Национальная галерея

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The National Gallery London National Gallery was founded in the XVIII century on the base of Angers tike’s collection. The gallery was opened on the 10th of May, 1824 as a result of private donations and purchases made during the following century. In 1838 it moved into the building on Trafalgar Square built according to the design by architect William Witkins

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Yan van Eyck. Giovanni Arnolfini and his wife.1434. London National Gallery

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Leonardo da Vinci. The Virgin and Child with Saint Anne and Saint John the Baptist. The National Gallery of London

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Botticelli. Mars and Venus.1483. London National Gallery

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A. Bronzino. Allegory. 1540-1545. The National Gallery of London

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Titians. Diana and Acteon. 1559. The National Gallery of London

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Rafael. The Knight’s Dream. The National Gallery of London

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Rembrandt. Self-portrait.1640. The National Gallery of London

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Renoir. Umbrellas. The National Gallery of London

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F. Goya. The Duke of Wellington portrait. The National Gallery

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N. Hilliard. Queen Elisabeth of Bohemia. 1605-1610. Private Collection. Nicholas Hilliard (1547-1619) British painter. Son of a goldsmith, he trained as a jeweler and began painting miniatures in his youth. In 1570 was appointed miniature painter to Elizabeth I. He produced many portraits of her and of such members of her court as Francis Drake and Walter Raleigh. He retained his appointment on the accession of James I (1603), while also practicing as a goldsmith and jeweler. The first great native-born English painter of the Renaissance, he raised the art of miniature painting to its highest point of development and influenced English portraiture through the early 17th century.

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Hogarth. Marriage a la Mode. 1743. London National Gallery William Hogarth (1697-1764) British painter and engraver. Apprenticed at 15 to a silversmith, he opened his own engraving and printing shop at 22. He took private drawing lessons while earning a living as an engraver of book illustrations. His first major work, Masquerades and Operas, attacking contemporary taste and questioning the art establishment, won him many enemies. In 1728 he embarked on a painting career with A Scene from "The Beggar's Opera," revealing his interest in theater and comic subject matter; he also painted "conversation pieces" (informal group portraits) for wealthy clients. His engravings of modern morality subjects were aimed at a wide public, and their outstanding success established his financial independence. To safeguard his livelihood against pirated editions, he fought for legislation protecting artists' copyright. Britain's first copyright act was passed in 1735, the year he published his satirical eight-part series The Rake's Progress. His other satirical series include A Harlot's Progress (1730-31) and Marriage à la Mode (1743-45),

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Hogarth. The Shrimp girl. The National Gallery of London

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J. Reynolds. Lady Ann Lennox. The National Gallery Joshua Reynolds later Sir Joshua; (1723-1792) British portrait painter. Son of a schoolmaster, he was apprenticed to a London portraitist in 1740. His large group portrait The Eliot Family (c. 1746) reveals the influence of Anthony Van Dyck. The impressions gained during two years in Italy (1750-52), particularly in Venice, inspired his painting for the rest of his life. He established a portrait studio in London in 1753 and was immediately successful.

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J. Reynolds. Portrait of Admiral Lord Hitfield. 1760-1762. After 1760, with the increasing vogue for Greco-Roman antiquity, his style became increasingly classical and self-conscious. He was elected the first president of the Royal Academy in 1768. Through his art and teaching, Reynolds led British painting away from the anecdotal pictures of the early 18th century toward the formal rhetoric of continental academic painting. His Discourses Delivered at the Royal Academy (1769-90), advocating rigorous academic training and study of the old masters, ranks among the most important art criticism of the time.

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T. Gainsborough. The Andrews Couple. 1750. The National Gallery Thomas Gainsborough (1727-1788) British painter. At 13 he left his native Suffolk to study in London. By c. 1750, back in Suffolk, he had established a reputation in portraiture and landscape painting. He painted landscapes for pleasure; portraiture was his profession. In 1759 he moved to the fashionable spa of Bath, where his works would be seen by a wider and wealthier public. In 1768 he became a founding member of the Royal Academy of Art. He developed an elegant, formal portrait style inspired by Anthony Van Dyck, whose influence can be seen in such portraits as his famous Blue Boy (1770).

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W. Turner. The Fighting Temeraire. 1838. The National Gallery. Turner Joseph Mallord William (1775-1851) British landscape painter. The son of a barber, he entered the Royal Academy school in 1789. In 1802 he became a full academician and in 1807 was appointed professor of perspective. His early work was concerned with accurate depictions of places, but he soon learned from Richard Wilson to take a more poetic and imaginative approach. After a trip to Italy in 1819, his color became purer and more prismatic. 1838 is the date of the Fighting Temeraire. If any one of Turner’s works had to be chosen to sum all his powers it would have to be this. It contains all the definite drawing of his earlier works without any loss of colour, and all the glory of the later colour without any vagueness. The beautiful golden battle-ship, whose days are over, is being towed to her last resting place b an ugly modern snorting tug, which belches forth brown smoke. It is significant that he refused to sell it and it is said to have been his favourite among his works.

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George Romney. Portrait of Mrs. Mary Robinson. 1781. George Romney (1734-1802) British portrait painter. Son of a Lancashire cabinetmaker, he began his career by touring the northern counties, painting portraits for a few guineas each. In 1762 he established himself as a portraitist in London and quickly won favor among society patrons. His success depended on the flattery of his likenesses; he avoided any suggestion of the sitter's character or sensibilities. Infatuated with Emma Hart (later Lady Hamilton) c. 1781-82, he went on to paint more than 50 images of her. Line ratherthan color dominates his work, and the flowing rhythms and easy poses of Roman classical sculpture underlie the smooth patterns of his compositions.

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John Constable. At the seaside in Brington. 1824. Victoria and Albert Museum. John Constable (1776-1837) British painter. He began his career in 1799 on entering the Royal Academy Schools in London. He never went abroad; his finest works were inspired by the English countryside. In 1813-14 he filled two sketchbooks, which survive intact, with over 200 landscapedrawings. He was a master of watercolor as well as oil painting on canvas. His most significant achievement was the production of many small oil sketches, painted directly from nature, depicting the atmospheric effects of changing light and moving clouds, unique at the time they were painted. He is ranked with J.M.W. Turner as one of the greatest 19th-century British landscape painters.

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J. Constable. Cathedral in Salisbury. Metropolitan Museum New York

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J. Whistler. Arrangement in Grey and Black. 1872- 1874 James Abbot McNeill Whistler (1834-1903)British painter, etcher, and lithographer. Born in Lowell, Mass., he attended West Point but soon abandoned the army for art. In 1855 he arrived in Paris to study painting and adopted a bohemian lifestyle. In 1863 he moved to London, where he had considerable success, becoming widely famous for his wit and large public presence. An articulate theorist, he expounded on the "correspondences" between the arts, especially painting and music, and helped introduce Britain to modern French painting and Japanese art. From the 1870s on he concentrated on portraits. His most famous work is Arrangement in Grey and Black, No. 1: The Artist's Mother (1871-72), known as Whistler's Mother. In 1877 he brought a libel suit against John Ruskin for attacking his Nocturne in Black and Gold: The Falling Rocket (1875); he won his case but received damages of only a farthing, and the costs of the suit bankrupted him. A commission for etchings took him to Venice in 1880, and the 50-odd works he produced there won him success again in London on his return.