National gallery

Until a decade and a half ago, we had no national museum of modern art at all. Indeed, the stuff was not regarded as being of much interest to the British; now Tate Modern is about to expand vastly and bills itself as the most popular such institution in the world. The opening of the new, enlarged version on 17 June — with apparently 60 per cent more room for display — will be one of the art world events of the year. But, like all jumbo galleries, it will face the question: what on earth to put in all that space? Essentially, there are two answers to that conundrum.

Sometimes, contrary to a widespread suspicion, critics do get it right. On 17 August, 1798 an anonymous contributor to the Diario de Madrid, reviewing an exhibition at the Royal Spanish Academy, noted that Goya’s portrait of Don Andrés del Peral was so good — in its draughtsmanship, its freedom of brushwork, its light and shade — that all on its own it was enough to bring credit to the epoch and nation in which it was created. He (or she) was absolutely correct. The same could be said of many of the exhibits in Goya: The Portraits at the National Gallery. The people in these pictures rise up, as Vincent

It has often been related how, towards the end of his long life, a critical barb got under J.M.W. Turner’s skin. ‘Soapsuds and whitewash!’ Turner apparently snorted, repeatedly, to himself. However, until now no one has traced the perpetrator of this memorably tart comment. Now we know. It was the scandalous, super-rich patron and novelist William Beckford, who made it in 1831 while taking a visitor on a tour of his collection. They paused in front of a watercolour of Fonthill Abbey, Beckford’s erstwhile house — and folly — that Turner had painted some three decades earlier. The guest remarked that the painter did not paint like that these days.

The spectre of the Charlie Hebdo killings still hangs over Paris. Outside the École Nationale Supérieure des Beaux-Arts, opposite the Louvre, there’s a big poster of Cabu, one of the murdered cartoonists. The poster is peppered with fake bullet holes; underneath, the caption reads, ‘It doesn’t hurt at all.’ I didn’t realise, until I talked to the curator of the new Impressionist show at the National Gallery in London, that Cabu was a popular figure on French children’s TV in the 1970s. His death particularly haunts the middle-aged, who grew up on his cartoons. The Charlie Hebdo posters across Paris still bring you up short. I hope it isn’t sacrilege

When it was suggested that a huge exhibition of Impressionist paintings should be held in London, Claude Monet had his doubts. Staging such an exhibition, he wrote to his dealer Paul Durand-Ruel, would be ‘unwise’ and only likely to baffle a London public that ‘knows very little about us’. That was in 1904. What, one wonders, would Monet make of Inventing Impressionism, which has just opened at the National Gallery 111 years later? It can hardly be said now that the British know little of the Impressionists. On the contrary, you could argue we’ve seen quite enough of them in recent decades. The challenge for a gallery planning to put

The New Year is a time for reflections as well as resolutions. So here is one of mine. In the art world, media and fashions come and go, but often what truly lasts — even in the 21st century — is painting. Over the past 12 months, there has been a series of triumphs for pigment on canvas, including the glorious Veronese exhibition at the National Gallery, and a demonstration by Anselm Kiefer at the Royal Academy that we still have painters of towering stature among us. What will 2015 hold? Well, as far as painting is concerned — both old master and contemporary — there are some extremely promising

You won’t have heard of Peder Balke. Yet this long-neglected painter from 19th-century Norway is now the subject of a solo show at the National Gallery. And it’s an absolute revelation. Walking around, I marvelled at the intensity of a man obsessed with revealing the frozen grandeur and elemental drama dominating his country’s northernmost shores. Like Turner, he was driven by a restless urge to travel, discovering landscapes that enlarged and transformed his vision of the world. In 1832 he took an arduous sea journey to the far north of Norway, ceaselessly sketching the rugged coast and mountains along the way. His excitement grew as he passed the primal North

This article first appeared in Apollo magazine Apollo’s new Digital Innovation of the Year award commends organisations harnessing digital technology to advance access to, or knowledge of art. The winner will be chosen from the shortlist below and announced in the December issue of Apollo. Find out more about the Apollo Awards. After Dark Tate Britain, London For five nights in August, four robots equipped with cameras roamed the galleries of Tate Britain and live-streamed their journeys to a microsite. A few of the robots’ online observers were also allowed to log in and manoeuvre them by remote control. The project was conceived by London-based design studio The Workers, winners of the first IK Prize (Tate’s

Nothing could have prepared the art world for the astounding moment in 1970 when, at a Christie’s sale on 27 November, the world auction record for a painting smashed through the million-pound barrier for the very first time. It was Velázquez’s portrait of his assistant Juan de Pareja, and in the week leading up to its sale the international press became excited about the possibility that it would beat the previous record of £821,482, paid in 1961. I had recently become the art critic of the Evening Standard, and its enlightened editor, Charles Wintour, asked me to write a special article about this Velázquez portrait. Propped up on a chair

At the opening of Rembrandt: The Late Works at the National Gallery (until 18 January), I met a painter friend of mine in the final room. This was, he said, one of the most magnificent exhibitions he had seen in his entire life, which — considering he is perhaps 70 and a frequent visitor of galleries — was praise indeed (and entirely deserved). Mischievously, I mentioned that he had also been highly enthusiastic about Veronese at the National Gallery a few months ago. ‘Ah, but there is a huge difference between Veronese and Rembrandt,’ he vehemently responded. ‘When you look at a Madonna by Veronese, you see a glamorous model

Juvenilia is the work produced during an artist’s youth. It would seem logical to think, therefore, that an artist’s output during their old age would be classified as ‘senilia’. Yet no such word exists. But how else to classify the three blockbuster exhibitions this year that deal with Matisse, Turner and Rembrandt’s late work? These titans produced some of their finest art during old age. The exuberance of Matisse’s cut-outs are all the more astonishing given that they were produced not in the first bloom of life but rather in the dying embers of it. Rembrandt’s late works — on display at the National Gallery from October and discussed by

Nick Penny announced that he is stepping down as head of the National Gallery. Next door, at the National Portrait Gallery, Sandy Nairne also announced that he is leaving. Could he be after the job at the NG? Nick Penny’s predecessor, Charles Saumarez Smith, came from the NPG but his lack of knowledge about the NG collection is said to have led to an internal curatorial mutiny. Sandy Nairne could also be said to lack the knowledge of the collection necessary to do the job well. Furthermore, he is not currently popular with lovers of the gallery, some of whom believe that his dogged pursuit of the overpriced Van Dyck self portrait – an attractive work of so-so

Deans are a strange breed. Growing up in the Church of England, I met a wide range, their cultural tastes embracing everything from Chagall to In Bed with Madonna. In 2003, I didn’t know what appealed to the then Dean of St Paul’s Cathedral, John Moses, but in April of that year it suddenly became crucial. I was proposing that St Paul’s commission the artist Bill Viola — dubbed by some the Rembrandt of the video age — to create a work for the cathedral. Since Moses had never heard of Viola and I didn’t work in the visual-arts world, it seemed a far-fetched proposition. Yet I was in no

Paolo Veronese (1528–1588) is one of the great painters of the Venetian School, often joined in an unholy trinity with Titian and Tintoretto. But he was not Venetian, and only arrived in the city when he was well into his twenties. His formative years were spent in Verona, hence his popular name (he was also known as Paolo Caliari, and before that as Paolo Spezapreda, in reference to his early training as a stonecutter, following his father and grandfather), which suggests a very different background from his two most famous confrères. He has also been categorised as a Mannerist, but this is more art-historical pigeonholing than useful elucidation. Veronese deserves

In 1857, the National Gallery’s pioneering director Sir Charles Eastlake bought one of Veronese’s most sumptuous paintings, ‘The Family of Darius before Alexander’. The purchase was met with strident and very personal opposition from a Tory, Lord Elcho, in the House of Commons, but his objections were swatted aside by Lord Palmerston and we were spared the irony of fighting to defend the Indian empire while rejecting the opportunity to buy the finest painted celebration of imperial conquest. ‘The Family of Darius before Alexander’ is the centrepiece of the first monographic show in this country dedicated to Veronese (until 15 June). This is the sort of triumphant exhibition that the

It’s German Season in London, and revealingly the best of three new shows is the one dealing with the most modern period: the post-second world war era of East and West Germany and the potent art that came out of that split nation. In Room 90 is another immaculately presented British Museum show of prints and drawings, focused this time around Georg Baselitz (born 1938). Of the 90 works on display, more than a third has been donated to the BM by Count Christian Duerckheim, the remainder lent by this assiduous collector. The show begins with Baselitz’s contemporaries and I was surprised to find myself quite liking some things by

The current exhibition in the Sainsbury Wing claims to be a portrait of Vienna in 1900, but in fact offers rather an interesting survey of portraits made there from the 1830s to 1918. The gallery layout has been usefully adapted to display the work thematically rather than chronologically, which is more dynamic but stylistically confusing. The only way to enjoy the show is to wander at will and pick out the paintings that appeal. There are some horrors here (I wouldn’t linger over Broncia Koller), but plenty of good things as well. The first room gives you a taste of what’s on offer: there’s a mad portrait of Emperor Franz

In 1929, Samuel Courtauld owned the most important collection of works by Paul Gauguin in England: five paintings, ten woodcuts and a sculpture. He subsequently sold two of the paintings, but for this show the gallery that bears Courtauld’s name has borrowed them back. One of them is the very beautiful ‘Martinique Landscape’ (1887), now owned by the National Galleries of Scotland, in which colour and pattern lock together in the most subtle and satisfying way. Even the rather startling turquoise with which the gallery’s walls have been painted cannot distract from its powerful presence. The other great painting here is supposedly ‘The Dream’, which Roger Fry declared was ‘the