InView Spring 2012

Spring 2012£2 when sold

Van Dyck paints while the plague rages

Magazine

of the Year

Xavier F. Salomon* sets the scene for the the first exhibition to focus exclusively on the dramatic period in Van Dyck’s life when he visited Sicily, shortly to be followed by a much more dangerous visitor: the plague

Van Dyck paints while the plague rages

This portrait of the viceroy is the main reason why Van Dyck travelled to Palermo. Emanuele Filiberto died of the plague only a few months after the portrait was finished.

In View Spring 2012 3

The Flemish artist Anthony van Dyck (1599 – 1641) holds a special place in

the history of British art. He lived in London for almost ten years at the court of Charles I and painted hundreds of images of British aristocrats. Van Dyck’s portraits are omnipresent in our marvellous country houses and they are the embodiment of a particularly ‘English’ form of elegance and splendour. Without Van Dyck we would not have Gainsborough. We are familiar with Van Dyck’s paintings from important exhibitions such as Van Dyck in England at the National Portrait Gallery in 1982, the great mono-graphic show, Van Dyck 1599 – 1641, at the Royal Academy in 1999, and the recent Van Dyck & Britain at Tate Britain in 2009. Dulwich Picture Gallery is no stranger to Van Dyck exhibitions, and in 1995 the curator Ann Sumner organised the fascinating show Death, Passion and Politics: Van Dyck’s

Portraits of Venetia Stanley and George Digby, which focused on the unsettling portrait of Lady Digby on her deathbed. The collection of Van Dyck paintings at Dulwich is small but comprehensive, with six works that range in period, format and genre, to show how diverse his production was and how, even though we tend to think of him as a portrait painter, he was an artist who produced religious and mythological paintings as well.

Initial StimulusThe most beautiful portrait by Van Dyck at Dulwich is the one of Emanuele Filiberto of Savoy, Prince of Oneglia and Viceroy of Sicily, the son of the Duke of Savoy and grandson of King Philip II of Spain. Resplendent in his Milanese armour, the viceroy is the archetypal representation of a foppish 17th century ruler. It is relatively rare for the outfit

Van Dyck in Sicily: Painting and the Plague, 1624–25

15 February – 27 May 2012

Van Dyck appears as a dandy, just before setting out on the trip that brought him to Italy, and then to Palermo. His foppish elegance corresponds with all contemporary descriptions of the young artist.

Sponsored by

The grant from the American Friends of Dulwich Picture Gallery was made possible through the generosity of The Arthur and Holly Magill Foundation

Farrow & Ball Ltd

REDISCOVERING OLD MASTERS: THE MELOSI SERIES

www.dulwichpicturegallery.org.uk4 In View Spring 2012

of a sitter in a portrait to survive, but in this case Emanuele Filiberto’s armour, by the so-called Maestro dal Castello, is preserved in the Real Amería in Madrid. The idea of reuniting the viceroy and his armour was the initial stimulus behind this exhibition. Van Dyck was in Italy between 1621 and 1627, using Genoa as his main headquarters, but also travelling to Rome and Venice. In the spring of 1624 he sailed from the harbour of Genoa to Palermo, the capital of Sicily, where he had been summoned by the viceroy to paint his portrait. The Dulwich painting is central to the time the artist spent on the island. Surely the trip was meant to be a shorter one. Van Dyck had no idea that soon after his arrival on the island a much more terrifying visitor was to land in Sicily: the plague. A few months after he portrayed Emanuele Filiberto, the pestilence hit the city, claiming most of its population. Effectively Van Dyck could not leave the island, under stringent quarantine regulations.

On 3 August 1624, the viceroy – only 36 years old – died of the plague, and the city was left in the hands of the Archbishop Giannettino Doria. During his Sicilian sojourn Van Dyck was surprisingly productive. It is astonishing to think that while the plague raged through the city the painter was able to concentrate on his work. We know that while in Palermo he produced a few portraits, all of which are included in the exhibition. The drawing of the aged painter Sofonisba Anguissola on the pages of his sketchbook is one of the most moving depictions of old age in Western art. The portrait of Desiderio Segno – one of my favourite works in the entire exhibition – records the image of the wealthy Genoese merchant, who was also destined to die, tragically young, a few years later. Celestial IntercessorOn 15 July 1624 the relics of a medieval saint, Rosalia, were found in a cave on the Monte Pellegrino, just outside Palermo.

Front cover: Van Dyck, Sir Anthony (1599 – 1641), St Rosalie crowned with Roses by Two Angels, 1624, Oil on Canvas, 117.2 × 88cm, Apsley House, Wellington Museum, English Heritage © English Heritage Photo Library. Page 2: Van Dyck, Sir Anthony, Emmanuel Philibert of Savoy, Prince of Oneglia, 1624, oil on canvas, 126 × 99.6 cm, © By permission of the Trustees of Dulwich Picture Gallery. Page 3: Van Dyck, Sir Anthony, Self-Portrait, 1620 – 21, Oil on canvas, 119.7 × 87.9cm, The Metropolitan Museum of Art, The Jules Bache Collection, 1949 (49.7.25) Image © The Metropolitan Museum of Art. Page 4: Van Dyck, Sir Anthony, Sofonisba Anguissola, 1624, Oil on Canvas, 42 × 33.5 cm, Sackville Collection, Knole, © Matthew Hollow Photography. Page 5: Van Dyck, Sir Anthony, Saint Rosalie interceding for the Plague-stricken of Palermo, 1624, Metropolitan Museum of Art, NYC, oil on canvas, 99.7 × 73.7cm. Purchased 1871, Acc.n.71.41© 2011. Image copyright: The Metropolitan Museum of Art/Art Resource/Scala, Florence. Maestro del Castello de Tre Torri, Armour of Amenuele Filiberto of Savoy, c. 1606, etched steel, partly gilt, Real Amería, Madrid © Patrimonio Nacional.

‘It is astonishing to think that while the plague raged through Palermo,the painter was able to concentrate on his work’

Curator’s lectureThursday 16 February12.30 – 1.30pm/Linbury RoomTickets available onlineTickets at the door on a first come, first served basisSuggested donation: £6

The encounter between Van Dyck and the aged female painter Sofonisba Anguissola is one of the most poignant events during the painter’s Sicilian sojourn. Sofonisba gave him tips on how to paint portraits, based on her experience.


This miraculous find provided the city with a celestial intercessor against the plague, and Van Dyck became the saint’s official painter. All five paintings of Saint Rosalia produced by the artist in Palermo – now in London, Madrid, New York, Texas and Puerto Rico – are reunited for the first time in the exhibition. To this day the saint is revered and worshipped in Palermo. Even the city’s football team sports a pink uniform (the saint’s colour) in her honour. By late 1625 Van Dyck was safely back in Genoa, as the plague had been vanquished in Sicily. This will be the first exhibition to focus exclusively on this fascinating period in the painter’s life, and is an exceptional opportunity to see reunited together his entire production from this dark and disquieting time in his life.* The author is curator in the department of European Paintings at The Metropolitan Museum of Art in New York City and the former chief curator at Dulwich Picture Gallery.

St Rosalia’s bones were found while the plague ravished Palermo. Van Dyck single-handedly created her iconography, and the saint to this day is portrayed as the painter imagined her in 1625.

This magnificent armour was made for the young Emanuele Filiberto. Van Dyck must have had it in his studio when working on the portrait of the viceroy. It is unusual for an outfit depicted in a 17th-century portrait to survive – and the exhibition will provide a rare opportunity to see the portraitand armour together.


Clockwise from left: Shankara Ragaputra of Megha Raga, Sub-imperial Mughal, c. 1610 – 20, Gouache on paper, 22 × 29.7 cm, Claudio Moscatelli Collection. Vinoda Ragaputra of Hindola Raga, Northern Deccan, c. 1630 – 50, Gouache on paper, 33.2 × 27 cm, Claudio Moscatelli Collection. Lalita Ragaputra of Bhairava Raga, Pahari, Chamba, c. 1690 – 1700, Gouache on paper, 21.5 × 15.4 cm, Claudio Moscatelli Collection. Back cover: Kakubha Ragini of Megha Raga, Hyderabad, c. 1760, Gouache on paper, 30.6 × 19.9 cm, Claudio Moscatelli Collection. All photos: Matthew Hollow Photography.

For nearly 400 years it was one of the most prolific genres of Indian miniature

painting, yet the term ‘ragamala’ remains elusive, frequently mistaken for the name of an artist or school of painting. So what is ragamala? On first glance, as you move from picture to picture, stories reveal themselves but seemingly with no correlation: Shiva, a crowned and bearded deity, holds a skull cap and rides a bull; a female stands in beautiful green pasture surrounded by peacocks; a royal figure listens to a musician playing an Indian string instrument alongside a curious dragon. Yet, they all stem from a shared root: the sacred essence of ancient Indian music. Ragamala paintings are pages from a garland (mala) of visual melodies (ragas). Each page visualises a particular mode (five or more musical tones), and is frequently accompanied by a brief inscription or poem that suggests the time of day, season and e ven mood of the raga. The transformation of expression from music, through poetry to painting was a gradual one, most likely stimulated by the invention of paper. Medieval musicians would associate each raga or mode with a deity and name it, perhaps as a means of memorizing a melody. Intrigued poets of the late medieval period then personified these ragas and elaborated their tales in vivid verbal imagery. These stories along with other influential musical texts provided the poetic source for ragamala painting.

A Painted MelodyRagamalas were not made to hang on a wall; they are tactile objects for private consumption. Each set of thirty or forty loose pages was sometimes bound or left as a set and stored on a shelf. At special events they would have been passed round fellow connoisseurs after shared food and music. Luckily for us, the gentle life of a ragamala has allowed their exquisite colouring to be preserved. The natural pigments, made from minerals, insects and flowers, still appear to glow.

Patrons, Painters and ScribesWhile the available evidence suggests that ragamala painting flourished from the second half of the 15th century and dwindled in the late 19th century, with the decline of aristocratic patronage, the patrons, painters and scribes of many ragas remain unknown. Indeed, when we first looked at the superb Claudio Moscatelli Collection we knew very little about each of the 24 paintings. Only after excited discussions between three experts in the field, Anna Dallapiccola, Robert Skelton and Catherine Glynn, who seemingly carried a library of knowledge on the subject, could we begin to identify them. By analysing inscriptions and identifying regional imagery names, dates and even schools of painting could be attributed. And so, for the first time, the collection can now be shown in its entirety, with each painting anchored in place and time, across the Indian

What is Ragamala?Lizzie Watson, exhibition curator at Dulwich Picture Gallery, traces the origins of this genre of Indian miniature painting back to its roots in ancient Indian music

Ragamala Paintings from India: Poetry, Passion, Song

25 January – 27 May

Ragamala SymposiumSaturday 14 April10am-5pm/Linbury RoomSee Special eventspage 19 for details


subcontinent: from the plains of Rajasthan, to the Pahari region in the foothills of the Himalayas, up to the mountains of Nepal and down to the Deccan.

The Claudio Moscatelli CollectionItalian-born Claudio Moscatelli ‘discovered’ Indian miniature painting at the Victoria and Albert Museum shortly after relocating to this country. Thinking back to this first encounter, he says: ‘I was finding my Italian roots again in a certain similarity between Sienese primitive painting and some Indian miniatures – the strange perspectives, the colourful buildings, the use of figures to tell different stories – and the two dimensional modelling.’ He was clearly overwhelmed by his discovery. Shortly after, Claudio travelled to India and his attention was quickly drawn to ragamala painting. What fascinated him most was its core theme: the relationship between the lover and beloved, a metaphor between human and Divine.

The Deccan at DulwichThere is one particular ragamala set that stands out when we look at the paintings in the context of Dulwich Picture Gallery’s Old Master collection. Five 18th century pages, from the southern Deccan region, each depict a lonely heroine in a particular state of love, against a backdrop of linear perspective. In these pages, the traditional Hindu and Muslim belief that love in separation serves as an allegory of the human soul divided from God, is set within a landscape of the later Mughal period (16th – 19th centuries). This ‘modern’ style of composition was developed for the Nawabs (rulers) of Awadh, who employed a number of cultivated Europeans, including painters such as Johan Zoffany, Ozias Humphrey and our very own

Tilly Kettle (Gallery Room 3), who may have been in the Deccan at the time these were painted. This show is the first in the UK to be dedicated to the Indian miniature painting genre of Ragamala. They are exquisite paintings – one can only wonder how long each took to paint with just a brush of three squirrel hairs – and it is high time they were seen alongside their European contemporaries. Come and see for yourself!This exhibition has been organised by Dulwich Picture Gallery in collaboration with Brighton Museum and Art Gallery, with generous support from Claudio Moscatelli, Anna Dallapiccola, Robert Skelton and Catherine Glynn.

Sponsored by

The Luigi and Laura Dallapiccola Foundation

Farrow & Ball Ltd

www.dulwichpicturegallery.org.uk

An Elegy on Soane’s Simplicity of LineWhat Dulwich Picture Gallery means to me

Edmund de Waal, potter, author and Dulwich resident, writes a ‘sort of bicentenary love letter’ on the quiet elevation and the play of light and shadow to be found in Sir John Soane’s design

Imagine an architect describing his plan for a mausoleum for three friends. It is to

use appropriately black marble for the Doric columns, and the sarcophagi themselves are to be as dark as porphyry. You will enter from a darkened space into the light: this chapel is to be bathed in amber light from a lantern high above you. The impact will be unearthly. And this mausoleum, this celebration of the act of remembrance, is to be at the heart of a new gallery of pictures. You will enter this gallery through an undemonstrative door in an unremarkable facade of proper brick – no grandstanding, no run of steps, no marble, no pairs of sentinel lions – and it will lie in front of you. Like everyone else, I love Dulwich Picture Gallery. But one of the specific reasons I find it so compelling is the sheer radicalism of it as an environment for the experience of art. As I walk up the steps and into the Fitzwilliam in Cambridge, or the British Museum, or the Ashmolean in Oxford I know that there will be a gilding, a dome, a sense that you are trespassing on art. But the way in which Soane’s Dulwich works is different. The elevation is so quiet that it could be a range of stables for one of his aristocratic patrons. If you stand outside it is the physical manifestation of one of his pen and ink drawings of an elevation: gentle modulations of depth that come alive through shadows. I was there today in the winter sun and it looked as though Soane had just finished drawing it. And this is brought alive as you walk in. The galleries are top-lit so that there is a softness in the spaces. The ground plan is innovative as there is no direction in which you are forced to go. The scale of the collection makes it possible to have not only favourite pictures, but to have favourite spaces too. The hang of Poussin’s Sacraments in one of the smaller galleries made me realise how lucky I am to be able to see works in such intimacy. The great art historian T. J. Clark wrote a fascinating book The Sight of Death about his experience of spending six months with two Poussin landscapes. But he had to go to Los Angeles to do it.


An Elegy on Soane’s Simplicity of Line I am convinced that this building is so good for art because Soane actually knew the collectors themselves, had passed many of these pictures on the stairs of their Fitzrovia home. This makes it one of the rarest of buildings – a gallery for a collection built by a collector. Indeed the conversation that exists between Soane’s own house in Lincoln’s Inn Fields and Dulwich is fascinating. In both we find Soane’s passionate interest in the private memorialising of death. Think of the sheer quanties of urns, funerary inscriptions, let alone the sarcophagus of Sethi, and the tomb of Fanny, the family dog, at his own house. But also think of how you move in his house, drawn between drama and repose by light. All architecture is environment, but some architecture makes you feel more alive. The understanding of how light and shadow work in a building is something that many artists are obsessive about. Some have moved towards creating spaces in which you are immersed in light itself: standing recently in the Dulwich Picture Gallery mausoleum made me think of James Turrell’s installations. In working on a book on my

own porcelain I realise just how much of a common denominator this has been for me. In spaces as diverse as a Baillie Scott house on Windermere, a dome in the V&A, a new building for the University of Cambridge, I seem to be exploring the ways in which shadows work. There is an assumption that the ‘white cube’ gallery is the aspirational peak for any artist – an environment from which every aspect of character has been stripped out, with controlled lighting. But actually these small gradations can be immensely intriguing. In Dulwich I am made aware of these as I walk through. The influence of this subtlety is present in galleries as different as Louis Kahn’s Mellon at Yale and David Chipperfield’s new Hepworth Gallery in Wakefield. Dulwich Picture Gallery is a good piece of sculpture. It has no bad side. And as I go to work in my studio I look across and see the urns astride the mausoleum of these collectors in this building built by a collector. This may sound perverse but it cheers me up. As Sir Thomas Browne writes in Urn Burial – I paraphrase – there is nothing quite like an urn to give you a sense of perspective.

‘The scale of the collection makes it possible to have not only favourite pictures, but to have favourite spaces too’

Below: Edmund de Waal’s installation ‘Signs and Wonders’ in the central dome at the V&A: some 300 porcelain vessels rest on a ‘floating’ red shelf encircling the dome.Images courtesy of V&A, London.

10 In View Spring 2012 www.dulwichpicturegallery.org.uk

Jenny’s ViewI am writing these words on St Cecilia’s day, when we celebrate the return of the restored 17th century masterpiece to the enfilade, a major conservation to which the Friends contributed substantially (see article opposite). We are most grateful to all of the donors whose generous contributions made possible the remarkable restoration work on the picture and its beautiful frame.

Bicentenary Successes By the time you read these words the bicentenary of Dulwich Picture Gallery will have drawn to a close, although memories may linger, for example, from one of the 118 events run by the Friends during the year. All of them were well attended, a fitting tribute to the high quality achieved by our creative team of voluntary event organisers. To select just one instance, Dulwich Picture Gallery’s very successful Masterpiece a Month international loan project was complemented by a monthly lecture, organised by the Friends. Each of the lectures featured that month’s picture and the work of the artist – and they all sold out. Barbara Richardson in particular

is to be warmly congratulated on this achievement. A Year to AnticipateWith the 2012 London Olympics and the Diamond Jubilee, this year will be a memorable one for London – and for the UK as a whole. The Friends are contributing to the Cultural Olympiad with three series of talks from January to July. Summer will see the opening of the garden and gallery to the local community with Going for Gold, a similar event to the Big Bang day, which launched the bicentenary. Young musicians from local schools will entertain us once again with singing in Christ’s Chapel and instrumental music in the grounds. The garden will be filled with traditional entertainments. We are joining up with the Velodrome, Southwark’s legacy from the 1948 Olympic Games, to create a memorable day for all the family.

More Events for ChildrenWe are expanding the number of Friends’ events for children, building on the success of the popular GalleryFilm for kids

screenings and the puppet shows. New events include Stories and Art (where children can create their own images) and two performances of the classic children’s suite, Peter and the Wolf.

Volunteers NeededWith such a wide and successful range of activities, we need more people to help us to stage our events and to support our ticketing, membership, Friends’ desk and other services. If you have some spare time and are looking for a worthwhile challenge, do come and join us.

New Gift Membership CardWe have created a new Gift Membership card to provide Friends with an original gift for a relative or friend, which lasts the whole year. As well as gaining free entry to the magnificent permanent collection and the acclaimed exhibitions put on by the gallery, the lucky recipients will be able to attend a wide range of Friends’ events at a special price as well!

Jenny Sweeney, chair, Friends of Dulwich Picture Gallery

Friends in focus

Awards for In View and GalleryFilmThe Friends’ magazine, In View, and GalleryFilm have both won awards recently.

In View won first prize from the British Association of Friends of Museums for the best magazine of the year in the high circulation category. The award was presented to Peter Belchamber, editor of In View, by BAFM president Loyd Grossman at the annual meeting at the Transport Museum in London’s Covent Garden.

The letter to Peter announcing the award said: ‘The chairman and panel of

judges of the competition have asked me to congratulate you on producing a very interesting

and informative publication, well illustrated and with an attractive layout. Please pass on our congratulations to your team, your committee and all of your members.’ The Friends received a cheque for £250 and a framed award certificate. Peter Belchamber paid particular tribute to James Alexander, designer of In View, and to the four sub-editors of the magazine, Caroline Annesley, Gerry Ratzin, Barbara Kley and Pat Cox. He also thanked the many contributors to In View from the Friends committee and Dulwich Picture Gallery for their support.

Innovation Award for GalleryFilm GalleryFilm was one of three winners of the Jim Dempster award for innovation in the Film Society of the Year Awards. Three members of the GalleryFilm team attended the awards ceremony at the annual conference for Community Cinemas run by the British Federation of Film Societies.

Commenting on the award, Ingrid Beazley of GalleryFilm, said: ‘The judges liked the mutually supportive relationship which we have with local businesses and organisations, our links with other local film clubs, leadership in the use of social networking and online ticketing.’ Ingrid warmly thanked the GalleryFilm team of Paul Youngbluth, Bella Tullo, Matthew Line, Katy Shaw, Annie McGeoch and Anna de Pass.

Left: In View editor Peter Belchamber receives the best magazine of the year award from BAFM president, Loyd Grossman. Above: GalleryFilm’s Bella Tullo, Ingrid Beazley and Paul Youngbluth with their BFFS innovation award.


Dulwich Picture Gallery has unveiled its newly-restored painting, Saint Cecilia.

The Friends of Dulwich Picture Gallery, with support from The Pilgrim Trust, adopted the painting and its frame, enabling conservation work to begin two years ago. Rips were repaired, the painting was cleaned and its frame was adjusted to fit. This painstaking work was undertaken by conservationist Nicole Ryder and frame restorer Tom Proctor. The painting was first brought to London in 1790 when it was purchased by Noel Desenfans in Paris. Saint Cecilia was then thought to be a work by 17th century Bolognese painter Annibale Carracci. Desenfans hung it in pride of place at the home in Fitzrovia that he shared with fellow art dealer and co-founder of Dulwich Picture Gallery, Sir Francis Bourgeois. In the mid-19th century, Saint Cecilia, now in poor condition, was removed from display at Dulwich Picture Gallery. The conservation work will enable scholars to study the work more closely and to make better-informed judgements on it. In time, the gallery hopes to identify the artist behind this long-forgotten masterpiece.

Restoration reveals 17th century masterpiece

A lifelong love of paintingsNew Friends Committee member Professor Rona Black writes about the impact that pictures have had on her life

My love affair with art began when I was 12 and was given a painting by each of my grandmothers, quite independently. One was an oil, the other a water colour, neither valuable, but each with a tale to tell. They are still on my walls and I have been hooked on paintings ever since. My student walls were hung with inexpensive works I bought at art school degree shows rather than prints or posters, and as space and funds grew, I acquired a taste for modern Scottish painters. My first auction buy was from an older generation, a watercolour by D Y Cameron of a part of Argyll dear to my heart, and I remember well the buzz of pleasure in ownership when the auctioneer’s gavel came down. That same auctioneer now has his own gallery which is a favourite place of mine for browsing and occasional buying.

Having selected artists living mainly in West Scotland to decorate my walls, it has been a huge pleasure to become friends with many of them. A Saturday morning spent in an artist’s studio, thumbing through the canvases stacked against the walls and inhaling the heady smells of paint and turpentine is a true delight. To hear the stories behind the works in progress, and finish the morning with a bowl of soup in the artist’s kitchen, is a wonderful start to the weekend. As I write this, I look up from my computer to a painting bought on the steps of The Scotsman offices during the Edinburgh Festival many years ago. All my paintings have a personal provenance and bring back good memories. My day job has been as a medical professor at Glasgow University, and one of the pleasures of meetings in the vice-chancellor’s room has always been to check quickly and quietly which paintings from the university’s collection of The Glasgow Boys has been chosen for the

walls on each occasion. My office was only five minutes’ walk from the university’s Hunterian Art Gallery, and a regular pleasure has been to slip in for 20 minutes at lunchtime on a busy day and marvel at the serenity of Chardin’s Lady Taking Tea, or the gentle and mysterious colours chosen by Whistler. Two years ago, these two worlds came together when my professional body wanted my portrait painted for their walls. It is a strange experience having an artist you know well apparently peering inside your head in order to accurately record the whole. A love of art will always be a part of my life, and it is a huge pleasure to observe that this particular gene has continued with my daughter who, like me, will always go for lilies rather than loaves.

Bolognese School, Saint Cecilia, 17th century, oil on canvas, Bourgeois Bequest 1811, © By permission of the Trustees of Dulwich Picture Gallery.

Before and after: St Cecilia is shown in her damaged condition before the restoration – and in her full glory afterwards.


Lucian Freud Portraits Thursday 23 February Lucian Freud who died in 2011 was one of the most important artists of his generation. Paintings of people are central to his work and this exhibition is the first to focus on his portraiture. Frank Woodgate, a regular lecturer at Dulwich Picture Gallery, will describe and illustrate the work of Lucian Freud, including some of the works on show at the National Portrait Gallery. The exhibition runs at the National Portrait Gallery from 9 February – 27 May.

David Hockney RA: A Bigger PictureThursday 15 March The Royal Academy is to showcase the first major exhibition of new landscape works by David Hockney. Featuring vivid paintings inspired by the East Yorkshire landscape, these large-scale works have been created especially for the RA galleries. Graham Greenfield will talk about the exhibition which spans a 50-year period to demonstrate Hockney’s long exploration and fascination with the depiction of landscape. It also includes a display of his iPad drawings and a series of new films produced using 18 cameras. The exhibition runs at the Royal Academy from 21 January – 9 April.

Picasso and Modern British ArtThursday 26 April This is the first exhibition to explore Picasso’s lifelong connections with this country and Linda Smith will talk about its significance. Comprising over 150 works from major public and private collections around the world, the exhibition charts Picasso’s rise in Britain as a figure both of controversy and celebrity. It also examines his enormous impact on seven 20th century British modernist artists: Duncan Grant, Wyndham Lewis, Ben Nicholson, Henry Moore, Francis Bacon, Graham Sutherland and David Hockney. The exhibition runs at Tate Britain from 15 February – 15 July.

The Estorick Collection of Modern Italian ArtThursday May 3 Dr Roberta Cremoncini, director of the Estorick Collection, introduces the collection in advance of a planned visit by the Friends in July. Described by Sir Nicholas Serota, Tate director, as ‘one of the finest collections of early 20th century Italian art in the world’, the collection is known internationally for its core of

Futurist paintings, as well as figurative art and sculpture. It has works by Giorgio de Chirico, Modigliani and Giorgio Morandi. The lecture will set the scene for the visit to the collection, housed in a Grade II listed Georgian building in Canonbury Square N1.

InTown lecture series

Clockwise from lower left: David Hockney, The Road Across the Wolds, 1997, oil on canvas, 121 x 152 cm, Private Collection, copyright David Hockney. Photo credit: Steve Oliver. Lucian Freud, Queen Elizabeth II, Royal Collection. Pablo Picasso Head of a Man, 1913, Museum of Modern Art, New York City. © Succession Picasso/DACS 2011. Front elevation of the Estorick Collection building.

A series of lectures about major exhibitions in other London galleries – and a lecture in advance of a visit by the Friends

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

Tickets available at the Friends desk or for credit/debit card bookings (for which there is a £1 handling fee) please ring 020 8299 8750 Mon to Fri

10am – 4pm (note extended hours). 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 protected].

All the speakers

lecture extensively for

Tate Britain and Tate

Modern, throughout

Britain and

internationally.


Music

Kathleen Ferrier as Orfeo, photograph by Angus MacBean, reproduced by kind permission of the Ferrier Awards.

From Blues to BachLunchtime concert seriesWednesdays from 18 January to 28 March(except 22 February)1.30 – 2pm/Christ’s ChapelEnter from the cloister in Dulwich Picture GalleryAdmission free Following the success of the first 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.

Kathleen Ferrier: Her Life and LegacyA Centenary Celebration Talk by writer Paul Campion, author of Ferrier – A Career RecordedTuesday 31 January7.30 pm/Linbury Room£10, £8 Friends includes a glass of wine This talk with musical illustrations recalls the Lancashire-born contralto’s unique qualities as a singer and as a warm and humorous person. Extracts from her letters will be read by the celebrated soprano, Sheila Armstrong, president of the Kathleen Ferrier Society.

St James QuintetFriday 11 May 7.30pm/Gallery£18, £16 Friends includes a glass of wine£6 under 18s This young wind group won the Royal Over-Seas League Ensemble Prize in 2009 and made its Wigmore Hall debut in 2010. They will play works by Arnold, Barber, Ibert, Mozart and Nielsen.

Tickets available at the Friends desk or for credit/debit card bookings (for which there is a £1 handling fee) please ring 020 8299 8750 Mon to Fri

10am – 4pm (note extended hours). 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 protected].

Malcolm Martineau and Friends

Stephan Loges baritoneMalcolm Martineau pianoFriday 16 March7.30 pm/Gallery£26, £24 Friends includes a glass of wine The distinguished German baritone, winner of the 1999 Wigmore Hall International Song Competition, joins Malcolm Martineau in a recital of familiar and unfamiliar songs by Schubert, Jacques Ibert and Vaughan Williams, and ballads by Carl Loewe.


Tuesday evening lecture series

From Olympia to Athens: 18966 March The glory of ancient Greece has been a potent inspiration to artists, writers and thinkers since the Renaissance. The first modern Olympic Games, in Athens in 1896, were a result of this long fascination, and to begin this series of talks we shall explore some of the ways in which the image and

the idea of Greece has captured the European imagination. The sculpted figures of ancient athletes formed the Western ideal of classical beauty, just as the tales of Homer and Thucydides underpin notions of literature and history. By the late 19th century that classical tradition represented feelings of respectability and probity, under threat from dramatic new ideas in art as much as in politics. With the Barbarians at the Gate, could the Olympic ideal help classicism withstand the modern world?Lecturer: Jo Walton

Modernism comes to Britain – London: 190813 March The London Olympics in 1908 took place in a period of huge cultural and social change during which British art moved from a tradition firmly rooted in Victorian and Edwardian taste to modern movements. These included

the Camden Town and Bloomsbury Groups, and the Vorticists, all of which embraced European modernism in their different ways. Despite earlier examples of modern French influence, true modernism in Britain is said to date from two years after the Olympics, with Roger Fry’s ground-breaking exhibition of modern European art: Manet and the Post-Impressionists. As this exhibition coincided with the Welsh coal miners’ strike, rising Suffragette violence and growing fears of German ambitions, there was a tendency to see the modern movement as part of the breakdown of society.Lecturer: Val Woodgate

Surrealism meets the avant-garde – Paris: 1924 20 March The 1920s in Paris were known as les Années Folles – the insane years. In jazz, Les Annees Follies Le Blues was creating a storm, while Dada mixed with the avant-garde in the art world. Picasso, Marcel Duchamp, Francis Picabia and Max Ernst were all in Paris, where the Surrealist Manifesto published in 1924 was about to unleash an art expressing their fevered dreams and fantasies. Meanwhile at the 1924 summer Olympics an official cultural Olympiad saw nearly 200 artists enter this ‘Pentathlon of the Muses’ with works designed to express the harmony of muscles and spirit. Lecturer: Jessica Saraga

Hitler’s Olympics and ‘Degenerate’ Art – Berlin: 193627 March Hitler’s aim of making the Games a propaganda coup for ‘Aryan superiority’ was ruined by the black American athlete, Jesse Owens, who won four gold medals. Another attempt to show German superiority was made in Munich the following year, with the Great German Art Exhibition. This sought to prove the superiority of Hitler’s preferred Neo-Classical pastiches over the works of such masters as Picasso and Matisse, displayed in the Entartete Kunst exhibition. From the end of World War I until the late 1930s, German artists produced some of the most powerful and politically-charged works of art ever created.Lecturer: Frank Woodgate

Cultural Olympiad: Art of the OlympicsCelebrating the 2012 London Olympics, the first of two series of four lectures will look at the art of Olympic cities and countries, from the first Modern Olympics in Athens in 1896, to the Berlin Games in 1936. After the first session, which considers the ancient and modern Greek heritage of the Olympics, each lecture will cover a decade or so around the year in which the Games were held, to give a flavour of what

was happening in the art world as the century progressed.

7.45-9.15 pm/Linbury RoomSeries of 4 lectures £35, £27 FriendsSingle lectures £10, £8 FriendsBar beforehand and in the interval

All the speakers

lecture extensively for

Tate Britain and Tate

Modern, throughout

Britain and

internationally.

Tickets available at the Friends desk or for credit/debit card bookings (for which there is a £1 handling fee) please ring 020 8299 8750 Mon

to Fri 10am – 4pm (note extended hours). 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 protected].

Clockwise from lower left: Walter Richard Sickert What shall we do about the rent?, c.1908, Yale Centre. Pavement mosaic (detail) at Piazza Armerina, Sicily, 4th century AD, Scala image. Francis Picabia, Têtes-Paysage, 1928, Chicago Institute of Art. Otto Dix Flanders (After Henri Barbusse ‘Le Feu’), Staatliche Museen zu Berlin, 1936.


Left: Mosque lamp, Egypt or Syria, 14th c, Edward C. Moore Collection and Bequest of 1891. Above: The Emperor’s Carpet, Iran, 16th c, Rogers Fund, 1943.The Metropolitan Museum of Art, New York.

Miscellany

The London 2012 Cultural Olympiad is described as the largest cultural celebration in the history of the modern Olympics, writes Peter Belchamber.It is designed to give everyone in the UK a chance to be part of the London 2012 Olympic Games, and inspire creativity across all forms of culture. The culmination of the Cultural Olympiad will be the London 2012 Festival, which brings together leading artists from all over the world from 21 June in the UK’s biggest ever festival. The Friends has arranged a series of events linked to the Cultural Olympiad. In the current period, there are nine lectures that highlight the relationship between the Olympics and art, or which feature exhibitions that are part of the London Festival.Marking the opening of the Friends’ contribution to the Cultural

Olympiad are three talks in the InSight series, starting on 25 January and with further lectures on 1 and 8 February. These cover the way in which sport has been depicted by artists such as Degas and Picasso; the role of posters in shaping a distinctive graphic image for different Games; and how art has been incorporated into the architecture and landscape of the Olympic Park. Following this are InTown lectures on two major exhibitions that are part of the London 2012 Festival: Lucian Freud Portraits at the National Portrait Gallery (on 23 February), and David Hockney RA: A Bigger Picture at the Royal Academy (15 March). The Tuesday evening lecture series, beginning on 6 March, features the art of Olympic cities and countries, from the first Modern Olympics in Athens in 1896 through Paris in 1924 to Berlin in 1936.

Dulwich Picture Gallery’s Education department has won 26 awards and commendations in 28 years but has never before received a health award.It was surprised and delighted, therefore, to hear that the Good Times: Art for Older People programme had been recognised by the Royal Society for Public Health with an Arts and Health Award. A key element in winning the award was Prescription for Art, a strand of the programme that is run in partnership with four local GP surgeries. The theme of the awards was the contribution of cultural programmes to community health. This is Living, the report evaluating Good Times by Professor Sarah Harper of the Oxford Institute of Ageing, also received an award for excellence in research. Commenting on the awards to Good Times, Professor Stephen Clift, chairman of the awards committee, said: ‘This project and the evaluation is a model of what can be achieved through galleries in promoting the health and wellbeing of local communities.’ The Good Times programme, now in its seventh year, is funded by the Clore Duffield Foundation and the M&G group, and This is Living by the Helen Hamlyn Trust.

Future ProjectsLooking ahead, the Community Engagement arm of the Education department will expand Good Times, which already works with more than 70 local organisations for the elderly. A new pilot programme of research will enable an NVQ training component to be added to Good Times: Arts and Wellbeing. University College London is hoping to work in partnership with the Education department on a new research project to advance understanding of how Arts activities can benefit elderly people.

Xavier F. Salomon writes the first of an occasional series of columns from NYCTime has flown since I left Dulwich Picture Gallery almost a year ago and, while I still miss London, New York is beginning to feel like home. The museum – and its size – may have changed, but the life of the curator continues between lectures, writing articles and reviews, travelling and cataloguing. I am now at work on part of the collection catalogue of Spanish paintings at the Metropolitan, writing about Ribera, Murillo and Goya, and I am in the initial stages of curating an exhibition on the French Caravaggesque painter, Valentin de Boulogne.

New PaintingsIn a large museum like the Metropolitan, so much goes on. My department has acquired two very important European paintings: Perino del Vaga’s Holy Family (only a few weeks after I arrived last January) and Hans Schäufelein’s extraordinary Dormition of the Virgin (just a few weeks ago).

Islamic SplendourOnly this month – after eight years – the galleries of the Met’s Islamic

department have reopened, after a

spectacular restoration, and it is possible to enjoy again a

breathtakingly beautiful array of Mughal miniatures, Iznik tiles, Persian carpets and Egyptian mosque lamps.

New York, New York Arts and Health Award

The Friends join in the Cultural Olympiad

16 In View Spring 2012

Each sociable evening includes: free refreshments a free prize draw an introduction to the fi lm fi lm notes DVD sales (please bring along your unwanted DVDs)

GalleryFilm: Screenings and more…

Three Colours Blue (1993) Cert 15/94 minutes Monday 16 JanuaryDirected by Krzysztof Kieslowski, starring Juliette Binoche In the profoundly moving fi rst fi lm of the Three Colours trilogy, Juliette Binoche gives a tour de force performance as Julie, a woman reeling from the tragic deaths of her husband and young daughter who attempts to free herself

of the past. Shot in icily gorgeous tones and set to an extraordinary operatic score, Blue is an overwhelming sensory experience. Free wine and food provided by Blue Mountain Cafe, E. Dulwich. Free Raffl e Prize – The Three Colours Trilogy by Geoff Andrew, donated by Herne Hill Books.

Gentlemen Prefer Blondes (1953)Cert U/91 minutesMonday 16 April Directed by Howard Hawks, starring Marilyn Monroe, Jane Russell Howard Hawks’s comic

essay on the economic advantages of an ample bosom, in which Marilyn Monroe and Jane Russell play a pair of chesty chisellers aboard a cruise ship bound for Paris, working their faux-ditsy charms on a chorus of male admirers. Monroe is fl awless in her rendition of ‘Diamonds Are a Girl’s Best Friend’. Glittering and hilarious. Free wine and food provided by Romeo Jones. Free raffl e prize Gentlemen Prefer Blondes by Anita Loos donated by Rye Books.

Winter’s Bone (2010)Cert 15/100 minutesMonday 19 MarchDirected by Debra Granik, starring Jennifer Lawrence, John Hawkes Teenager Ree searches for her father who put their house up as his bail surety and

disappeared. If she fails, Ree and her family will be turned out into the Ozark woods. Challenging her outlaw relative’s code of silence and risking her life, Ree hacks through the lies, evasions and threats and begins to piece together the truth. Four Academy award nominations. Free wine and food donated by Number 22 Restaurant, Herne Hill. Free raffl e prize – The Outlaw Album by Daniel Woodrell, donated by Herne Hill Books.

Written on the Wind (1956)Cert PG/ 99 minutes Monday 20 FebruaryDirected by Douglas Sirk, starring Rock Hudson, Robert Stack, Lauren Bacall, Dorothy Malone This unashamed melodrama, rich in emotional intensity, is a portrait of family dysfunction and thwarted love. A satire on the American family, the fi lm

encompasses wealth, alcoholism, nymphomania, suicide, and jealousy. Dorothy Malone won an Oscar for her portrayal of the treacherous and sexually predatory Marylee. Free food and wine provided by Blackbird Bakery. Free raffl e prize – DVD Imitation of Life, another Sirk masterpiece.

Bar opens at 7pmScreenings at 7.45pmLinbury Room£9, £7 FriendsYou can also book GalleryFilm tickets online through WeGotTickets.comFollow us on Facebook


GalleryFilm for kids in association with the BFI

The Iron Giant (1999)Cert U/86 minutesSunday 5 February 3.45pm £5Director Brad Bird, voices of Jennifer Aniston, Vin Diesal An animated action adventure fi lm in which an imaginative 9-year-old boy makes friends with an innocent alien giant robot that a paranoid government agent wants to destroy. The Iron Giant tackles touchy subjects and complex relationships with a steady hand and beautiful animation. It engrosses 6–60-year-olds without condescension. Free juice and popcorn donated by Peter Popples Popcorn After Special Animation ArtPlay in association with the BFICreate an animation fi lm featuring your own ‘Iron Giant’ alien character – inspired by and featuring… junk!

Kirikou and the Sorceress (1998)Cert U/74 minutes Sunday 4 March3.45pm£5 Director Michel Ocelot Born in an African village placed under a terrible spell by Karaba, a sorceress, Kirikou sets out to fi nd the Wise Man in the Forbidden Mountain to help him save his village. Based on an African folk tale, this is an enchanting, life-affi rming animation of love and redemption, made with maturity and care – and a rare respect for the art of storytelling. Free juice and popcorn donated by Peter Popples Popcorn. After Special Animation ArtPlay in association with GalleryFilm and the BFIMake a vivid stop-motion animation inspired by the colour and music of Michel Ocelot’s fi lm.



Events for Children

Stories and ArtSaturday 25 February10 am – 12 noon/Linbury Room£5; no adults please Roberto Lagnardo leads children on a colourful journey, starting with stories based on Old Master paintings; children then draw their own version of the tale. Suitable for children of fi ve plus. Fruit is available in the interval.

Peter and the Wolf: Two performancesSunday 25 March2.30pm and 3.45pm/Linbury RoomAll tickets £5Suitable for age 5 plus Members of the Chamber Ensemble Harmoniemusik withbroadcaster Paul Guinery as narrator present Prokofi ev’s musical fairy-tale in an abridged version for young audiences.The fl ute, oboe, clarinet, bassoon and horn feature in the work.

Children’s Puppet ShowSaturday 5 May10.15 – 11.45am with an interval/Linbury Room£5 per person, parents welcome Drew Colby will be conjuring up magic images and storieswith his shadow puppets.Fruit will be available in the interval.

Cultural Olympiad: Art and the Olympics

Printmakers

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

10.30-11.30am/Linbury RoomSeries of 3 £25, £20 FriendsSingle lecture £10, £8 FriendsCoffee afterwards

At first sight, the modern Olympics may not appear synonymous with art, although the honed human body has always inspired artists. However, London has seized the opportunity to display the skills of its graphic artists in promoting the 2012 Games, and of its architects, designers and artists in the creation of the buildings and spaces in which the Olympics will take place – and which will remain as a legacy for

Londoners. This series marks the opening of the Friends’ contributions to the linked Cultural Olympiad.

Printmaking is widely acknowledged as a vital medium in education and in creative practice. These talks will give an insight into very different approaches to the task of making ‘poetry through mechanics’. In talking about printmaking, three artists reveal the exciting challenges that are involved. Besides being a primary medium of expression, prints have the added value of being more widely available as multiples and offer a chance for collectors to acquire work by major artists.

www.dulwichpicturegallery.org.uk

InSight lecture series

Competitive Sports: a Suitable Subject for Artists?Wednesday 25 January Looking at artworks from1850 to 1920, following the revival of the modern Olympic Games, Alan Read has

identified examples of Olympic sports depicted by Picasso, Degas, Lavery and many others. He will consider what inspired these artists to feature sport in their work, and what styles and techniques they employed to capture its intensity and excitement.A NADFAS lecturer, Alan Read is a guide at Tate Britain, Tate Modern and at the National Portrait Gallery.

Art of Olympic Posters Wednesday 1 February For more than a century posters have helped to establish the particular style and spirit of successive Olympics. This talk will consider the developing iconography of the Olympic Games and the ways in which host cities have projected an image of themselves to the world through the visual medium of the poster. Olympic posters reflect the history of poster design and reveal links between sport and art, politics and places, commerce and culture. Catherine Flood, prints curator at the V&A, is author of the forthcoming book, British Posters: Advertising, Art & Activism (V&A Publishing, 2012).

Above: Edgar Degas Race Horses, 1885 – 8, Philadelphia Museum of Art. Right: Official poster for London Olympic Games, 1948, Walter Herz © Courtesy IOC/Victoria and Albert Museum. V&A: E. 331-2006.

Left: Chris Orr Tower Bridge Miscellany. Above: Anne Desmet, London Olympic Velodrome site, wood engraving on paper. Top right: Monica Bonvicini, RUN, Handball Plaza, Olympic Park. Right: Barton Hargreaves Mean Lean.

Chris Orr RAWednesday 14 March Chris Orr was professor of printmaking at the Royal College of Art 1997 – 2008 and believes passionately in the importance of printmaking as a contemporary creative medium. His own work spanning the last four decades is concerned with narrative and commentary on important issues, from the topography and life of cities to the understanding of personal histories. His highly

individual, amusing and provocative style makes wide use of all the possibilities that printmaking can offer.

Anne Desmet RAWednesday 21 March Through her detailed wood engravings and linocuts, Anne Desmet aims to create a sense of the evolutionary passage of time. She also makes complex printed collages that are suggested by and develop the themes of her prints, pushing architectural motifs in unexpected directions, allowing a building to take on a life and invented identity of its own. Her latest work charts the changing landscape of London’s Olympic site.




Arts and Culture in the Olympic ParkWednesday 8 February The Olympic Delivery Authority’s ‘arts and culture’ strategy has embedded creativity into the landscape and architecture of the Olympic Park from the start. A series of permanent commissions include artist-designed bridges, facades and security fences, as well as Anish Kapoor’s spiralling ArcelorMittal and a new lightwork, RUN, by Monica Bonvicini. These are complemented by a series of temporary artist-led projects arising from co-operation with communities in the host boroughs. Adriana Marques is principal advisor for arts and culture, Olympic Delivery Authority.

Barton HargreavesWednesday 28 March Barton Hargreaves is an artist and printmaker whose diverse practice has developed simultaneously with the technological developments within digital print. He makes indoor and outdoor installations, and fine art prints using digital and more traditional processes such as etching and screen print, often mixing them together. The figure (or indeed the absence of the figure) through means such as the silhouette and cut-out is used to explore themes of time and space, being and non-being, issues which he sees as central to the experience of being human.

Special events

Colour in the HomeSaturday 10 March10.30 – 11.30am/Linbury Room£10, £8 FriendsCoffee afterwards Farrow & Ball provide different paints to set off to best effect the wide range of paintings in each of the visiting exhibitions at Dulwich Picture Gallery. Much of their range is based on recreations of paint colours discovered during the restoration and conservation of historic buildings. Today the palettes of earlier centuries have been translated into fashionable neutrals and crisp contemporary shades, still created using traditional methods and materials. Their colour consultant, Joa Studholme, will give an illustrated talk on how to create traditional or contemporary interiors, change the shape of a room, and use colour to emphasise or detract from a structural feature.

Flamenco Music and DanceJuan Ramirez and his troupe, Viva FlamencoSaturday 31 March 6.30 pm/St Barnabas Parish Hall,23 Dulwich Village£17, £15 Friends, includes a glass of sherry; under 16s £10 Enjoy a family evening of vibrant Flamenco music and dancing with Juan and his troupe thrilling you with their virtuosity. Delicious food from Barcelona Tapas will be on sale for your supper. Please bring your own wine and soft drinks.

Ragamala Paintings from India: a symposium A lively debate to mark the opening of the exhibition, Ragamala Paintings from India: Poetry, Passion, SongSaturday 14 April 9.30 for 10am – 5pm/Linbury Room£30, £25 Friends, £20 StudentsIncludes a visit to the exhibition and the permanent collection, morning coffee and a light lunch

If Ragamala paintings are visual representations of musical modes, can a definite link be made to music? In this debate, chaired by Ainsley Cameron from the British Museum, leading scholars Anna Dallapiccola, honorary professor at the University of Edinburgh; Rosemary Crill, senior curator of Asian Art, Victoria & Albert Museum; and Catherine Glynn, independent curator, will introduce the topic and discuss the painting tradition. Contemporary artist Sandy Mallet, whose work is inspired by music, and Robert Skelton, renowned scholar on the visual arts of India, will also contribute.

20 In View Spring 2012 www.dulwichpicturegallery.org.uk

Westminster AbbeyThursday 19 January 11am – 1pmMeet at the West Front of the Abbey beneath the two towers. £10, £8 Friends, plus an entry fee of £13 (concessions £10) payable on the day We will hear about the Abbey’s rich thousand-year history and some of the kings and queens who have been crowned and buried here. We will see what remains of the Romanesque church of Edward the Confessor; Henry III’s Gothic rebuilding in the 1200s; and Henry VII’s magnificent Lady Chapel built in the early 1500s – once completed it was considered one of the wonders of the world. We will also visit the Poets’, Scientists’ and Innocents’ Corners, and the Musicians’ Aisle. Note: if the Abbey is needed by the Royal Family at short notice, the visit may have to be cancelled. Please leave your telephone number when booking. There are no washrooms or places to sit.© Westminster

Strawberry Hill House Tuesday 7 February11am – 12.30pm Meet at 10.30am in the café for coffee and shortbread (included in the price)£21, £19 Friends Created by Horace Walpole in the 18th century, Strawberry Hill is Britain’s finest example of Gothic Revival architecture. It also inspired the first Gothic novel Walpole’s The Castle of Otranto. The Strawberry Hill Trust, supported by the Heritage Lottery Fund, has recently completed a £9 million restoration that included conservation of the renaissance glass. The tour will visit all of the restored rooms, including the State Rooms, the Museum Room and the Discovery Room.S to Strawberry Hill station from London Waterloo plus a 10-minute walk © District to Richmond and R68 bus to Strawberry Hill

London visits and local walks

Tickets available at the Friends desk or for credit/debit card bookings (for which there is a £1 handling fee) please ring 020 8299 8750 Mon to Fri 10am – 4pm (note extended hours). 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 protected].

Monday 5 March 11am – 2.30pmMeet at Stratford mainline station (at the entrance to the Jubilee line just before the ticket barriers to the tube)£39, £37 Friends (includes a bagel lunch, talk and tour of the smoked salmon factory) We will view the Main Stadium and the Aquatics Centre, and hear about the planning, function and legacy of the Olympic Park. We will be told about the historic background to this part of the East End, when the Lea Navigation Canal was the principal commercial artery for transporting raw materials for the porcelain and distilling industries, and how later this was eclipsed by the arrival of the Great Eastern Railway. We shall walk to Fish Island and Lance Forman’s famous smoked salmon factory (run by the same family for more than a century) for lunch, a talk by Lance and a tour of the factory. © Jubilee to Stratford mainline station

2012 London Olympic site

Advance booking for these events is essential as numbers are strictly limited

Dennis Severs House, SpitalfieldsTuesday 24 AprilMeet at 18 Folgate Street, London E1Visit 11 – 11.45am, walk 11.45am – 12.30pm£15, £13 FriendsPlus Christ Church tour (optional) £8, £6 Friends Dennis Severs recreated the atmosphere typical of an 18th century house belonging to Huguenot silk weavers. Following a short introduction, we visit the ten rooms, each lit by fire and candlelight. Following the visit, Ian McInnes will lead a walk around the area, finishing at Christ Church, Nicholas Hawksmoor’s greatest design. Here there will be an optional guided tour at extra cost, to be booked and paid for in advance. © Shoreditch High Street, Liverpool Street, or No. 42 bus from Dulwich


Chair: Jenny Sweeney020 8693 [email protected]

Vice Chairman: Jill Alexander020 7274 [email protected]

Hon Treasurer: David Parry020 8670 3992

Hon Secretary: Jane Reid020 8670 [email protected]

Hon Membership Secretary: Pippa South020 8299 [email protected]

Peter BelchamberEditor, In ViewRona Black LecturesPat Cox TicketsStephen Henden ITBarbara Kley TicketsJudy Mewburn EventsEve Mitleton-Kelly Visits and WalksPia Helena OrmerodPublicity

Jane Peecock MembershipGerry Ratzin TicketsBarbara RichardsonLectures, Friends Exhibition, Tickets

Co-opted:Peter Frost Hon Treasurer-electRita Frost Friends Desk

GalleryFilm Paul Youngbluth, Bella Tullo, Ingrid Beazley, Anna de Pass, Annie McGeoch, Matthew Line, Katy Shaw, Anne Traynor, Dorota Parsons

Lectures Susan Wood, Anne and Doug Smith, Esther Appleby

Music Virginia Harding, Jeannette Holmes, Barbara Kley, Jane Reid

Tickets Vanessa Sutcliffe

Ticketing enquiries Liz Frampton020 8299 8750 (Mon-Fri 10am-4pm only)

Friends Committee

Dawson’s HeightsSunday 11 March2.30 – 4pmMeet at the junction of Court Lane and Lordship Lane£6, £5 Friends This distinctive housing scheme looms over Dulwich from nearly every long distance view, yet, as you move closer, it seems to disappear. Ian McInnes will lead a walk around the eastern borders of Dulwich beyond Court Lane, outlining the detailed story of the area’s development over the years. This walk has some steep hills and long runs of steps.

Ruskin’s WalkSaturday 24 March2.30 – 4pmMeet at the front of the Half Moon pub in Herne Hill£6, £5 Friends One sunny day in March 1880 John Ruskin took a walk from the Half Moon public house to Dulwich College via Croxted Road. What he saw formed a key part of his essay, Fiction, Fair and Foul.

This walk, led by Ian McInnes, will provide an opportunity to compare today’s reality with that of the 1880s, and the idealised past of Ruskin’s memory.

Local walks

Previous page: Olympic Stadium, Courtesy London 2012. This page from top: Dennis Severs House photo © Roeloff Bakker. John Ruskin, portrait by Isabella Jay after Herkomer, Ruskin Foundation (Ruskin Library, Lancaster University).

Friends DeskVolunteers at the Friends desk in the gallery play a vital role encouraging visitors to become Friends and selling tickets for events.Contact Rita Frost: [email protected] 8670 7720

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 [email protected]

Help needed

Magazine of the Friends of Dulwich Picture Gallery Winner of the BAFM Magazine of the Year Award

Editor Peter Belchamber [email protected] Designer James Alexander, www.jadedesign.co.ukSub-editors Caroline Annesley, Gerry Ratzin,

Barbara Kley, Pat CoxPrinters AF Litho, Croydon, www.aflitho.co.uk


Dear Friends,

Anniversary of JoiningA big change took place in the Membership department in September: our membership system went over to ‘Anniversary of Joining’. This means that whenever a new Friend joins us their membership lasts for a full 12 months and is only due for renewal a year later on the anniversary of the day they joined. In the past some Friends, quite understandably, felt short-changed if they joined during the October to February period. After paying a full year’s subscription, they found that their year’s membership lasted at most 11 months and possibly only 7 months. Our half-year memberships were also fraught with similar difficulties and administrative problems.

New Gift Membership Card ‘Anniversary of Joining’ also means that giving a gift of a Friends’ Membership to a friend, family member or colleague is now an even more perfect present. Whatever birthday, anniversary, special date or particular occasion you wish to mark, a membership can begin on the date you choose and will last for the whole of the next 12 months. An elegant (and complimentary) new card is available at the Friends’ desk for you to sign and send with your gift.

Not all change is for the better but the move to anniversary of joining certainly is! We continue on our steep learning curve with our new computer system and trust that when the long process of integrating it fully with Dulwich Picture Gallery’s system is complete, we will be a step nearer to our goal of on-line membership applications. With best wishesPippa SouthHon Membership Secretary

Friends AGM 2012The Annual General Meeting of the Friends of Dulwich Picture Gallery will be held on Monday 11 June 2012 at 7.30pm in the Linbury Room. Nominations are invited for membership of the Friends Committee for 2012-15. For details of committee responsibilities and an application form, please contact Jane Reid, Honorary Secretary on 020 8670 6151 or janereid @talktalk.net. Nominations need to be received by Friday 5 March 2012.

Change of addressPlease let us know! Almost half of our mailings are hand-delivered and these are unlikely to be forwarded.

Contact MeBy email at: [email protected] by mail or telephone:Pippa South, FDPG Memberships, Dulwich Picture Gallery Gallery Road, London SE21 7AD Tel: 020 8299 8751

Friends Membership information

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].

Looking for a distinctive present for a relative or friend? What about a:

Gift Membershipof the Friends of Dulwich Picture Gallery

For just £30 you can provide someone special with a year’s membership of the Friends, or a joint membership for only £40: two presents in one!

Your present comes with an elegant and complimentary Murillo card and envelope

Ask about it at the Friends’ desk, Dulwich Picture Gallery


Events January – May 2012

Film Talks Visits Exhibitions Special Events Events for Children Music

* Lunchtime concerts are held in Christ’s Chapel on Wednesdays at 1.30 – 2pm from 18 Jan to 28 March, excluding 22 Feb** See London visits and local walks, pages 20 – 21

January

16 Mon 7 for 7.45pm Linbury Room GalleryFilm: Three Colours Blue 16

18 Wed 1.30 – 2pm Christ’s Chapel Lunchtime concert series begins* 13

19 Thurs 11am ** London visits: Westminster Abbey 20

19 Thurs 7 for 7.30pm Linbury Room InTown lectures: Leonardo 12

25 Wed 10am Gallery Indian Ragamala exhibition opens 6

25 Wed 10.30 – 11.30am Linbury Room InSight lectures: Art and the Olympics: Art 18

31 Tues 7.30pm Linbury Room Music: Kathleen Ferrier talk and letters 13

February

1 Wed 10.30 – 11.30am Linbury Room InSight lectures: Art and the Olympics: Posters 18

5 Sun 3.45pm Linbury Room GalleryFilm for kids: The Iron Giant 17

7 Tues 10.30am ** London visits: Strawberry Hill House 20

8 Wed 10.30 – 11.30am Linbury Room InSight lectures: Art and the Olympics: Sculpture 19

15 Wed 10am Gallery Van Dyck in Sicily exhibition opens 2

15 Wed 6.30pm Gallery 1811 Club private view 2

16 Thurs 12.30 – 1.30pm Linbury Room Curator’s lecture: Van Dyck in Sicily 4

20 Mon 6pm Gallery Friends Private View 2

20 Mon 7 for 7.45pm Linbury Room GalleryFilm: Written on the Wind 16

23 Thurs 7 for 7.30pm Linbury Room InTown lectures: Freud 12

25 Sat 10 – 12 noon Linbury Room Events for Children: Stories and Art 17

March

4 Sun 3.45pm Linbury Room GalleryFilm for kids: Kirikou and the Sorceress 17 5 Mon 11am ** London visits: Tour of Olympic site 20 6 Tues 7.45 – 9.15pm Linbury Room Lecture series: Art of the Olympics – Athens 1896 14 10 Sat 10.30 – 11.30am Linbury Room Special events: Colour in the Home 19 11 Sun 2.30 – 4pm ** Local walk: Dawson’s Heights 21 13 Tues 7.45 – 9.15pm Linbury Room Lecture series: Art of the Olympics – London 1908 14 14 Wed 10.30 – 11.30am Linbury Room InSight lectures: Printmakers: Chris Orr 18 15 Thurs 7 for 7.30pm Linbury Room InTown lectures: Hockney RA 12 16 Fri 7.30pm Gallery Music: Malcolm Martineau and Friends 13 19 Mon 7.15 for 7.45pm Linbury Room GalleryFilm: Winter’s Bone 16 20 Tues 7.45 – 9.15pm Linbury Room Lecture series: Art of the Olympics – Paris 1924 14 21 Wed 10.30 – 11.30am Linbury Room InSight lectures: Printmakers: Anne Desmet 18 24 Sat 2.30 – 4pm ** Local walks: Ruskin 21 25 Sun 2.30 and 3.45pm Linbury Room Events for Children: Peter and the Wolf 17 27 Tues 7.45 – 9.15pm Linbury Room Lecture series: Art of the Olympics – Berlin 1936 14 28 Wed 10.30 – 11.30am Linbury Room InSight lectures: Printmakers: Barton Hargreaves 19 31 Sat 6.30pm St Barnabas Parish Hall Flamenco dance and supper evening 19

April

14 Sat 9.30am – 5pm Linbury Room Indian Ragamala: a symposium 19 16 Mon 7 for 7.45pm Linbury Room GalleryFilm: Gentlemen Prefer Blondes 16 24 Tues 11am ** London visits: Dennis Severs House 21 26 Thurs 7 for 7.30pm Linbury Room InTown lectures: Picasso 12

May

3 Thurs 7 for 7.30pm Linbury Room InTown lectures: Estorick Collection 12 5 Sat 10.15 – 11.45am Linbury Room Events for Children: Puppets 17 11 Fri 7.30pm Gallery Music: St James Quintet 13

Documents

InView Spring 2012