Martin Gayford questions the point of art shows. Should they educate or give pleasure — or both?
Towards the end of June, 1814, Maria Bicknell, the wife-to-be of the painter John Constable, went to an exhibition at the British Institute on Pall Mall. It was the second retrospective exhibition ever held in London. The first, the previous year, was devoted to the work of Joshua Reynolds and had been so popular that special evening viewings by candlelight were announced. The same was done in 1814 for the follow-up, a joint show of work by Hogarth, Gainsborough and Richard Wilson.
Maria managed to get a ticket for one of the candlelit evening sessions, only to be disappointed. ‘I prefer it infinitely by day,’ she wrote to Constable; ‘it was crowded to excess, certainly a very fine place to see, and be seen.’
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