowed varnish and extensive discoloured retouchings. The canvas needed to be relined and areas of paint were flaking. Its ‘Adoption’ by Mrs Sheila Boyle, who wished to commemorate the life of her late husband, Anthony Boyle, provided the necessary funds 8 In View Autumn 2012
This autumn Clive Head will display his most recent work Terminus Place, a painting inspired by Nicolas Poussin’s The Triumph of David. Curatorial intern Bella Ritchie talks to him about his collaboration with Dulwich Picture Gallery
Q: As a contemporary painter, what do you like about Dulwich?
I like the size of the collection; I think it’s very intimate and you can really get to know a small selection of paintings, as it’s quiet and you can just sit and contemplate. I like the scale of it really. Q: What is it about Poussin and in particular The Triumph of David that fascinates you?
I think for me Poussin defines western painting and what art is truly about; he is a huge resource in terms of pictorial invention. He is very much a painter who is constantly defining space and form, finding new ways of creating worlds that are always unique. The Triumph of David is a particularly good painting; it is probably one of the best in London. It was a natural painting for me to gravitate towards, but really my response to Poussin is as much to do with the other paintings at Dulwich as this one. Q: Why did you chose to portray Victoria station in Terminus Place?
Clive Head in Conversation with Nicolas Poussin 10 October 2012 – 13 January 2013
For the last 20 years I have been painting urban landscapes and I tended to jump from one subject to another, painting different cities: Zurich, Moscow, New York and other places. Gradually, however, I focus more and more on London and find particular places that I keep going back to. Victoria station has become a favourite location, which I have been painting now
for the last five years and I will probably continue to do so. I’m not a realist painter, contrary to common perception, I don’t paint the world in front of me; my paintings are inventions. They are based on an experience of a place; you can’t stand in one spot and see the view that I painted because it doesn’t really exist. So that’s why I keep going back to the same place, because the more I know the more it helps me to be increasingly inventive by moving things around, changing angles, spaces and so on. I look for something that is visually very rich with a lot going on. Victoria is a very busy place; it typifies the chaos and business of the city. I am trying to resolve the chaos of the urban environment. I like taking a complex narrative, such as an experience in Victoria station, and finding a solution by creating a calmness, order and a kind of organisation which is completely the opposite to its reality in our world. Q: Your paintings depict urban landscapes in intense detail that to many people seem to recreate a similar effect to a photograph. Could you explain how you achieve this? Is photography part of your process?
There is a lot of naturalism in my work; if I paint a figure I include all the details you would expect to be there, but I am not illustrating our world and giving it back to us in forensic detail. However, I do use the camera to collect information from the In View Autumn 2012 9
urban landscape. The picture that will be at Dulwich is based on walking through the underground and beginning to go up a flight of stairs at Victoria station. I use an old fashioned medium format camera with print film; I point the camera and everybody, everything that happens, enables me to collect information. Before taking photographs I make lots of little drawings and sketches as well. The initial construction of the painting is drawing and I always draw on tracing paper, which is very resilient if you keep rubbing it out. Although I make a tiny drawing at the beginning that drawing has probably gone through 30-40 different stages before the final version of the painting. The small drawing will give me an idea of the format; for the Dulwich painting it’s approximately a double small square letterbox shape. Then I start drawing again on a canvas and then it’s the big draw. Once the drawing is established I try to get it fixed using a varnish. Then I start painting, often working up quite small areas to get a colour and tonal range starting from the centre and working out to the edges. Q: What do you hope to gain by showing Terminus Place in the Poussin room at Dulwich? Are you nervous about attempting a conversation with the past?
Yes, I think it is the hardest thing to do. But the picture will either hold its own or it won’t, there is nothing I can do about it now! For me
10 In View Autumn 2012
the whole point of doing these projects is to grow as an artist. I hope the public will get a little insight into what I’m doing, which perhaps will lead them to reflect on Poussin in a slightly different sort of way. Q: How are you hoping viewers of your work at Dulwich Picture Gallery will react?
I think there will be a degree of surprise that there will be a large painting of London in an apparent world of mythical subject matter and landscape, in the arcadia which Poussin represents. If the paintings work at all, it will be by people acknowledging that they wouldn’t want to be in the actual place I have chosen to paint but they do want to be in the space I am offering them in the painting, which is very different from the Victoria station with which we are all familiar. If it develops a dialogue then that will be a good thing, but I think people going to look speaks volumes, despite what they are going to say. Q: What is your favourite picture at Dulwich Picture Gallery and why?
Rembrandt’s little portrait, Girl at a Window, is such an ordinary subject but an extraordinary painting; if you go up to it close, you can see how those heavy brush strokes are made and it shouldn’t work but it does. Those are the sort of things that completely elude me because I can see how it’s made, but it becomes an extraordinary thing: magic.
‘I don’t paint the world in front of me; my paintings are inventions.’
Page 9: Clive Head, Terminus Place, 2012, oil on canvas, 145cm x 302cm. Image courtesy of the artist and Marlborough Fine Art.
In Conversation: Clive Head and Xavier Bray
Tuesday 4 December 7 for 7.30pm/Linbury Room See In the Gallery Series (page 17) for details Clive Head’s solo exhibition, From Victoria to Arcadia, is at Marlborough Fine Art from 14 November – 8 December
Clive Head drawing out Terminus Place.
Friends in focus Jenny’s View
Our events programme for the autumn adds a new lecture series, ‘In the Gallery’, which features the work of the curatorial department, drawing on our rich permanent collection; there are also more events for children and ﬁrm favourites such as Jazz in the Garden and Quiz Night. Tickets available online You can now buy tickets for these and all our events online. On trial since April, online ticketing has proved simple and successful so do try it. Go to the website www.dulwichpicturegallery.org, select your events and click on ‘Buy Online’ and ‘create an account’. You can still buy tickets by telephone (020 8299 8750) or at the Friends desk, but we hope you enjoy the added convenience of online ticketing. New Committee At the AGM a new committee was elected (see page 21). We said thank you to departing members who have played a major role in shaping the Friends:
Jill Alexander, chairman and secretary; David Parry, treasurer and membership secretary; Barbara Richardson, founder of the Tuesday evening lecture series; Barbara Kley, who built our reputation for good music; Stephen Henden, who established our IT capability. We also welcomed some new members to help us to further develop our events and other activities. Volunteers thanked – and needed A special reception to thank all our hard-working volunteers was hosted by Ian Dejardin, director, and Simon Freakley, chairman of the trustees, Dulwich Picture Gallery. If you are interested in helping with our lectures, updating the membership database or joining the finance team
please let me or another Friends committee member know. You will be most welcome. Previews and Extraordinary General Meeting With this mailing you will find invitations to the two Friends Private Views for the Cotman in Normandy exhibition; do let us know if you can join us. Also included is a notice about an Extraordinary General Meeting we are calling for October 22. We are proud of the financial support the Friends give to the gallery and wish to consult you on how we sustain that support in the future (see also page 22 for more information). Jenny Sweeney, chair Friends of Dulwich Picture Gallery
New Friends’ social networking links The Friends’ social networking links are: Twitter – follow the Friends @dulwichfriends Facebook – like the page at: http://www.facebook.com/DulwichFriends
Social networking and arts enthusiast A proﬁle on Friends committee member Tamara Tempera, who manages the new Facebook and Twitter links
Born into a family of musicians, Tamara comes from Rome where she studied copyright law and worked in classical music management for more than 15 years, collaborating with professional and amateur artists. She moved to London four years ago together with her partner Luca, who is a composer, and since then they have both enjoyed the capital’s artistic and musical heritage. After studying for an LLM in entertainment law at the University of Westminster, Tamara had the opportunity to enhance her career working as artist manager for one of London’s leading opera agencies. She is currently chair of London Composers Forum and director of T·ArT Productions, a company that she established with her partner to help contemporary classical composers create and develop new works for the theatre. Social networking has become a major
part of her daily routine, both in her private and professional life; she has managed websites, YouTube, Facebook and Twitter accounts for companies and individuals. She also launched a social media campaign for Cool Fusion, a large-scale multi-event music project for the London 2012 Cultural Olympiad, supported by the National Lottery through the Arts Council of England. Tamara’s passion for the fine arts started at high school – history of art was part of her curriculum – and then developed while studying for an MA in arts and heritage management in Rome. When she moved to Dulwich a few months ago, her first thought was to get more involved with the community and joining the Friends of Dulwich Picture Gallery seemed an obvious step. She looks forward to the new challenge and to using her experience to enhance the Friends’ profile on the social networks.
In View Autumn 2012 11
Tuesday evening lecture series A Painting Tour of Britain and Ireland This series looks at the art of some of the regions of Britain and Ireland. From the Scottish Colourists to Irish artists, from the Norwich School to Cornwall and Wales, these talks examine the distinct nature and development of art in these different areas, and also look at the many features they had in common and the influences they shared.
The Scottish Colourists 23 October ■ In the early 1900s the group of artists subsequently known as The Scottish Colourists - John Duncan Fergusson, Francis Cadell, Samuel Peploe and George Leslie Hunter – turned their attention to Paris. Influenced by the French Fauves and Post Impressionists, they combined strong, vibrant colours with the painterly traditions of Scottish art to produce innovative still life paintings, landscapes and portraits.
7 for 7.30pm/ Linbury Room Series of 5 lectures £45, £35 Friends Single lectures £10, £8 Friends Includes a glass of wine
Province in the Vanguard: the Norwich School 1803–34 13 November ■ The first provincial society to hold regular exhibitions, the Norwich Society of Artists was the grand forebear of all the local art clubs and societies that have proliferated and exhibited ever since. This lecture looks at the Norwich School’s most famous member, John Sell Cotman, and the atmospheric scenes of life and landscape he and his associates painted in Norfolk and beyond. Lecturer: Jessica Saraga
Down by the Sea: The Art of Cornwall
Lecturer: Rosalind Whyte
‘The People wanted Pictures’ – Irish Art 1890–1990 30 October ■ Irish literature of the late 19th and 20th century is world renowned, with writers such as W B Yeats, James Joyce and Samuel Beckett. However, Irish visual art is less well known and this lecture aims to redress the balance. Starting with the society portraits of William Orpen, we then consider how art reflected the rise and realisation of national identity and finally look at works by some modern Irish artists. Lecturer: Peter Scott
Clockwise from above: Jack Butler Yeats, Morning after Rain, 1923, Tate. Samuel John Peploe, Roses, c.1920, Glasgow Museums. John Sell Cotman, Durham Cathedral, 1806, © The Trustees of the British Museum. Sandra Blow, Vivace 1988, Tate. William Orpen, Augustus John, National Portrait Gallery.
Tickets available online: https://tickets. dulwichpicturegallery.org.uk, at the Friends desk or for credit/debit card bookings (£2 handling fee) tel 020 8299 8750 Mon-Fri 10am-4pm. If the answer phone is on then someone else is booking tickets; leave a message and we will call you back. You can also e-mail friendsticketing@ dulwichpicturegallery.org.uk. 12 In View Autumn 2012
rs speake r All the ively fo extens e r u e t t c a le dT itain an Tate Br ghout u o n, thr r e d o M and Britain y. tionall interna
20 November ■ Cornwall has long been a great attraction to artists with its mild climate and wonderful scenery. This talk will focus on work produced in Newlyn and St Ives from Stanhope Forbes and the Newlyn School with their paintings of life by the sea, through to the abstract art of Ben Nicholson and his contemporaries. It also examines the work of artists living in these popular towns today. Lecturer: Melanie Paice
The Welsh Johns 27 November ■ The Welsh-born artists Augustus and Gwen John were among the most talented of their generation. Both trained at the Slade in London but it was French art that most influenced them. Though his achievements and fame were greater during their lifetime, Augustus once remarked: ‘Fifty years after my death I’ll be known as Gwen John’s brother.’ Now those fifty years have passed the lecture will consider the accuracy of Augustus’s prophecy. Lecturer: Alan Read www.dulwichpicturegallery.org.uk
In Town lecture series A series of lectures about major exhibitions in other London galleries 7 for 7.30pm/Linbury Room £10, £8 Friends Includes a glass of wine
Shakespeare: staging the world British Museum exhibition Thursday 4 October ■ This exhibition is the result of a new collaboration between the British Museum and the Royal Shakespeare Company as part of the 2012 World Shakespeare Festival. Dr Dora Thornton, curator of Renaissance Europe at the British Museum and curator of the exhibition, explains how the show illuminates the way in which the world came to London in Shakespeare’s day. She will present its themes and some of the objects which articulate them – including pieces lent by Dulwich College – and will explain how the exhibition creates a dialogue between the actual lives of Shakespeare and his contemporaries and the worlds of his imagination. ■ The exhibition, supported by BP, runs until 25 November.
The Bourgeois and Wallace Bequests: Two collections, two countries, two centuries Wednesday 25 October ■ Director Dr Christoph Vogtherr will tell the story of the Wallace Collection, built up between Paris and London by the Marquesses of Hertford and Sir Richard Wallace. It was bequeathed to the nation in 1897 and has been open to the public in Hertford House since 1900. The Wallace Collection is one of the most important collections assembled in Europe during the 19th century. The Bourgeois Bequest at Dulwich represents an earlier, occasionally very different taste. A comparison between the two collections will highlight developments and continuity in British collecting.
Bronze Thursday 15 November ■ This major exhibition at the Royal Academy will feature more than 150 of the finest bronzes from Asia, Africa and Europe, and once again Graham Greenfield will be our guide. It will include important discoveries as well as archaeological excavations. Many of the pieces have never been seen in the UK before. With works spanning 5,000 years, no such cross-cultural exhibition on this scale has ever been attempted. Bronze offers a unique exploration of artistic practice, an understanding of the physical properties and distinctive qualities of the metal, and the rare opportunity to see the very best examples in one place. ■ The exhibition runs from 15 September – 9 December.
Pre-Raphaelites: Victorian AvantGarde Thursday 22 November ■ Rosalind Whyte will guide us through this exhibition which will establish the PreRaphaelite Brotherhood as an early example of the avant-garde: painters who self-consciously overturned orthodoxy and established a new benchmark for modern painting and design. It will include many famous Pre-Raphaelite works, and will also reintroduce some rarely seen masterpieces including Ford Madox Brown’s polemical Work, 1852–65. ■ The exhibition runs at Tate Britain from 12 September – 13 January 2013. Clockwise from left: Peter Paul Rubens, The Rainbow Landscape, Wallace Collection. Adapted from an engraving of Shakespeare by Martin Droeshout from the Third Folio, 1663–64.© The Trustees of the British Museum. The Chariot of the Sun, Trundholm, Zealand, Early Bronze Age 14th century BCE. Dante Gabriel Rossetti, Lady Lilith, 1866–68, 1872–73, Delaware Art Museum.
In View Autumn 2012 13
InSight lecture series Icons to Insurgence: the story of Russian Art Over many centuries the arts of Russia have been greatly influenced by the country’s location between East and West. This series will explain the ways in which Russia synthesised a diverse range of influences into a powerful and distinctive national identity.
Icons and the Sacred Art of Russia Wednesday 26 September ■ Although Russian icons are among the most beautiful works of art in the world, they are still little understood. This talk addresses the nature of icon painting, how icons emerged from the glory of the Byzantine world and became a consummate expression of the Orthodox spirituality of Russia. It unravels their complex symbolic and sacramental meanings and explores their place in modern Russia. Andrew Spira is a course director at Christie’s Education, London. Left to right: Icon from Temple Gallery. Vladimir Borovikovsky, Portrait of Prince Aleksandr Kurakin, 1801–02. Oil on canvas, 259 x 175 cm. Moscow, State Tretyakov Gallery. Wassily Kandinsky, Cossacks, 1910, Tate © ADAGP, Paris and DACS, London 2012.
10.30 – 11.30am/ Linbury Room Series of 3 £25, £20 Friends Single lecture £10, £8 Friends Coffee afterwards
Complicated Dialogues: Russian Painting and the West in the 18th Century Wednesday 17 October ■ The 18th century witnessed rapid change in Russian painting, with a new Academy of Arts from 1757, and major advances in portraiture as the century drew to a close. By considering these developments within a broad European context, and examining artists such as Levitsky in Russia and Gainsborough in Britain, this lecture demonstrates that Russian painting of the period did not occupy an isolated periphery, but participated in major trends in European art. Rosalind P. Blakesley is senior lecturer in history of art at the University of Cambridge.
Building London – Domestic Architecture London’s domestic architecture is the backdrop to our everyday lives. We take for granted the style of the Edwardian terraces of Dulwich, the 1930s semi-detached suburban villas, the North Peckham Estate, the light-framed flats recently built on inner city waste ground, but each can be traced to major schools of architecture. Three experts reveal the influences which have helped to shape London’s architectural appearance.
A Dream of Old England: the influence of the Arts and Crafts movement on London Wednesday 21 November ■ The Arts and Crafts movement in architecture looked for inspiration to old farmhouses and cottages. It created a modern vernacular domestic architecture which was of international significance. The private houses designed by Norman Shaw, Charles Voysey and Edwin Lutyens informed the architects of the London County Council in designing new housing estates as well as the speculative builders who created the neo-Tudor suburbs which grew so rapidly between the world wars. Gavin Stamp is an architectural historian who has written, among much else, on the architecture of Sir Edwin Lutyens. 14 In View Autumn 2012
10.30 – 11.30am/Linbury Room Series of 3 £25, £20 Friends Single lecture £10, £8 Friends Coffee afterwards
The Modern Movement in London and Environs Wednesday 5 December ■ Elain Harwood will talk about the influence of the Modern Movement on the expansion of London before and after the Second World War. She will look at the building of individual houses in this style, especially in South London, and at its impact on mass housing and planning in the post-war era. Examples range from public housing to private developments such as the work of Eric Lyons and Span architects. Elain Harwood is an historian with English Heritage. She is working on a book about English architecture 1945–75, Space, Hope and Brutalism, for Yale University Press. Left to right: Bedford Park, Norman Shaw. Capel Manor, (Photo James O. Davies/English Heritage). BedZED housing, Hackbridge, Surrey. Bill Dunster/ZEDFactory architects with Bioregional, 1999 (photo Alan Powers).
Music Ensemble 360 Photo: Benjamin Eolavega
Friday 21 September 7.30 pm/Gallery £20, £18 Friends, includes a glass of wine ■ Since its debut in 2005, Ensemble 360 has gained an enviable reputation in the UK with performances at major festivals and venues and through its highly praised recordings. The programme consists of Mozart’s Piano Quartet no. 2 in E flat (K493) and Brahms’ Piano Quartet no. 2 in A op 26.
Dandies, Primitives and Commissars Wednesday 31 October ■ By the 20th century Russian artists had access to the latest Western artists such as Cézanne and Picasso, but saw themselves as new primitives looking East for a Russian culture. This complex interaction created exciting works typical of Kandinsky, Larionov and Goncharova. The Revolution of 1917, civil war and famine broke the old conventions. Russian art faced a radical and political crisis. Under Lenin, and Stalin, soviet rule banished luxury goods. Yet spectacular, visionary, and brilliant art persisted. John Milner is visiting professor in post graduate studies at The Courtauld Institute of Art and has published extensively on Russian 20th century art.
From Blues to Bach Lunchtime concert series Wednesdays October 3, 10, 17, November 7, 14, 21, 28 and December 5 1.30 – 2pm/Christ’s Chapel Enter from the cloister in Dulwich Picture Gallery Admission free ■ Following the success of the first two series of free lunchtime concerts in Christ’s Chapel, talented performers from the Foundation schools will play again this year. Strings, brass, woodwind, keyboard and other instrumentalists take part.
Tickets available online: https://tickets. dulwichpicturegallery.org.uk, at the Friends desk or for credit/debit card bookings (£2 handling fee) tel 020 8299 8750 Mon-Fri 10am-4pm. If the answer phone is on then someone else is booking tickets; leave a message and we will call you back. You can also e-mail firstname.lastname@example.org.
Friday 9 November 7.30 pm/Gallery £20, £18 Friends, includes a glass of wine ■ The distinguished Australian pianist, Piers Lane, has a flourishing international career. Five times a soloist at the BBC Proms, his wide-ranging concerto repertoire has led to engagements with many of the world’s great orchestras. The programme will include the Beethoven Bagatelles op 126, works by Debussy and a group of Nocturnes by Chopin.
Photo: Eric Richmond
Piano Recital by Piers Lane
Save the date The Age of Free Enterprise Wednesday 12 December ■ The 1980s marked the beginning of the end of the post-war social settlement for housing and a shift towards private enterprise and the market. The talk reveals how architects have achieved varied and interesting solutions, responding to calls for renewed urbanity, marketable images and sustainability. Alan Powers is professor of architecture and cultural history at the University of Greenwich. His current project, ‘Figurative Architecture in the Time of Modernism’, is supported by the British Academy.
La Divina: Maria Callas, the Woman who changed Opera Illustrated Talk by Paul Campion Thursday 24 January 2013 7.30 pm/Linbury Room Details to follow in the next issue.
Tickets available online: https://tickets. dulwichpicturegallery.org.uk, at the Friends desk or for credit/debit card bookings (£2 handling fee) tel 020 8299 8750 Mon-Fri 10am-4pm. If the answer phone is on then someone else is booking tickets; leave a message and we will call you back. You can also e-mail email@example.com. In View Autumn 2012 15
Special events Jazz in the Garden Charles Cary-Elwes and Friends Saturday 29 September 6.30 – 9.30pm (garden open from 6pm) £18, £15 Friends, £5 students (aged 18 and under) ■ Enjoy a relaxed evening in the gallery garden with Charles and his jazz group. Listen to mainstream jazz and swing. Featuring well-known musicians and new bands from Dulwich Prep London, The Charter School, Dulwich College, Kingsdale and JAGS. Café open for light meals – booking essential: 020 8299 8717 or bring a picnic and buy drinks from the wine bar. If it rains, the event will be held inside the gallery with picnics in the Linbury Room. Gallery open from 6-7pm.
Quiz Night: fast, furious and fun Saturday, 17 November 7 for 7.30pm/Gallery £18, £15 Friends Includes a glass of wine and a fork supper (vegetarian option available) Make up a table of six or be allocated to a table ■ Questions will cover subjects such as food and drink, music, books, sport, art and architecture.
Spanish Supper with Flamenco Music by Francisco Antonio Wednesday 24 October Gallery Café 7 for 7.30pm £10 per person, to include a glass of sparkling wine Tapas at £4 per dish ■ A range of delicious tapas dishes will be available. Come and enjoy a relaxed and friendly evening.
A Bicentenary Evening with Charles Dickens Thursday 29 November 7.30pm/Christ’s Chapel £12, £10 Friends, includes a glass of wine ■ Samuel Pickwick retired to Dulwich, ‘one of the most pleasant spots near London’, and was a regular visitor to Dulwich Picture Gallery. Charles Dickens himself also might have been a visitor – he clearly knew the gallery well. The Friends welcome you to an evening of scenes and readings from Dickens, together with music to celebrate the bicentenary of his birth. Programme devised by Brian Green and Jill Alexander, supported by the Dulwich Players.
Tickets available online: https://tickets. dulwichpicturegallery.org.uk, at the Friends desk or for credit/debit card bookings (£2 handling fee) tel 020 8299 8750 Mon-Fri 10am-4pm. If the answer phone is on then someone else is booking tickets; leave a message and we will call you back. You can also e-mail firstname.lastname@example.org. 16 In View Autumn 2012
In the Gallery series Christmas Bazaar and Christmas Card Signing with Carols Thursday 6 December 6 – 9pm/Linbury Room, Café and Cloister No charge (snacks and wine on sale in the Sackler Centre) ■ A distinctive range of Christmas gifts will be on sale from local artisans and craftspeople. President of the Royal Academy Christopher Le Brun will be signing his Dulwich Picture Gallery/ Friends Christmas card in the gallery shop. Carols will be sung in Christ’s Chapel.
Exploring Cotman’s Normandy: a study day Saturday 12 January 10 for 10.30am – 5pm/Linbury Room Followed by a private visit to the exhibition ﬁnishing at 6pm £38, £32 Friends and registered students Includes morning coffee, a light lunch, tea and access to the gallery’s permanent collection ■ Timothy Wilcox, curator of the exhibition, will chair a lively discussion of Cotman’s place in the British watercolour tradition. The exhibition presents his work through a double lens; not simply the familiar one of landscape, but also through the equally important one of architectural history. The introductory talk, A time of rediscovery: France and Britain after the Napoleonic Wars, will be given by Robert Tombs, professor of modern history, University of Cambridge. Other speakers include Stephen Duffy, curator of 19th century paintings and exhibitions, The Wallace Collection; Rosemary Hill, writer and scholar; Elizabeth Lewis FSA; and Edward Impey, director of heritage protection and planning, English Heritage. Come and join the debate!
Venus and Adonis: unveiled Tuesday 2 October 7 for 7. 30pm/Linbury Room £10, £8 Friends Includes a glass of wine ■ Displayed for the first time since the late 19th century, Dulwich Picture Gallery’s Venus and Adonis has been cleaned and conserved to reveal itself as a workshop version of the famous painting sent by Titian to his patron King Philip II of Spain in 1554, now at the Prado Museum, Madrid. Dulwich’s version was purchased as a full autograph Titian by Noel Desenfans in the 1790s and given a very ornate frame. This lecture will tell the story of how a picture, despite being admired by all in the late 18th century, was subsequently demoted as a late copy and relegated to storage. It has now been shown to be a fascinating painting executed in Titian’s workshop, most probably under his guidance. Lecturer: Xavier Bray, chief curator, Dulwich Picture Gallery
In Conversation: Nicolas Poussin and Clive Head Tuesday 4 December 7 for 7. 30pm/Linbury Room £10, £8 Friends Includes a glass of wine ■ Join Xavier Bray, this time in conversation with artist Clive Head and critic Michael Paraskos as they discuss Clive Head’s project From Victoria to Arcadia at Dulwich Picture Gallery and Marlborough Fine Art. Painted in response to Nicolas Poussin’s The Triumph of David, Clive Head’s work ‘Terminus Place’ will sit temporarily alongside the gallery’s collection of works by Poussin. This provides a timely opportunity to reconsider the place of the artist today and a look back to Old Master techniques. ■ Clive Head’s work From Victoria to Arcadia will be on display from 10 October 2012 until 13 January 2013. He is the leading British realist painter of his generation, known for his striking paintings of urban landscapes. Michael Parasko is director of programmes for the Cyprus College of Art and is one of a new generation of art critics associated with the New Aesthetics. Left: John Sell Cotman, Alençon, 1823, watercolour, 432 x 584 mm, © Birmingham Museum and Art Gallery. Top: DPG 209 Workshop of Titian, Venus and Adonis, second half of the 16th century, oil on canvas. By permission of the Trustees of Dulwich Picture Gallery, London. Above: Clive Head, Terminus Place, 2012, oil on canvas, 59 × 119”. Courtesy of the artist and Marlborough Fine Art.
In View Autumn 2012 17
GalleryFilm: Screenings and more… Each sociable evening includes: ■ A complimentary glass of wine and snacks ■ An introduction to the film ■ Film notes
Bar opens at 7pm Screenings at 7.45 pm Linbury Room £9, £7 Friends You can also book online at https://tickets.dulwichpicturegallery.org.uk
The Artist (2011) Cert PG/100 mins Monday 10 September Directed by Michel Hazanavicius, starring Jean Dujardin, Bérénice Bejo ■ This new black and white silent film set in 1927 took the 2011 Cannes Film Festival by storm, and went on to win five Oscars. A charming homage to the Hollywood of the silent era, it communicates the range of human emotions, from tears to laughter, through its tale of tragedy and comedy,
success and failure. The story of a star who watches as his girlfriend’s career ascends the heights of celebrity, while his own plummets, it encapsulates the magic of moving pictures for an age that had largely forgotten the sophistication of the silent era. A tour de force of cinema as the supreme visual medium. ■ Food kindly donated by Romeo Jones, Dulwich Village
(2005) Cert PG/119 mins Monday 15 October Directed by Jane Campion, starring Ben Whishaw, Abbie Cornish ■ A perfect evocation of Hampstead in 1818, as the young poet John Keats struggles with a chronic illness yet writes some of the most beautiful poems in the English
The Apartment The Beat That My Heart Skipped (2005) Cert 15/102 mins Monday 12 November Directed by Jacques Audiard, starring Romain Duris ■ Romain Duris gives a
18 In View Autumn 2012
dazzling performance as a young man, Tom, torn between a life of crime and that of music, between the legacy of his ruthless and crooked father and his concert pianist mother. The Paris underworld never looked more dangerous and seedy as Tom becomes caught in his father’s web of criminality while at the same time glimpsing another world of beauty and sensitivity. A gripping noir thriller, it packs a heady punch and won two BAFTAs in a film that ‘electrified critics and audiences alike’.
(1960) Cert PG/120 mins Monday 10 December Directed by Billy Wilder, starring Jack Lemmon, Fred MacMurray, Shirley MacLaine, Ray Walston ■ Winner of five Oscars, including Best Picture, this is Billy Wilder at his scathing, and satirical, best. Jack Lemmon is Bud who discovers the way to success in business is through the door of his apartment. By providing the perfect
language. Against the wishes of her family and his friends, he falls in love with Fanny Brawne and she with him. Helpless to curb their feelings, they are swept along by the power of their love which can lead only to inevitable heartbreak. An exquisite piece of filmmaking ‘Jane Campion’s calm, subtle and measured film is the best of her career– a feast for the eyes and emotions’.
hideaway for his philandering boss’s extra-marital activities, he advances both his career and his love life…except that his boss, J D Sheldrake (Fred MacMurray), is dallying with the girl of his dreams, Fran (Shirley MacLaine). So Bud is faced with the executive decision of his career – lose his job or the girl. ‘Some of the most sparkling dialogue in movie history’ and one of Hollywood’s most enduring comedies. ■ Food and wine kindly donated by Mimosa Deli, Herne Hill
Events for Children GalleryFilm for kids The Adventures of Tintin: The Secret of the Unicorn (2011) Cert PG/107 mins Sunday 2 December 3.45pm £5 Director Steven Spielberg, starring the motion capture performances of Jamie Bell, Andy Serkis, Nick Frost, Simon Pegg, Daniel Craig ■ The creative forces of Steven Spielberg and Peter Jackson combine in a visual feast that explores the boundaries of computer animation and performance capture to bring to life Herge’s famous boy detective, Tintin (Jamie Bell). Andy Serkis is the stumbling Captain Haddock, Daniel Craig the villainous Rackham, and Nick Frost and Simon Pegg the bumbling lawmen, the Thompson Twins. This is a recipe for a splendid adventure yarn as Tintin stumbles on a piratical conspiracy when he purchases a model ship and helps Captain Haddock search for 17th century treasure hidden by a seafaring ancestor. ‘The movie comes at you in a whoosh’ and hits home for the kid in all of us.
The Big Draw Family Drop-In Travelling Lines: Stories and Art In collaboration with the education department Sunday 4 November 11am – 4pm/Linbury Room £6 per child: pay at the door ■ Take part with artist Erica Parrett in stories inspired by paintings in the permanent collection that explore the theme of travel. Enjoy a practical art activity based on these stories and the ‘travelling lines’ in your own life. Create a paper plane postcard decorated with drawings of journeys you have made, which will be posted to you after the session.
Puppet Show Saturday 8 December 10.15-11.45am with an interval/Linbury Room £5 per person, parents welcome ■ Drew Colby will conjure up magic images to keep you entranced with his shadow puppets. Fruit will be available in the interval.
GalleryFilm for kids The Adventures of Tintin: The Secret of the Unicorn Tickets available online: https://tickets. dulwichpicturegallery.org.uk, at the Friends desk or for credit/debit card bookings (£2 handling fee) tel 020 8299 8750 Mon-Fri 10am-4pm. If the answer phone is on then someone else is booking tickets; leave a message and we will call you back. You can also e-mail email@example.com.
(2011) Cert PG/107 mins Sunday 2 December 3.45pm/Linbury Room £5 ■ See GalleryFilm for kids (left) for more details. In View Autumn 2012 19
London visits and a local walk Leonardo da Vinci Drawings, Queen’s Gallery Friday 5 October 6 – 8pm Meet at the entrance to the Queen’s Gallery at 5.45pm £45, £40 Friends, to include a glass of champagne ■ A private view of 10 drawings by Leonardo from the Royal Collection, with a talk by Desmond ShaweTaylor, Surveyor of the Queen’s Pictures.These fine drawings have been selected to reflect Leonardo’s use of different media and the extraordinary range of his activities – painting and sculpture, engineering, botany, mapmaking, hydraulics and anatomy. The exhibition includes designs for chariots, a study of the head of Leda, and drawings of apocalyptic scenes. © Victoria, Green Park and Hyde Park Corner
Local Walk Horniman Triangle Saturday 29 September 2.30-4pm £6, £5 Friends ■ Now a popular children’s playground, few people remember that, as late as the 1950s, the Horniman Triangle was still a farm. This afternoon walk, led by Ian McInnes, will reveal some of the history of this north east corner of the Dulwich Estate, including the ‘concrete house’, the Crystal Palace railway, and much more. Please note that the hills are steep. Meet (and finish) at the war memorial on the junction of Lordship Lane and Dulwich Common
Advanc e for the booking se essentia events is l as are stric numbers tly limit ed
Wallace Collection Thursday 22 November 11am – 12.30pm Meet at 10.30am in the Wallace restaurant Hertford House, Manchester Square, London W1 £19, £16 Friends, to include coffee and croissants ■ The visit will include the newly refurbished Dutch Galleries, which opened in 2012 ‘for the display of one of Europe’s finest collections of Dutch art’. These three rooms have been restored to their original ceiling height with moulded details enriched in gilding and walls hung with blue silk inspired by historic interiors. We will also view French 18th century paintings by Boucher, Fragonard, Watteau and Lancret displayed within exquisitely furnished rooms, providing an opportunity to compare these with the miniature paintings on Sevres porcelain. The visit will conclude with Orientalist paintings shown alongside arms and armour from India and China. © Bond Street (Central and Jubilee Lines) and Baker Street (Circle, District, Hammersmith and City, Jubilee and Metropolitan) ı 2, 10, 12, 13, 30, 74, 82, 94, 113, 137, 274
Mansion House Friday 7 December 2 – 3.30pm Meet at 1.45pm at main entrance, Mansion House, Walbrook, London EC4 £14, £10 Friends ■ The Mansion House is the home and office of the Lord Mayor of London. Built in the age of Hogarth, it is a rare surviving Georgian town palace in central London. It was originally built to enable the Lord Mayor to represent the City in appropriate style. The tour will focus on the 17th century Dutch and Flemish paintings bequeathed by Lord Samuel to the Corporation of London for permanent display in the Mansion House. © Bank (Northern, Central, Waterloo and City, DLR), Mansion House (District, Circle) Clockwise from left: Ian McInnes. Leonardo da Vinci, Head of Leda, c.1504-6, Pen and ink over black chalk, The Royal Collection, © 2012, HM Queen Elizabeth II. Peter Paul Rubens, The Rainbow Landscape, Wallace Collection.
Tickets available online: https://tickets.dulwichpicturegallery.org.uk, at the Friends desk or for credit/debit card bookings (£2 handling fee) tel 020 8299 8750 Mon-Fri 10am-4pm. If the answer phone is on then someone else is booking tickets; leave a message and we will call you back. You can also e-mail friendsticketing@ dulwichpicturegallery.org.uk. 20 In View Autumn 2012
Friends Committee Chair: Jenny Sweeney 020 8693 3982 friendschair@ dulwichpicturegallery.org.uk Vice Chairman: Pat Cox 020 8670 5670 firstname.lastname@example.org Hon Treasurer: Peter Frost 020 8670 7720 email@example.com Hon Secretary: Jane Reid 020 8670 6151 firstname.lastname@example.org Hon Membership Secretary: Pippa South 020 8299 8752 friendsmemberships@ dulwichpicturegallery.org.uk Peter Belchamber Editor, In View Rona Black Lectures Rita Frost Friends Desk Lata McWatt Website and E-News liaison Judy Mewburn Events
Eve Mitleton-Kelly Visits Pia Helena Ormerod Publicity Jane Peecock Membership Gerry Ratzin Tickets Co-opted: Gail Mitchell Special Events Tamara Tempera Social Networking Steve Viney IT GalleryFilm Anna de Pass, Lata McWatt, Nigel Thorpe Lectures Barbara Richardson, Susan Wood, Anne and Doug Smith, Susan Merifield, Marcia Bennie Music Virginia Harding, Jeannette Holmes, Barbara Kley, Jane Reid Tickets Vanessa Sutcliffe, Barbara Kley, Barbara Richardson Ticketing enquiries Liz Frampton 020 8299 8750
Magazine of the Friends of Dulwich Picture Gallery Winner of the BAFM Magazine of the Year Award Editor Designer Sub-editors Printers
Peter Belchamber email@example.com James Alexander, www.jadedesign.co.uk Caroline Annesley, Gerry Ratzin, Barbara Kley, Pat Cox AF Litho, Croydon, www.aflitho.co.uk
Help needed Friends Desk Volunteers at the Friends desk in the gallery play a vital role encouraging visitors to become Friends and selling tickets for events. Contact Rita Frost: firstname.lastname@example.org 020 8670 7720
Sponsorship Would you like to be associated with Dulwich Picture Gallery? We are looking for sponsorship of Friends’ events and would be delighted to hear from you. Contact friendschair@ dulwichpicturegallery.org.uk
Find out how a king’s art collection came to Dulwich New lavishly illustrated book on sale at the Gallery Shop Just £6.50/Friends £5.85 An ideal present!
In View Autumn 2012 21
Friends Membership information Proposals for increasing Annual Membership Subscriptions and for introducing the option of payment by Direct Debits The Friends Committee is proposing an increase in annual subscriptions and a change from offering Banker’s Order as a method of payment to offering Direct Debit. The reasons for these proposed changes are: 1. Increasing Annual Membership Subscriptions Following the increases in entrance fees and exhibition charges made by Dulwich Picture Gallery, together with our increased administrative costs, it has become necessary to propose the first increase in membership subscriptions since 2006. In the last six years the value of subscriptions has diminished in real terms. In addition, our current rates are substantially less than those of many other similar organisations. Taking these factors
22 In View Autumn 2012
into account, the proposal is to increase the annual membership subscriptions as follows:
Meeting on 22 October 2012, details of which are given in the enclosed formal Notice.
Subscriptions • Single Membership from £30 to £40 (£35 for those paying by Direct Debit) • Joint Membership from £40 to £55 (£50 for those paying by Direct Debit) • Young Friend from £15 to £18
2. Changing to Direct Debit The main reason for the change is to reduce the current unsustainable administrative burden on the Friends’ Membership, Financial and IT teams in processing some 3,000 Banker’s Orders each year, most of which fall due on 1 September. A Direct Debit system will enable us to manage subscriptions much more efficiently and will bring us into line with many similar membership organisations.
Timing • For new members: from 1 February 2013 • For current members: from renewal dates falling after 1 February 2013 Please note that for those Friends who currently pay by Banker’s Order on September 1 the proposed increase will not apply until 1 September 2013. The proposed increase will enable us to continue to give strong financial support to the gallery and to contribute to its success. This proposal will be put to members at an Extraordinary Annual
Membership Contact By email at: friendsmemberships@ dulwichpicturegallery.org.uk Or by mail or telephone: Pippa South, FDPG Memberships, Dulwich Picture Gallery Gallery Road, London SE21 7AD Tel: 020 8299 8751
September – December 2012
10 21 26 29 29
Mon Fri Wed Sat Sat
7 for 7.45pm 7.30pm 10.30 – 11.30am 2.30 – 4pm 6.30 – 9.30pm
Linbury Room Gallery Linbury Room * Gallery grounds
GalleryFilm: The Artist Music: Ensemble 360 InSight lecture: Russian Art Local walk: Horniman Triangle Special event: Jazz in the Garden
18 15 14 20 16
7 for 7.30pm 1.30 – 2pm 7 for 7.30pm 6 – 8pm 10am 1.30 – 2pm 12.30 – 1.30pm 6 – 8pm 7 for 7.45pm 6 – 8pm 10.30 – 11.30am 1.30 – 2pm 7 for 7.30pm 7 for 7.30pm 7 for 7.30pm 7 for 7.30pm 10.30 – 11.30am
Linbury Room Christ’s Chapel Linbury Room * Gallery Christ’s Chapel Linbury Room Gallery Linbury Room Gallery Linbury Room Christ’s Chapel Linbury Room Gallery Café Linbury Room Linbury Room Linbury Room
In the Gallery: Venus and Adonis Music: lunchtime concert InTown lecture: Shakespeare Exhibition Visit: Leonardo Drawings, Queen’s Gallery Cotman in Normandy exhibition opens Music: lunchtime concert Curator’s lecture: Exploring Cotman’s Normandy Friends Private View: Cotman in Normandy GalleryFilm: Bright Star Friends Private View: Cotman in Normandy InSight lecture: Russian Art Music: lunchtime concert Lecture: A Painting Tour of Britain Special event: Flamenco Music and Supper InTown lecture: Wallace Collection Lecture: A Painting Tour of Britain InSight lecture: Russian Art
17 15 13 20 2 15 5 2 18 2 14 15 12 16 13 12 15
1.30 – 2pm 7.30pm 7 for 7.45pm 7 for 7.30pm 1.30 – 2pm 7 for 7.30pm 7 for 7.30pm 7 for 7.30pm 1.30 – 2pm 10.30 – 11.30am 11am – 12.30pm 7 for 7.30pm 7 for 7.30pm 1.30 – 2pm 7.30pm
Christ’s Chapel Gallery Linbury Room Linbury Room Christ’s Chapel Linbury Room Gallery Linbury Room Christ’s Chapel Linbury Room * Linbury Room Linbury Room Christ’s Chapel Christ’s Chapel
Music: lunchtime concert Music: Piano recital by Piers Lane GalleryFilm: The Beat That My Heart Skipped Lecture: A Painting Tour of Britain Music: lunchtime concert InTown lecture: Bronze Special event: Quiz Night Lecture: A Painting Tour of Britain Music: lunchtime concert InSight lecture: Building London Visit: Wallace Collection InTown lecture: Pre-Raphaelites Lecture: A Painting Tour of Britain Music: lunchtime concert Special event: Dickens evening
15 15 18 12 15 13 16 12 15 14 20 13 12 15 16
3.45pm 7 for 7.30pm 1.30 – 2pm 10.30 – 11.30am 6 – 9pm 2 – 3.30pm 10.15 – 11.45am 7 for 7.45pm 10.30 – 11.30am
Linbury Room Linbury Room Christ’s Chapel Linbury Room Linbury Room * Linbury Room Linbury Room Linbury Room
GalleryFilm for kids: Tintin In the Gallery: Clive Head Music: lunchtime concert InSight lecture: Building London Special event: Christmas Bazaar Visit: Mansion House Children’s event: Puppet Show GalleryFilm: The Apartment InSight lecture: Building London
19 17 15 14 17 20 19 18 15
Linbury Room Linbury Room
Cotman in Normandy: a study day Music: Maria Callas illustrated talk
2 3 4 5 10 10 11 15 15 16 17 17 23 24 25 30 31
Tues Wed Thurs Fri Wed Wed Thurs Mon Mon Tues Wed Wed Tues Wed Thurs Tues Wed
7 9 12 13 14 15 17 20 21 21 22 22 27 28 29
Wed Fri Mon Tues Wed Thurs Sat Tues Wed Wed Thurs Thurs Tues Wed Thurs
2 4 5 5 6 7 8 10 12
Sun Tues Wed Wed Thurs Fri Sat Mon Wed
Advance Notice: January
12 Sat 10am – 5pm 24 Thurs 7.30pm
* See London visits and a local walk, page 20
In View Autumn 2012 23