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Painting posts

Sir Francis Walsingham, by an Unknown artist, oil on panel, late sixteenth century, NPG 1704

Under the skin – A newly discovered piece of satirical Tudor art?

Technical analysis of paintings can occasionally yield some unexpected results, none more so than the discovery of other images hidden beneath the surface. As part of the Making Art in Tudor Britain project a small portrait of Sir Francis Walsingham came into the Gallery’s conservation studio to be examined as a ‘reserve’. We weren’t expecting to spend much time on it, but simply to examine it using infrared photography and possibly to carry out an x-ray. However, when the infrared photograph revealed two shadowy forms beneath the skin in the sitter’s face it became apparent that this was a very unusual painting. The x-ray showed that the figure on the right was a seated woman with loose long hair, and possibly a child in her arms. Very surprisingly, particularly in the context of a portrait, we seemed to have found a small devotional image that featured the Virgin and Child.…

By Charlotte Bolland, Project Curator (Making Art in Tudor Britain)

  • 1 Comment

9 January 2013

  • Painting

The artist never lies?

How much control do we have over our images? When we view a portrait, do we expect it to depict someone as they are or as they’d like to be? Would you feel differently if it was a portrait of you? These questions struck me when I was looking at William Hoare’s portrait of Alexander Pope for our new display, The Art of Drawing: Portraits from the collection, 1670-1850. …

By Clare Barlow, Assistant Curator

  • 2 Comments

28 November 2012

  • Exhibitions
  • 18th Century
  • Painting
On being painted by Humphrey Ocean

On being painted by Humphrey Ocean

Humphrey Ocean, whose display A handbook of modern life opens at the Gallery this month, began making a series of portraits of visitors to his south London studio – friends, family and people he knows – in 2006; a diverse group who now number almost two hundred. The portraits share a format, and by using gouache, a kind of thickened watercolour, on paper, Ocean can work very swiftly. None of the portraits took more than forty-five minutes. …

By Rosie Broadley, Associate Curator

  • 4 Comments

22 November 2012

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