住所: St James's Palace, St. James's, London SW1A 1BQ
When Frances Sally Day portrayed Queen Victoria and her family at the Royal residence on the Isle of Wight, a woman photographer was a rather rare phenomenon. It was 1859 and the English lords were busily planning charity evenings, but the most powerful head of state in the world was a woman and she chose to entrust her public image to a woman’s point of view. Despite the costs and technical difficulty of an art in its infancy, Day had a studio in Piccadilly, exhibited at the Royal Academy and competed successfully in prestigious national contests. Today, her photos are in good company in the Royal Collection, where it is possible to retrace the history of photography from the female point of view from the 1800s to today. Pioneering experiments, crucial technical innovations and revolutions like that of colour film are all touched upon in this thrilling voyage. Queen Alexandra (1844 - 1925) practiced photography, thanks to the new Kodak cameras that made the art much simpler and manageable. The modernist portraits of Dorothy Wilding, the delicate platinum prints of Alice Hughes, the socially relevant photos of Lee Miller and Toni Frissel are just some examples of the variety of styles and approaches. Besides being a means of artistic expression, photography offered women independence - “A life worth living, without monotony,” in “constant and pleasurable contact with humanity,” wrote photographer Olive Edis, before become an official reporter covering World War One.
Marking the 250th anniversary of their births, a landmark exhibition explores the intertwined lives and legacies of Turner and Constable, two of the most important 19th-century British landscape painters.
Paintings, sculptures, textiles and poetry by over 50 artists including Uzo Egonu, El Anatsui, Ladi Kwali and Ben Enwonwu chronicle the achievements of Nigerian artists working before and after the decade of the nation’s independence from British colonial rule in 1960.
Anselm Kiefer presents new paintings at White Cube Mason’s Yard exploring the relationship between history, memory and materiality. The exhibition investigates Van Gogh’s influence on his practice and frames a dialogue between myth and matter.
Hurvin Anderson’s first major retrospective explores twenty-five years of painting between England and Jamaica, memory and modernity, and brings together over sixty paintings by the British artist, ranging from nostalgic interiors to saturated landscapes, through a profound reflection on identity and belonging.
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