I’m not going to be defined by summer, winter or autumn. He said, ‘We’re going to have exhibitions all the time. But Mitzevich does not see the need to follow old timelines. According to Mitzevich, the space was only completed two weeks before the opening and sees a return to the temporary gallery space to open up two spaces to show work.Īfter 2018’s Cartier, this exhibition establishes a pattern of winter blockbusters. The design is sympathetic with architect Col Madigan’s design for the NGA but has dark tones to the walls to bring out the individual works. ![]() The exhibition space has been reconditioned for the exhibition, hanging the key works generously to allow for visitors to flow past but also take their time and consider every whorl of paint, every dot of detail. He said, ‘This is an exhibition that covers well-trodden terrain, but we hope that we tell a story that Australians haven’t been seen before and we bring a work that has been unseen in Australia before.’ Image © Tate, London A new space with the new DirectorĪppointed to the NGA in July 2018, this exhibition is something of a calling card for Mitzevich, signalling the kind of stories he sees the gallery telling. JMW Turner’s Le Havre: Sunset in the port, from the Tate’s Turner Bequest. The group of artists and then the movement was labelled Impressionist so this is the painting that began the most loved and influential movement in art history.’ The painting was particularly controversial with critic Louis Leroy sneering that ‘wallpaper in its embryonic state is more finished than that seascape’.Īs NGA Director Nick Mitzevich told ArtsHub, ‘The critics when they first saw it in 1874 used the title with a negative connotation, deriding it as unfinished and “merely an impression” but the title stuck. Impression, sunrise was at the centre of the 1874 exhibition that included Paul Cézanne, Edgar Degas, Camille Pissarro and a roll call of who would become the Impressionists. ![]() Both of these schools led to the popularity of landscape art along with the harbour images of both Monet and Turner. But the exhibition adeptly locates Monet and his work in the artistic context of British painters (JMW Turner is featured heavily, as Monet encountered his work when escaping to London during the Franco-Prussian War) who in turn influenced French painters of the Barbizon School. ![]() These are after all some of the best known Impressionist pieces in Australia so they are given clear sightlines on entering the latter Monet-focussed spaces. Of course the exhibition also includes the NGA’s pair of Monets – Haystacks, midday and Waterlilies – purchased in 1979 and a popular part of the collection ever since. The work was owned by private collectors before being donated to the Musée Marmottan Monet so its influence is often forgotten beside better-known works. This exhibition is built around this key artwork which is hung in a fresh open space, viewed on a whole wall to highlight its significance.
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