The National Gallery is making headlines on several fronts, from questions surrounding the authenticity of a Rubens painting to public debates about accessibility and a deep dive into the art of Siena. Here's a roundup of the latest news.
Rubens Under Scrutiny
Doubts have resurfaced regarding the authenticity of "Samson and Delilah," a painting attributed to Peter Paul Rubens in the National Gallery. An art historian has raised concerns about the painting's craftsmanship, suggesting it may be a 20th-century copy of a lost original. The painting was acquired 45 years ago for a record price, making these renewed questions particularly significant.
The debate highlights the ongoing challenges of art authentication and the importance of rigorous examination in art history. If proven to be a copy, it would represent a major blow to the National Gallery's collection and raise questions about the acquisition process.
Atlas Remains Freely Accessible
In other news, the National Gallery has reversed its decision to start charging for access to the popular children's space, Atlas, located in Prague's Veletržní Palace. The gallery initially planned to introduce fees to manage noise levels and ensure a more peaceful environment for other visitors. However, after facing pressure from mothers and the public, they reconsidered their position.
“According to feedback, it was evident to the gallery that this space has a significant social dimension for visitors, and therefore it decided to keep it freely accessible,” a statement from the National Gallery explained.
This decision underscores the importance of balancing the needs of different visitor groups and recognizing the social value of accessible spaces within cultural institutions. The gallery is now exploring alternative solutions to address noise concerns while maintaining free access to Atlas.
Siena's Art Revolution
Finally, the National Gallery is showcasing the artistic achievements of Siena before the devastating Black Death. The exhibition, "The Rise of Painting," explores the city's golden age, marked by ambitious architectural projects and a dramatic shift in artistic style.
Before the Black Death ravaged the city, Siena was a thriving center of art and culture. The construction of its cathedral, beginning in 1226, exemplified the city's ambition and prosperity. As Laura Llewellyn, curator of "The Rise of Painting," notes, "The scale of ambition is difficult to put into words."
The exhibition highlights the transition from Byzantine-influenced art to a more dynamic and emotionally expressive style. The Black Death, however, brought an end to this era, leaving behind unfinished projects as reminders of lost dreams.
These diverse stories illustrate the multifaceted role of the National Gallery as a custodian of art, a public space, and a platform for historical exploration.