Dulwich InView

Spring 2010£2 when sold

Paul Nash: The Elements

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www.dulwichpicturegallery.org.uk

Paul Nash:TheElements

Gallery director Ian Dejardin refl ects on the artist’s enduring appeal: his starkness; love of the objects and elements that animated his works; his haunted landscapes; his quintessential Englishness

2 In View Spring 2010

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Paul Nash:TheElements

In View Spring 2010 3

for instance – an artist once regarded as ‘England’s Picasso’, but whose work seemed to drop immediately from view on his death. Nor has Nash suffered from the

over-familiarity that might have affected our view of Moore and Piper. Nash’s art is special, looks like no-one else’s – and seems, to me at least, quintessentially English. We still see certain landscapes, notably the chalk downlands, through his eyes. Paul Nash liked looking at objects – but his looking was of

a rather more intense kind than the rest of us. He kept a cupboard of things to look at, and talked of discovering ‘the signifi cance of the so-called inanimate object…’ He liked ‘to contemplate the personal beauty of stone and leaf, bark and shell, and to exalt them to be the principals of imaginary happenings...’ These inanimate objects that so fascinated him became the elements that brought animation to his compositions. Objects, chosen for some unique power and signifi cance to the artist, took the place of people in his landscapes. He was no

The exhibition, Paul Nash: The Elements, is the fi fth in a series of shows that has looked again at the work of some of the ‘Titans’ of British 20th century art. It is also the second of these to be curated by David Fraser Jenkins, one of the leading scholars of the period. David’s fi rst show was also the fi rst of the series: the beautiful John Piper in the Thirties – Abstraction on the Beach (2003). This was followed by equally beautiful exhibitions devoted to Henry Moore (2004), Graham Sutherland (2005) and Walter Sickert (2009). Nash and Moore, along with Barbara Hepworth, formed the short-lived but infl uential Unit One; consequently Nash is one of the key fi gures in the development of modernism in this country. Unlike Piper, Moore and Sutherland, however, it seems to me that Nash’s reputation has remained more stable. His work has never undergone the kind of neglect that overtook Sutherland,

10 February – 9 MayCover: Paul Nash, Pillar and Moon (detail), 1932 – 42, oil on canvas, 50.8 x 76.2cm, Tate London. © Tate, London, 2009. Previous page: Paul Nash, Totes Meer, 1940 – 41, oil on canvas, 101.6 x 152.4cm, Tate, London. This page: Paul Nash, Whiteleaf Cross, 1931, oil on canvas, 53.3 x 76.2cm The Whitworth Art Gallery, University of Manchester. © Tate, London, 2009

‘Objects took the place of people in his landscapes’

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www.dulwichpicturegallery.org.uk4 In View Spring 2010

storyteller, at least not in any traditional sense – if this is narrative, then it is a new kind, and unique to Nash’s personal mindset.This is clear in one of the very fi rst of his paintings, We are making a New World of 1918. He was a late starter as a painter, but had served in the trenches, and knew his subject matter intimately. No people, just seared earth, blasted trees, hellish red sky, all dead. The title is ironic, but is also literally true – human beings have done this, created this wasteland, from which, in the natural order of things, a new world will surely, indeed must, emerge. Nash’s particularity and profundity are all present right from the start, and so is something else – his starkness, and his rare colour sense. Much later, in 1941, he produced one of the most memorable Second World War images: the magical and disturbing Totes Meer (Dead Sea) [page 2]. Here again the elements – the twisted wreckage of aircraft – are dead, but en masse they suddenly form a mirage of shifting waters, an image of life. Sun and moon were elements like any other in Nash’s landscapes – they are not there to create atmosphere particularly. Nash was emphatically not interested in any impressionistic effects of ephemeral light – it is a feeling for the emotional infl uence the celestial bodies have upon the earth that he is refl ecting on (see cover Pillar and Moon). The pillar, the bank of trees, the moon: somehow this arrangement of objects and compositional elements evokes something eternal. Nash summed up the effect perfectly when talking about a very different landscape of prehistoric earthworks at Wittenham

Clumps in Oxfordshire: ‘Grey hollowed hills crowned by old, old trees, Pan-ish places down by the river, wonderful to think on, full of strange enchantment… a beautiful legendary country haunted by old gods long forgotten.’ It is surely this haunted quality that makes his landscapes so riveting. Paul Nash was to produce some of the most beautiful landscapes of the 2oth century, as English as John Ireland’s piano music. His was a very intense and individual art, capable of exploring complex themes such as confl ict, harmony and refuge through the arrangement of his beloved ‘elements’. David Fraser Jenkins leads us expertly through some of these great themes, room-by-room. It is a very moving and colourful journey – in the footsteps of one of England’s greatest artists.

Above: Paul Nash, Event on the Downs, 1934, oil on canvas, 51 x 61cm, The Government Art Collection (UK). © Tate, London, 2009. Left: Paul Nash, Landscape from a Dream, 1936 – 38, oil on canvas, 67.9 x 101.6cm, Tate, London. © Tate, London, 2009.

Director’s lectureThursday 18 February12.30/Linbury RoomFree, no booking

Sponsored by

‘His was a very intense and individual art’

The Friends of Dulwich Picture GalleryThe Elizabeth Cayzer Charitable Trust

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Last chance to see

Petrarch’s own copy of Virgil, illustrated by Simone Martini; a strand of Lucrezia Borgia’s hair; Leonardo’s Codex Atlanticus (a collection of 1,750 drawings and jottings by the master from 1478 – 1519) … The Desenfans Circle had the opportunity to see these on their recent trip to Milan. We had the refectory of Santa Maria delle Grazie to ourselves so that we could gaze, undisturbed, upon The Last Supper, while one of the world’s leading experts on Leonardo told us about its history.

Ian Dejardin, director and Xavier Salomon, curator, accompanied us on the tour and informed us about works of art in the Museo Poldi Pezzolo and the Pinacoteca di Brera. We were introduced to Raphael’s beautiful Marriage of the Virgin, to Piero della Francesca’s magisterial Holy Conversation and to works by Botticelli, Bellini and Caravaggio. We were invited by Contessa Crespi to her palazzo, where she guided us through the breathtaking rooms housing her private collection, including Canaletto’s two largest Venetian views, never seen by the public. We were given drinks and mini pizzas served in a dining room fi lled with

exquisite antique silver and porcelain. Then there was coffee at Zucca, (visited regularly by Verdi and Toscanini), Monteverdi’s opera, Orfeo at La Scala, and lots of time for shopping. The Desenfans Circle is privileged to be given access to places never seen by the public, and to be introduced to museums by top scholars and experts when the public has left. We are a small and very friendly group. Come and join us!Ingrid Beazley

Gallery Miscellany

In 1992, Helen Hardy came to see the gallery’s then director, Giles Waterfi eld. She asked Giles if he needed any help in sorting out the gallery’s archive. Helen was happy to do this, she said, on a voluntary basis on her days off from her part-time job.

The archive was in chaos in those days. The gallery was so poor that staff were not allowed to use the telephones in the morning because calls were much cheaper in the afternoon. There were very few employees and nobody had time to look at the archive, let alone sort it out. So Giles thanked Helen profusely for her offer and accepted gladly. Helen has spent the 17 years since putting the archive in order and, as it goes back to the 1790s, there was a lot to do.

With the gallery’s emergence from poverty to success, more people have been employed – to such an extent that there is no longer space for the archive. The library, where the archive was lodged in elegant boxes, has now become the curatorial offi ce and is occupied by three people. As a result, there is no room for Helen to continue with her work – and all her lovingly put together boxes have had to be stored in the attic. However, if the gallery succeeds in raising enough money for additional offi ces, room will be found once again for the archive. The gallery is in debt to Helen for her knowledge and application. Ian Dejardin took Helen out to lunch to say thank you on behalf of everyone connected with the gallery for the past 17 years. Kate Knowles

The current gallery exhibition,

Drawing Attention: Tiepolo,

Rembrandt, Van Gogh, Picasso

and more, closes on 17 January,

and not on 27 January as

previously published.

Pictures, a palazzo and pizzas While giving two lectures on the current exhibition of magnifi cent drawings from the collection of the Art Gallery of Ontario, Drawing Attention, I was gratifi ed to hear a spontaneous gasp of admiration as my last slide fl ashed up: Franklin Carmichael’s Snow Clouds of 1927. His work is characteristic of a remarkable period in Canadian art.

This story begins in tragedy – the death of an artist of real genius, Tom Thomson, in 1917. Thomson was young, tall and very handy in a canoe. This is why the mystery surrounding his death by drowning in Canoe Lake, Algonquin Park, in perfectly reasonable weather conditions is to this day a national obsession. Tom Thomson is Canada’s Van Gogh. His desperately short career exploded into life around 1914, producing a fi rework display of some of those most vivid landscape paintings of the 20th century. His grieving friends banded together in 1920 to form the Group of Seven, Canada’s most famous school of painting. Frank Carmichael was one; the others were Lawren Harris, Arthur Lismer, A Y Jackson, Frank Johnston, J E H MacDonald and Fred Varley. During the next ten years, they followed Thomson’s lead and developed a national school of landscape painting, vivid in colour and painterly in application. I will be giving a lecture on the Group of Seven on February 10 as part of the InSight lecture series, under the overall title of Group Dynamics.Ian Dejardin

Oh, Canada!

Accolade for an archivist

Photo: Ingrid Beazley

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6 In View Spring 2010 www.dulwichpicturegallery.org.uk

I arrived at the gallery 25 years ago as part of an ILEA (Inner London Education Authority) experiment to see if school-children could be attracted to fine art. Four of us were seconded to galleries to see what we could do to encourage visits. When I chose to come to Dulwich, the ILEA art inspectors thought it madness: ‘You’ll give up after six months. It can’t possibly work at somewhere so stuffy with a Baroque collection hardly likely to attract anyone’, they declared. Yet, of the four, Dulwich was the only secondment to survive. I knew it would work because the geography was right. There were few cultural sites in south London, an area with a massive population and no great art collections then. Dulwich is an attractive and affluent village surrounded by areas of deep deprivation – fertile and challenging pastures. DPG also had free parking, a large park opposite and a feeling of visiting a green inner city oasis. As an art teacher for ten years in a demanding London comprehensive school, I had taken many classes to London museums and galleries. Mine were gritty but good-hearted pupils and time and again I had been shocked at the way we were treated.

Something about the look of my groups made staff bristle and thunder towards us, keys rattling, faces grim; we were closely guarded – military style. Of course, the climate was quite different then: museums were not used to mass school visits and the terms ‘access’, ‘diversity’ or ‘inclusion’ did not exist. It was mostly the studious A-level groups that were seen in museums – rarely the roughs and toughs.

A different approachI wanted to develop a different ethos. From the start, I concentrated on children no one else catered for – or much wanted. I believe that all the best learning happens within a framework of good relationships. That became my focus. A visit to DPG was going to be like going to the home of a friend. Every class would be welcomed at the door, looked after for their entire stay and returned to the door to receive a warm goodbye. The assumption would be that children were good and clever and that the school had

done us a favour by choosing us for their visit, in complete contrast to my own experience of visiting galleries.

Getting startedIt wasn’t an easy task to put DPG on the education visit map. It was the last place mostteachers would have thought of visiting. There was only me to do the bookings, run the teaching

sessions and build the resources. I began with an education budget of £50 from the Friends and a share of the curator’s desk and typewriter in a tiny office. To get started there was nothing for it but to go ‘cold calling’ to head teachers in local schools. Most were kind enough, or surprised

Gillian Wolfe looks back to her arrival at Dulwich Picture Gallery in 1984 and describes the birth of Education programmes that have since won more than 20 awards

Doing things differently

Below left: Adolescents in the gallery late 1980s. Photographer unknown. Below right: Children in the gallery today. Photograph by Janie Airey.

‘Something about my groups made staff bristle and thunder towards us, keys rattling, faces grim; we were closely guarded – military style’

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enough, to give me a hearing. One head teacher initially gave me a hard time. He let me know exactly what he thought about the ‘toffs’ in Dulwich. He said that it would be over his dead body that kids from his school would cross the great divide between his area and Dulwich. My fifteen-minute appointment became an hour and I saw failure looming. I was saved just as I was about to leave. He mentioned an exhibition that he and his family had enjoyed at the Royal Academy. It was a gift, allowing me to say: ‘Oh I see, so going to a gallery is OK for you and your family, but you’re going to ensure that your pupils will never have the same opportunity’. He accepted the point with grace – and his was the first school to visit DPG. They have been coming ever since.

Fraught early yearsThe early years were fraught with endless financial worries for the gallery. My budget increased to £100 in the second year and rose to £500 in the third, but that was later cut back. Lack of funds was a heavy and constant burden. Paradoxically, it was also a time of enormous creativity as we fought every difficulty. The climate was right to achieve our goals because the director, Giles Waterfield, allowed complete freedom in a non-bureaucratic environment.

Poverty alongside freedom has been a strangely fertile bedfellow at Dulwich. The school visits became so successful that I could no longer handle the burgeoning programme alone. Giles suggested a volunteer teaching team. I was unsure initially; it was difficult to relinquish control but I had no option. We began with about ten ‘missionary’ people, many of them ex-teachers, all excellent communicators, who became the nucleus for a full service. These exceptional people readily took up the ethos of learning through the making of warm relationships and personal teaching. This intensity of experience remains our hallmark today. I learned a lesson about trust and count our teaching team, now 35, as the key to our success, along with the consistent support of the Friends. Education at DPG is a family affair – the Friends, volunteers, staff, trustees, sponsors and helpers within a city village. It’s an intricate web of relationships that gives our work together a special – and unique – resonance.In the next issue, Gillian Wolfe describes modern-day Education projects at the gallery, starting with schools.

Above left: Junior school outreach mid 1980s. Photographer unknown. Above right: Children in the gallery today. Photograph by Janie Airey.

‘Poverty alongside

freedom has been

a strangely fertile

bedfellow at Dulwich’

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The last year for me has been one of change – on both a personal and a professional level. Moving house (from the Canadian wilderness beyond Toronto) and family and starting an exciting new role at Dulwich Picture Gallery has been an immensely satisfying journey. My husband Julian (a senior

consultant at King’s College Hospital) and I and our five-year-old son Jonathan are enjoying this new adventure. On a professional level, I could not ask for a better leadership team – one that is innovative, passionate about its work and engaged in the life of the gallery. This leadership begins with Ian Dejardin, director and James Lupton, chairman of the trustees and is present in all trustees, staff and volunteers. The gallery’s inclination to look outwards is fitting for an era in which arts funding is under threat. The gallery has to make the continuing case that art – both creating it and viewing it – changes lives and is valuable to our culture. We are fortunate that we can build on the strong relationships that were established by Lord Sainsbury (the driving force behind the first transformation of the gallery), the trustees, and the Friends since the time the gallery was re-opened by the Queen in May 2000.

Need to engageWe need, however, to maintain momentum, build new relationships and engage new audiences to secure the gallery’s future. Fundraising in this past year has been challenging. Even so, it allowed us time to plan our activities and to reorganise the Development department. We concentrate on raising funds to underpin the gallery’s reputation for excellence and accessibility. The gallery’s strengths include:• Diversity of our funding sources – no single

source accounts for more than 20% of total funding.

• Strong and enthusiastic volunteers, including the Friends and the board of trustees, who are willing to provide the gallery with time, energy and financial support.

We are immensely grateful to the individuals, trusts, foundations and companies who have given generously during the year. With more than 6,000 members, the Friends are the biggest supporters of the gallery’s fundamental needs. Their total giving to the gallery in the past decade has topped £1.4million. Just as important as the Friends’ financial support is the variety, quality and extent of their activities.

£1 million gift A few months after I started, James Lupton told Ian Dejardin and me that he and his wife


Development director Lily Harriss reviews her first year at the gallery and the potential for future fundraising success

What’s in Development at Dulwich Picture Gallery?

In 2008/9, the gallery’s income totalled £3.64 million. Donations, grants and sponsorship accounted for two-thirds of this. Income from charitable activities and from investments each provided approximately 12% and 15% respectively. The residue of around 8% came from activities for generating funds. Total income in the previous year was £2.62 million. Donations then accounted for just one third of income.

Development income

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Beatrice were going to make a £1 million gift to the gallery to inspire others and to ensure that the gallery remained in a strong financial position. My overview of the year’s activities and evaluation of the potential for future success would not be complete without recognising the constant support of our members and patrons who put the ‘fun’ into fundraising. The 1811 Club and the Desenfans Circle and also the Americn Friends are renowned for the quality of their activities, value for money and for the active participation of the gallery’s Ian Dejardin and Xavier Salomon. The 1811 Club, launched in 1995, has 67 members and is still growing. Under the leadership of former Friends chairman, Gay Walker, they have tailored their benefits more closely to the interests of the members. As well as the private views at each exhibition and the annual 1811 club dinner, there are two ‘behind the scenes’ visits to other collections or museums each year. These included in 2009 a visit to the Queen’s Gallery; and next May the club will visit Arundells House, Sir Edward Heath’s former home, as well as Salisbury Cathedral. I am also delighted that the Desenfans Circle increased by almost 20 per cent to 66 members last year. Benefits include the coveted annual black-tie dinner in February and the annual trip abroad, which provides special access to private collections and public galleries. The aim is to remain a small and friendly group and we shall offer only nine more Desenfans Circle memberships to bring the total to 75.

A remarkable timeThis is a remarkable time to be part of the Dulwich Picture Gallery community as we approach the bicentenary in 2011. By all measures, the gallery is an exceptional museum with an international reputation, a unique history and in an original and accessible setting. The exhibitions, alongside the Education and Outreach programmes, seek to improve lives. This would not be possible without the continued involvement of our community of supporters.

Clockwise from left: Ian Dejardin, director, speaking at a gallery private view. American Friends of Dulwich Picture Gallery North American summer social dinner June 2009. Ian Dejardin speaking at the Desenfans Circle annual dinner February 2009. Sophia Plender, conservator, Gillian Wolfe, director of learning & public affairs, and Lily Harriss, director of development, at the American Friends North American summer social June 2009. Beatrice Lupton, James Lupton, chairman of board of trustees, His Excellency Giancarlo Aragona, Italian Ambassador, and his wife Signora Amaduzzi, at the Canaletto private view January 2007.

Lily Harriss Director of developmentLily joined the gallery in September 2008 from Queen’s University in Canada, where she was also a development director. Lily has more than 15 years’ experience of fundraising, including a period with the Art Gallery of Ontario.

Nancy Giles Trust and foundation managerBorn in the USA, Nancy is a naturalised British citizen after living most of her life in the UK. Her fundraising experience includes spells with two Oxford colleges and the Natural History Museum. Nancy joined the gallery in June 2009.

Sven MündnerDevelopment manager, patrons and legacyAfter growing up in Hamburg and studying in Berlin and Cambridge, Sven worked in art institutions, including two years in the development department of the Royal Academy of Arts. He also arrived at Dulwich in June 2009.

Kathleen BiceDevelopment assistantBorn in the USA, Kathleen moved to London to study for her MA in arts management at the City University. She has worked in fundraising for a variety of voluntary organisations and joined the gallery in December 2008.

Silvie CernochovaDevelopment administratorBorn in the Czech Republic, Silvie also graduated in arts management (BA honours) at the City University. She began working as an intern at the gallery in 2007 and joined the development team in June 2008.

The Development team

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Jill’s QuarterBicentenary appealThe initial response to the appeal for funds to restore the painting of St Cecilia in time for the bicentenary celebrations in 2011 has been encouraging. Many donations of £5, £10 and more have poured in and so far we have raised £12,000 of the £30,000 needed. The appeal has been launched to ensure that the painting does not disappear into storage again. With your support, when it comes down from the wall it will go straight to the restorers. If you have yet to make a donation (or, after seeing the picture in its distressed state, you wish to donate more), your contribution would be welcome. If every one of the 6,000 Friends gives £5 (or more) we can reach our restoration target of £30,000 (see insert).

York rewardsTo York for the annual conference of the British Association of Friends of Museums, where I received on behalf of Ingrid Beazley (former editor of In View) the joint runner-up award in the Friends’ newsletter competition. Congratulations, Ingrid. The keynote speaker was Dea Birkett, founder of Kids in Museums. Dea was inspired to set up this group after her two-

year-old son shouted ‘monster’ at a statue of Eagle Man at the Royal Academy, and got the family thrown out! Dea showed as an example of ‘good practice’ a picture of a child happily sprawled on the floor drawing. It was taken in Dulwich Picture Gallery, where children are welcome.

Desert island companionsJo Brand entertained a sell-out audience at the gallery when she talked about the eight books she would take on a desert

island. She chose:• 1984, George Orwell • The Faber Book of Reportage, John Carey• In the Springtime of the Year, Susan Hill• When will there be Good News?,

Kate Atkinson• The Children of Dynmouth, William Trevor• Survival in Auschwitz, Primo Levi• One Flew Over the Cuckoo’s Nest,

Ken Kesey• A privately-published book compiled

by Jo’s mother Jo also signed copies of her latest book, Look back in Hunger. Her luxury item: a blow-up man!

Furniture tooAttended the launch of a new book by Sarah Moulden, The Furniture at Dulwich Picture Gallery, sponsored by Dulwich Decorative and Fine Arts Society and NADFAS Greater London. The book describes each item of gallery furniture and its likely provenance. So, if you have always wondered why furniture (as well as paintings) is displayed in the gallery, buy the book (at the gallery bookshop, where entry is free) and your questions will be answered.Jill Alexander, chairmanFriends of Dulwich Picture Gallery

Friends in focus

Budapest and butterflies

Nigel Thorpe is the first subject in a series of profiles on new Friends committee members

Although new to the Friends here, Nigel is not new to such organisations. He spent eight years as a board member of the

Friends of the Hungarian Fine Arts Museum in Budapest. Nigel became involved while serving as British Ambassador to Hungary. Comments Nigel: ‘The embassy exhibited two dirty Italian cityscapes on loan from the museum. At their insistence we had them restored and discovered they were by Canaletto.’ Nigel’s support of voluntary organisations continued after retirement from the Foreign Office, when he joined Vodafone. He ran two charitable foundations for the company. ‘It was a humbling experience’, Nigel says, ‘to work with Hungarian NGOs in really difficult areas like homelessness and social deprivation. I learnt a huge amount.’ He is trying to put that knowledge to use in London and has recently joined the

trustees of Respond, a charity working with people with learning difficulties. Nigel is a director of the Liszt Academy Network, a scholarship programme for Hungarian musicians who wish to develop their skills and experience in the UK. Music in general is another big interest for him and he is a strong supporter of the Friends’ concerts and other local music. His other passion is butterflies. He wrote for Dulwich OnView about the invasion earlier this year of Painted Ladies. ‘Some of them seem to have found their way into the gallery’s permanent collection’, he notes. After many years abroad, Nigel is glad to have settled in West Norwood. As he was born and spent his first 12 years in Thornton Heath, he sees his arrival here as something of a homecoming.

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It is a little-known fact that Dulwich Picture Gallery owns six very interesting miniatures. Anyone who watched the Antiques Roadshow when it visited the gallery will have heard me telling the story of three of them that arrived in a small box wrapped in plain brown paper a few years ago.

The parcel was handed to a custodian by a mystery man who claimed to

have ‘found’ the box, which was addressed

to ‘Dulwich Art Gallery’, on a bus. The custodian, quite rightly worried that it might be a bomb (it was one of those

times when we were on the alert for such

things), handed it over to me as curator, an action that I heroically decided not to take personally, before bravely locking the box in the library. Having survived the handover, the police were called, complete with sniffer dogs, and after a lot of fuss, the box was opened to reveal the three miniatures and an anonymous note leaving them to the gallery. Months more fuss was required, checking databases of stolen objects, before the Trustees felt that these little portraits could be accessioned.

Benefactor remains a mysteryWe still know absolutely nothing about where they came from; but they have joined an attractive little group. This includes one spectacular miniature of an

early 18th century Polish princess by Rosalba Carriera on long-term

loan to the gallery, and a couple of images of our founders, Desenfans

and Bourgeois. I like to think these two may have been commissioned by Mrs Margaret Desenfans, although there is no documentary evidence to support my hunch. The Friends have now made it possible to have these beautiful but light-sensitive objects on display by funding the making of a case for them. Designed and made by Pearson Dooney, this elegant oak cabinet now stands in Gallery 1. Ian Dejardin

Miniatures on view

Dianne Lim, Friends committee member responsible for managing the Friends’ desk at the gallery, describes her role’s occasional challenges and regular compensations

The Friends’ desk has been in existence since at least the 1980s. The desk sitters are a wonderful group of volunteers from all walks of life who give their time to promote the Friends’ activities. The aim is to have a representative at the desk whenever the gallery is open to the public. The sitter’s role is primarily to encourage visitors to join the Friends and to advertise and sell tickets for their fundraising events. Predictably a new exhibition or the recent publication of In View precipitates a flurry of desk activity. But there are occasions when the desk is quiet. These times allow the desk sitters a rewarding opportunity to engage with any visitor passing by. When I sat at the desk for the first time, I tentatively greeted a passer-by, asking if I could help

him. Half an hour later he got up from the chair having talked non-stop about his life and his love of the gallery. I had discovered a very pleasurable way to pass the time! I was asked to join the Friends committee in 2007. Soon after, I found myself tackling the organisational nightmare of the desk rota! The rota is produced twice a year. One three-hour monthly session is allocated to each of our 50 volunteers. Fortunately, the sitters are remarkably dependable and rarely request an alteration, so the task is less daunting than it at first appeared. When sitters are unable to fill their slot the desk relies on the 25 indispensable members of the Friends who represent ‘the reserves’. Volunteers for the desk are always needed and can sit for as much or as little time as they can spare. All new sitters receive two short induction sessions before going solo. Any anxiety a newcomer may feel about situations that could arise or questions that might

be asked is soon allayed by the reassuring presence of the well-informed gallery staff. Providing a friendly welcome to the gallery’s visitors is perhaps the most important task for the desk volunteers. I look forward to my hours of calm at the desk. It is an appealing way to escape from the pressure of mobile ‘phones, shopping trolleys, hospital outpatient schedules and errant golf balls! Dianne Lim is a part-time Consultant in Paediatric Audiological Medicine at the Royal National Throat, Nose and Ear Hospital.

Desk Reflections

Left: Portrait of a Youth C.P DPG659. Top: Portrait of a Lady att. Gervase Spencer DPG660. Right: Portrait of a Man, John Hoskins (c.1595 – 1665) DPG658.

Dianne Lim at the Friends’ desk. Photo: Michael Lim.

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Fargo (1996)Cert 18/98 minsMonday 18 JanuaryDirected by Joel Coen, starring William H Macy, Steve Buscemi and Frances McDormand■ Jerry Lundegaard is in a fi nancial jam and, out of desperation, comes up with a plan to hire two crooks to kidnap his wife and demand a ransom from her wealthy father. However, Jerry soon fi nds everything escalating out of his control! The Coen Brothers’ dark comedy about life in the Mid-West of America, a region populated by a rich variety of eccentric characters and tons of snow. Oscar winner for Best Actress and Best Screenplay.■ Free wine and canapés kindly supplied by Romeo Jones of Dulwich Village■ Free Raffl e Prize – the soundtrack CD to the Coen Brothers’ movie Oh Brother Where Art Thou?

The Lives of Others (2006)Cert 15/137 minsMonday 22 FebruaryDirected by Florian Henckel von Donnersmark, starring Sebastian Koch■ Set in East Germany in 1984, intellectual stars, an actress and her dramatist partner, are spied on by the secret police. This chilling fi lm about

Each sociable evening includes:■ an introduction and fi lm notes■ free refreshments■ a free prize draw■ DVD sales (please

bring along your unwanted DVDs)

GalleryFilm

Tickets available from the Friends’ desk in the gallery or call 020 8299 8750 Monday to Friday 9 –11am. Leave a message outside these hours or e-mail [email protected]

Bar opens 7.15pm, Programme begins 7.45pmLinbury Room£8, £6 Friends

Screenings and more…

observation, interrogation, spying and intrigue tells a heart-wrenching story of how the offi cial and unoffi cial worlds of the state operated. A suspense-fi lled thriller with a complex and powerful moral drive. Oscar for Best Foreign Language Film.■ Free wine and nibbles kindly supplied by Luca’s Bakery & Café, East Dulwich ■ Free Raffl e Prize – Stasiland by Anna Funder kindly supplied by Herne Hill Books.

Somers Town (2008)Cert 12A/72 minsMonday 15 MarchDirected by Shane Meadows, starring Thomas Turgoose, Piotr Jagiello■ Somers Town follows two teenage boys Tomo and Marek, adrift in an adult world, who develop a mutual trust and acceptance through an unlikely, cross-cultural friendship. A beautifully modulated and touching study of young manhood. ‘A total joy. The best British fi lm of the year’, Daily Mirror. Nominated for the Best British Independent Film Award.■ Free wine and canapés kindly supplied by Franklins Restaurant, East Dulwich■ Free Raffl e Prize – DVD This is England, also directed by Shane Meadows

Cert U/81 minutesSunday 7 March3.45pm£4 Free juice and popcorn Directed by Chris Wedge ■ This is a hilarious computer-animated feature about three ice-age animals and a human baby which turns an age-old story of

unlikely allies into something as fresh as the driven snow. Featuring an all-star voice cast, Ice Age is ‘a pure delight’ (New York Daily News) for all ages!■ Free raffl e prize – £10 voucher courtesy of Art Stationers, Dulwich Village

GalleryFilm for Kids: Ice Age (2002)

Introduction and Q&A by producer Barnaby Spurrier

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7 for 7.30pm/Linbury Room£10, £8 Friends Includes a glass of wine

The first in a new series of lectures about major exhibitions in other London galleries features two highly-innovative luminaries, Vincent Van Gogh and Henry Moore.

InTown lecture series

The Real Van Gogh: The Artist and His LettersThursday 25 February■ Graham Greenfield, a Royal Academy lecturer, talks about the RA’s landmark exhibition of the work of Vincent van Gogh (1853 – 90). Focus of the exhibition will be the artist’s remarkable correspondence: some 35 original letters, rarely exhibited to the public due to their fragility,

will be on display, together with around 65 paintings and 30 drawings that express the principal themes to be found within the correspondence. The first major Van Gogh exhibition in London for more than 40 years, this will be a unique opportunity to gain an insight into his complex mind. ■ The exhibition, which runs from 23 January – 18 April, is organised by the Royal Academy of Arts with the Vincent Van Gogh Museum, Amsterdam.

Henry Moore: Radical, Experimental and Avant-gardeThursday 25 March■ Jo Walton, a Tate Britain lecturer, will take us through the Henry Moore exhibition which opens there in February 2010.This major exhibition brings together the most comprehensive selection of Moore’s work for a generation. It includes some of his iconic ‘mother and child’ figures and his drawings of Londoners sheltering from the Blitz. The exhibition will reassert his position at the forefront of progressive 20th century sculpture.■ The exhibition runs from 24 February to 15 August 2010 at Tate Britain in collaboration with the Art Gallery of Ontario, Toronto.

Top: Vincent Van Gogh Self-portrait as an Artist, January 1888, oil on canvas, 65.2 x 50.2 cm, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). Bottom: Henry Moore, Reclining Figure, 1939, LH 210, elm wood, L 205.8cm. Photo: The Henry Moore Foundation archive.

The Searchers (1956)

New series

After Artplay,

the drop-in

family workshop

2 – 3.30pm

Cert U/ 119 minutesMonday 19 AprilDirector John Ford, starring John Wayne, Jeffrey Hunter, Natalie Wood and Vera Miles■ In this classic western, John Wayne plays Ethan, a Confederate soldier returning home after the Civil War. A group of Comanches, led by the ominous Chief Scar, kills his brother’s family, taking the youngest daughter. Ethan sets out on a perilous quest to find her. Dazzling cinematography captures the beauty and dangerous isolation of the frontier. It inspired Buddy Holly to write That’ll be the day. ■ ‘The greatest Western of all time’ – American Film Institute ■ Free themed wine and nibbles■ Free raffle prize – Buddy Holly CD featuring That’ll be the day

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14 In View Summer 2009 www.dulwichpicturegallery.org.uk

The Camden Town GroupWednesday 27 January■ The Camden Group’s brief life heralded a new spirit in British painting. The art of Walter Sickert, Spencer Gore, Harold Gilman, Charles Ginner and Robert Bevan embraced the lives of ordinary people – its beauty and magic as well as its boredom or anxiety. London coster girls, chilled cab men, suburban streets and the music hall were represented sympathetically, not as they ought to be. The style was advanced consciously with bright, pulsating colour harmonies derived from French Post-Impressionist art.Robert Upstone, Curator of Modern British Art, Tate Britain

The St Ives GroupWednesday 3 February■ In the post-war period, the fishing town and artists’ colony of St Ives in Cornwall was the centre for some of the most advanced abstract painting and sculpture in Europe. Looking at the leading protagonists, Ben Nicholson, Barbara Hepworth, Naum Gabo, Peter Lanyon and Patrick Heron, this talk explores what

it was about the place that attracted an artistic avant-garde and the influence of the creative community upon the artists’ careers and their art.Chris Stephens, Curator of Modern British Art and Head of Displays, Tate Britain

The Group of SevenWednesday 10 February ■ In the early 20th century, a group of artists based mostly in Toronto, Canada, set themselves the task of developing a new, vibrant style of landscape painting capable of capturing the lonely expanses of the Canadian wilderness. Their spiritual leader was Tom Thomson; his tragic early death in 1917 spurred the artist’s friends he left behind to form the Group of Seven. Iconic in their own country, they are little-known here, but that may be about to change… Ian Dejardin, Director, Dulwich Picture Gallery


InSight lecture series

10.30 – 11.30am/Linbury RoomSeries of 3 £25, £20 FriendsSingle lecture £10, £8 friendsIncludes coffee afterwards

Group DynamicsIn the first half of the 20th century, three groups of artists, influenced by the Impressionists and by subsequent artistic movements in France, became leading forces in the development of modern art. Two were based in Britain and one in Canada. Three experts give a fresh appraisal of each of the group’s distinctive and striking work. Despite the different dynamics of each group, they assess how far being part of a creative community shaped their work and what it contributed to their artistic legacy.

Clockwise from above: Charles Ginner, Piccadilly Circus, 1912. Peter Lanyon, Collage incorporating photographs of himself and other St Ives artists, c.1956. Tom Thomson, The Jack Pine, 1916 – 17, National Gallery of Canada


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The Art of the Mamelukes Wednesday 3 March■ During the Mameluke period, 1250-1516, Cairo became the intellectual, cultural and religious centre of the Islamic world. Patronage fl ourished through the building of institutions, many of which remain to this day, and the production of objects and manuscripts. This talk surveys the artistic accomplishments of the period, particularly the illumination of Mamelukes’ Qur’ans and their exquisite bindings. Alison Ohta, Curator, Royal Asiatic Society

Art and the OttomansWednesday 10 March■ The Ottoman Empire was among the longest-lived Islamic states. Its art refl ects this longevity, moving from the eclecticism of the 14th century to the dynamic fusion of the

16th century, the art that everybody loves. The changing styles of later centuries also deserve our affection, for they tell a fascinating story.Tim Stanley, Senior Curator for the Middle Eastern collections, Asian Department, the V&A

Jewelled Arts of the Mughal Court

Wednesday 24 March ■ The wealth and patronage of the Mughal emperors in the late 16th and early 17th century attracted craftsmen from all over India, from Iran, and even from Europe. Together, they created sumptuous jewelled artefacts for the court. This talk explores ‘the treasury of the world’, as a distinguished English visitor called it in 1616.Susan Stronge, Senior Curator, Asian Department, the V&A


Islamic Art: 14th to 18th CenturiesIslamic art was an instrument for expressing dynastic power in this great age of empires. Spurred by royal patronage, the arts fl ourished; fi ne architecture was fi lled with elegantly decorated manuscripts, richly patterned textiles and ceramics, and objects of all kinds made from precious materials. Lucrative trade and the migration of artists brought in infl uences from Europe and China, whilst an aesthetic established in 13th century Iran and renewed there in the 15th century gave continuing vitality to Islamic tradition.

Clockwise from above: Mameluke bookbinding. Jewelled jade sword hilt 1680 – 1720, V&A. Ottoman.

10.30 – 11.30am/Linbury RoomSeries of 3 £25, £20 FriendsSingle lecture £10, £8 friendsIncludes coffee afterwards

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7.45–9.15 pm/Linbury RoomSeries of 6 lectures £50, £40 FriendsSingle lectures £10, £8 FriendsBar and book sales in the interval

This series examines the involvement of women in art as significant artists in their own right. From the 17th century to the early 20th, female artists were very much in the minority. Two women were among the founder members of the Royal Academy in 1768, but it would be another 168 years before another woman artist was permitted to add ‘RA’ to her name.

An Unsuitable Job for a Woman?Tuesday 12 January■ In this lecture we will discover some of the powerful and determined women who forged careers for themselves as artists. The realm of home and family may have provided subject matter for some, but others tackled biblical violence, military disaster, emerging technology and the glamour of high society. It is a long way from a cultivated lady doing a little light sketching as one of her many accomplishments.Jo Walton

Frida Kahlo – a life on canvasTuesday 19 January ■ After a terrible accident as a child, Frida Kahlo was seldom without pain, and she charted her life, including her two marriages to the same man, Diego Rivera, through a series of fascinating and revelatory self-portraits and other colourful (and sometimes disturbing) works. As well as illustrating her personal agonies and ecstasies, her art reflected her attitude to pre-Columbian tradition, capitalism and Communism.Frank Woodgate

‘We can’t get even, so we’re gonna get mad’ – Art and the F-word: FeminismTuesday 26 January■ After many years of agitation, feminism has managed to achieve major legislative changes in many parts of the world. As all women know, however, changing the law is one thing, but changing attitudes and cultural practice is another. Feminism in art has used various strategies, ranging from humour and irony through to confrontation and downright belligerence. This lecture will look at some key artists and their work, and ask questions about what kind of impact feminism has had on art, and whether overt political content compromises artistic integrity.Linda Smith

Tuesday evening lecture series

The Canvas Ceiling: Women Artists through the ages

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Modern MothersTuesday 2 February ■ Modern portrayals of motherhood by women artists are far removed from traditional images such as the Madonna and child. Today we are presented with everything from giant spiders to candid photographs taken one hour, one day and one week after giving birth. What are these artists telling us about their view of the relationship of mother and child?Melanie Paice

Georgia O’Keeffe Tuesday 16 February ■ Georgia O’Keeffe is one of the most popular artists in America, known principally for her semi-abstract paintings of nature, particularly flowers, which are said to contain strong erotic undertones. However, during her 70 years as an artist, she produced works of great originality, variety and complexity. Conventionally trained in the most prestigious art schools in the United States, she developed her unique style after studying Kandinsky’s works and writings and coming under the influence of Alfred Stieglitz, the great photographer and gallerist. This lecture aims to explore some of the life and work of this eccentric and pioneering woman.Peter Scott

‘Mad Tracey from Margate’ Tuesday 23 February ■ Tracey Emin shot to fame and notoriety with My Bed in 1999. She has since earned fortune and criticism in virtually equal measure. She is frequently accused of being self-indulgent because of the autobiographical nature of much of her work, yet many artists have used their life experiences to inform their work (including Frida Kahlo from earlier in the series), without attracting the criticism of self-obsession. This lecture looks at some aspects of what is a wide-ranging and varied body of work, and seeks to examine some of the reasons behind the antagonism Emin arouses.Rosalind Whyte


Lecture 1: A Young Woman Drawing, Marie-Denise Villers, 1801, Metropolitan, NYC. Lecture 2: Self-portrait with Cropped Hair, Frida Kahlo, 1940, MOMA, NYC. Lecture 3: Dinner Party, Judy Chicago, 1973/9, Brooklyn Museum, NYC. Lecture 4: Maman, Louise Bourgeois, 1999, Tate Modern. Lecture 5: D H Lawrence Pine Tree, Georgia O’Keefe, 1929, Wadsworth Atheneum, Hartford, Connecticut. Lecture 6: Everyone I Have Ever Slept with Between 1963 and 1995, Tracey Emin (destroyed in fire).

All six speakers lecture extensively for Tate Britain, Tate Modern, throughout Britain and internationally

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London ConchordSunday 7 February

7pm/Gallery£22, £20 Friends

Meet the musicians after the concert, when champagne (included in the ticket price) will be served

■ London Conchord is an ensemble of leading musicians whose names will be recognised immediately by regular opera

and concert-goers in London. The four members who will be playing on this occasion form an intriguing group – a string trio plus bassoon. The pieces they will be playing are not often heard, but are all chamber music at its best: intimate, involving and often amusing. Andrea de Flammineis – bassoon, Maya Koch – violin, Douglas Paterson – viola and Thomas Carroll – cello will be performing String Trio op.9 no.1 by Beethoven, Duet for Violin and Bassoon by Paganini, Sonata for Bassoon and Cello by Mozart and String Trio by Dohnanyi.■ Unusual? Yes. Challenging? Not at all. Entertaining? Very much so!

Flamenco Music and DanceJuan Ramirez and his troupe, Viva Flamenco, with food by Barcelona TapasSaturday 20 March 6.30 pm St Barnabas Parish Hall, Dulwich Village£17, £15 Friends, £10 under 16s Includes a glass of Amontillado sherry or juice■ Enjoy a family evening of vibrant Flamenco music and dancing with Juan and his troupe thrilling you with their virtuosity. ■ Delicious tapas on sale for your supper. Please bring your own wine or soft drink. ■ Aspiring young dancers and flamenco aficionados – this is the evening for you.■ Tables of eight will be set up so if you want to book a table just let us know.

Special events

Cast your eyes downwards: a tour of the furniture at Dulwich Picture GallerySaturday 6 March10.15am/Gallery£8, £6 FriendsNumbers limited to 25; booking recommended■ Sarah Moulden will discuss the history and significance of the gallery’s fine collection of furniture together with the historical personalities involved in its bequest. As author of The Furniture at Dulwich Picture Gallery, published September 2009, she will draw on her research, findings from recent conservation work and discoveries made regarding their provenance.■ Sarah Moulden is an Assistant Curator at Dulwich Picture Gallery.

Concert: London Conchord


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The Royal Hospital ChelseaWednesday 27 January1.30 – 3pm Meet at the Chelsea Gate next door to the National Army Museum£10, £8 Friends ■ Founded in 1682 by King Charles II and intended for the ‘succour and relief of veterans broken by age and war’, the Royal Hospital is one of the few

institutions in the United Kingdom with an unbroken three centuries of service. Home to the Chelsea Pensioners, the hospital still serves its original purpose and intends to continue its role well into the future. Our tour will be conducted by one of the pensioners, and will include the Great Hall, Octagon and Chapel. The nearest © is Sloane Square.

The Royal Institution Tuesday 9 February 2.30 – 4pm Meet at the entrance, 21 Albemarle Street, W1£10, £8 Friends■ The Royal Institution of Great Britain building has recently undergone a major refurbishment which has expanded the Faraday Museum over three floors. Our tour, led by staff from the Collections and Heritage Department, will cover elements of the history and architecture of the building. You will hear also the stories behind some of the exhibition displays which relate to the theme of communication, and the history of scientific discovery in the building.The nearest © is Green Park.


London visits

Thursday 18 February 11am – 12pm Meet downstairs in the new entrance foyer below ground£10, £8 Friends■ This beautiful church was designed in 1721 by James Gibbs, one of Sir Christopher Wren’s pupils. The design, although criticised at the time, became highly influential, and was copied widely, particularly in the United States. The church has recently undergone a major refurbishment. Our detailed tour will explore not only the church and the crypt, but go behind the scenes into the vaults and the Royal Box where the Hanoverian kings worshipped. The nearest © is Charing Cross.

Tickets for these events are limited so please book early to ensure a place

St Martin-in-the-Fields

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Sydenham Hill to Crescent Wood Road Sunday 25 April 2.30 – 4.30pm Meet on the corner of Sydenham Hill and Crystal Palace Parade, by the roundabout£6, £5 Friends■ This walk will be on the level and take us along the edge of the Dulwich Estate at its highest point. It will be led by Steve Grindlay,

archivist of the Sydenham Society, and Ian McInnes from the Dulwich Society. During the walk, we will look

in detail at the range of 19th and 20th century buildings along the road and gain an insight into the development pressures in the area during the last 200 years.

Local walks

Court Lane Sunday 7 March2.30 – 4.30pm Meet at the corner of Court Lane and Calton Avenue by the cemetery £6, £5 Friends■ The development of Court Lane began in the 1890s. Lack of demand meant that the Dulwich Estate’s original intention of restricting the road to larger, more individual, houses was unsuccessful. Subsequent fi nancial pressures required them to start selling land to speculative builders and the road was only fi nally built out in the early 1930s. This walk, led by Ian McInnes, will provide information on the houses, their architects and builders. Also there may be an opportunity to have a closer look at some of the more interesting houses.

Tickets available from the Friends’ desk in the gallery or call 020 8299 8750 Monday to Friday 9 –11am Leave a message outside these hours or e-mail [email protected]

Tickets for

these events are

limited so please

book early to

ensure a place

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For information

E-mail [email protected] call 020 8299 8750

Chairman: Jill Alexander020 7274 [email protected]

Hon Treasurer: David Parry020 8670 3992

Hon Secretary: Jane Reid020 8670 [email protected]

Hon Membership Secretary: Debbie [email protected]

Brina FaulknerConcertsAmanda GreatorexGraphicsStephen HendenITBarbara KleyTicketsSally-Ann JohnsonMarketing/Communications/Dulwich OnView

Dianne Lim Friends’ deskIan McInnes VisitsJudy Mewburn EventsGerry Ratzin TicketsJenny Sweeney Lectures/QuizBarbara RichardsonLectures, Friends Exhibition, TicketsNigel Thorpe Publicity/GalleryFilm

Co-opted:Peter Belchamber Editor, In View

Dulwich OnView Yang May Ooi, Angela Macdonald, Ingrid Beazley, Steve Slack, Angela Corrias, Anna Sayburn, Bella TulloGalleryFilm Paul Youngbluth, Steve Slack, Frank Edwards, Anna de Pass, Ingrid Beazley, Bella TulloLectures Susan Wood, Anne and Doug Smith, Esther ApplebyTickets Pat Cox, Vanessa Sutcliffe

Committee

Wanted: writers, photographers, filmmakers, artists, anyone with ideas…Contribute to the online cultural magazine Dulwich OnView (www.dulwichonview.org.uk). Are you interested in people and their stories? Are you passionate about arts, music and cultural events at Dulwich Picture Gallery and other venues in the area? We are looking for volunteers to contribute to this fun and exciting project.Contact Yang May Ooi:[email protected]

Friends’ DeskVolunteers at the Friends’ desk in the gallery play a vital role encouraging visitors to become Friends and selling tickets for events.Contact Dianne Lim:[email protected] 8693 6423

SponsorshipWould 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 friendschairman@ dulwichpicturegallery.org.uk

Booking form


Help needed

In View Magazine of the Friends of Dulwich Picture Gallery

Editor Peter BelchamberDesigner James Alexander, www.jadedesign.co.ukSub-editors Caroline Annesley, Gerry Ratzin, Barbara KleyPrinters AF Litho, Croydon, www.aflitho.co.uk

■ The telephone line (020 8299 8750) for credit and debit card (no Amex) bookings for tickets for events run by the Friends is open from 9 – 11 am Monday to Friday■ Outside these hours, please leave a message and calls will be returned on the next working day ■ A £1 handling fee is added to each transaction■ Tickets may be bought at the Friends’ desk in the gallery with cheque or cash only (no cards)■ Postal bookings by cheque only■ Enquiries: [email protected]

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From the Hon Membership Secretary

Membership CardsThank you to all members who renewed their subscriptions. If anyone has yet to renew, do get in touch; it is not too late. If you have lost your card or it has been stolen, please send me a stamped addressed envelope and I will replace the card. Cards cannot be replaced without an SAE.

Gift AidWe are very grateful to all our Friends who sign Gift Aid declarations. We reclaimed more than £36,000 from HM R&C last year, and it makes a significant difference to our funding. If you are not signed up (check your card for a code ‘G’) or no longer pay either

Income or Capital Gains tax, then contact me on 07599 816 207.

Change of AddressPlease let us know! Many of our mailings are hand delivered (up to 50%) and these are unlikely to be forwarded.

Visits to the GalleryPlease bring your card and remember to get a ticket for free entry from the gallery desk. This allows everyone to keep accurate records of visitors. If you do not have your card then please ask to sign the Friends card book at the desk. You must enter your name, address and telephone number. This will be checked by the Hon Membership Secretary and any queries followed up.

Contact me [email protected] Barton, FDPG Memberships c/o Dulwich Picture GalleryGallery RoadLondon SE21 7AD Telephone 07599 816 207.

Membership information

Please note

Photographs taken during Friends’ events may be used in the Friends’ magazine In View, in the online magazine Dulwich OnView or on the Friends’ flickr site.

E-mail me!

Get even more from your Friends’ membership – register for the monthly e-newsletter to be kept informed of the latest gallery and Friends’ events and news. Just send your name, address and e-mail to [email protected].

Friends AGM 2010

The Annual General Meeting of the Friends of Dulwich Picture Gallery will be held on Tuesday 29 June, 2010 at 7.30pm in the Linbury Room. Nominations are invited for membership of the Friends Committee for 2010 – 13. For details of committee responsibilities and/or an application form, please contact Jane Reid, Honorary Secretary on 020 8761 7980 or [email protected]. Nominations need to be received by Friday 5 March, 2010.

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What’s on January – April 2010

Film Talks/tours Special events Visits/walks Exhibitions/other

January

■ 12 Tues 7.45 – 9.15pm Linbury Room Lecture series: 1. – Significant Women Artists 16■ 18 Mon 7.15 for 7.45 pm Linbury Room GalleryFilm: Fargo 12■ 19 Tues 7.45 – 9.15pm Linbury Room Lecture series: 2. – Frida Kahlo – a life on canvas 16■ 26 Tues 7.45 – 9.15pm Linbury Room Lecture series: 3. – Art and the F-word: Feminism 16■ 27 Wed 10.30 – 11.30am Linbury Room InSight series: The Camden Town Group 14■ 27 Wed 1.30-3.00pm * London visit: The Royal Hospital Chelsea 19

February

■ 2 Tues 7.45 – 9.15pm Linbury Room Lecture series: 4. – Modern Mothers 17■ 3 Wed 10.30 – 11.30am Linbury Room InSight series: The St Ives Group 14■ 7 Sun 7pm Gallery Concert: London Conchord 18■ 9 Tues 2.30 – 4pm * London visit: The Royal Institution 19■ 10 Wed Gallery Paul Nash: The Elements exhibition opens■ 10 Wed 10.30 – 11.30am Linbury Room InSight series: The Group of Seven 14■ 10 Wed 6.30pm Gallery 1811 Club private view ■ 15 Mon 6.30 – 8.30pm Gallery Friends’ private view: Paul Nash: The Elements■ 16 Tues 7.45 – 9.15pm Linbury Room Lecture series: 5. – Georgia O’Keeffe 17■ 18 Thurs 11am – 12 noon * London visit: St Martin-in-the-Fields 19■ 18 Thurs 12.30pm Linbury Room Director’s lecture: Paul Nash: The Elements 4■ 22 Mon 7.15 for 7.45pm Linbury Room GalleryFilm: The Lives of Others 12■ 23 Tues 7.45 – 9.15pm Linbury Room Lecture series: 6. – Mad Tracey from Margate 17■ 25 Thurs 7 for 7.30pm Linbury Room InTown lecture: The Real Van Gogh (letters and works) 13

March

■ 3 Wed 10.30 – 11.30am Linbury Room InSight series: The Art of the Mamelukes 15■ 6 Sat 10.15am Gallery Special event: a tour of the furniture at the gallery 18■ 7 Sun 2.30 – 4.30pm * Local walk: Court Lane 20■ 7 Sun 3.45pm Linbury Room GalleryFilm for Kids: Ice Age 12■ 10 Wed 10.30 – 11.30am Linbury Room InSight series: Art of the Ottomans 15■ 15 Mon 7.15 for 7.45pm Linbury Room GalleryFilm: Somers Town 12■ 20 Sat 6.30pm St Barnabas Hall,

Dulwich VillageSpecial event: Flamenco Music and Dance 18

■ 24 Wed 10.30 – 11.30am Linbury Room InSight series: Jewelled Arts of the Mughal Court 15■ 25 Thurs 7 for 7.30pm Linbury Room InTown lecture: Henry Moore 13

April

■ 19 Mon 7.15 for 7.45pm Linbury Room GalleryFilm: The Searchers 13■ 25 Sun 2.30 – 4.30pm * Local walk: Sydenham Hill to Crescent Wood Road 20

* See London visits and walks, pages 19 – 20

Founded in 1811, Dulwich Picture Gallery was the first public gallery to open in Britain. Bequests by Edward Alleyn two centuries earlier in 1619, William Cartwright in 1686, Francis Bourgeois in 1811, William Linley in 1835 and Charles Fairfax Murray in 1911 have enabled the gallery to become the outstanding place

of cultural heritage it is today. Designed by Sir John Soane and built with a bequest from Bourgeois and fellow-founder, Noel Desenfan’s wife Margaret, the gallery will be celebrating its bicentenary in 2011. To enable the gallery to share its remarkable collection with its many visitors, the local community and the next generation, it needs to raise more than

£2 million a year to carry out its activities, for which it receives no public funding. Legacies are a popular, tax-efficient way of contributing towards the work of the gallery and its development. If you would like more information, please contact Lily Harriss, director, Development department on 020 8299 8725.

Dulwich Picture Gallery: Legacies

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Documents

Dulwich InView