19th Century

Smell loomed large in cultural discourse in the late nineteenth century, thanks to the midcentury fear of miasma, the drive for sanitation reform, and the rise in artificial perfumery. Meanwhile, the science of olfaction remained largely mysterious, prompting an impulse to “see smell” and inspiring some artists to picture scent in order to better know and control it. This book recovers the substantive role of the olfactory in Pre-Raphaelite art and Aestheticism.

Christina Bradstreet examines the iconography and symbolism of scent in nineteenth-century art and visual culture. Fragrant imagery in the work of John Everett Millais, Dante Gabriel Rossetti, Simeon Solomon, George Frederic Watts, Edward Burne-Jones, and others set the trend for the preoccupation with scent that informed swaths of British, European, and American art and design. Bradstreet’s rich analyses of paintings, perfume posters, and other works of visual culture demonstrate how artworks mirrored the “period nose” and intersected with the most clamorous debates of the day, including evolution, civilization, race, urban morality, mental health, faith, and the “woman question.”

“Paul Cézanne’s (1839-1906) status as a bridge between the traditions of 19th-century painting and modernism is unrivalled. In his delightful ‘Farm in Normandy, Summer (Hattenville)’ the artist employed intense, free brushstrokes to evoke the dappled light, shadows and myriad green hues of trees and a meadow, anticipating later, key developments in his artistic evolution, when the abstract structures underpinning nature were gradually given greater prominence. The picture is also significant in the context of the artist’s career, as the farm depicted was acquired in the year Cézanne painted it by Victor Chocquet (1821-1891), his first important patron and a key champion of impressionism. 

In addition to these themes, it forms part of the very important story of British taste for international art in the 20th century. Cézanne’s landscape was purchased in 1937 by Samuel Courtauld (1876-1947), as the last of a remarkable group of twelve paintings by the artist Courtauld acquired: he played a seminal role in establishing an enthusiasm for impressionist and post-impressionist painting in Britain both through his own collecting and generous funding of major pictures secured for the National Gallery in the 1920s. 

Because of its beauty, significance in the artist’s career, and role in the wider appreciation of such artistic achievements, it would be a profound misfortune if this beguiling work could not be retained in this country.”

The portrait, which has been in the same private collection for many years, is a gilt framed oval picture of William Beckford on his deathbed, surrounded by brass and giltwood decorations that match those used on his coffin.  It was made for Beckford’s daughter, Susan, Duchess of Hamilton following her father’s death in May 1844.

This first retrospective is an opportunity for visitors to discover or to renew acquaintance with Giovanni Boldini, a virtuoso painter and figure on the social, artistic and literary scene of Belle Époque Paris.

Born in Ferrara, Italy in 1842, Boldini spent most of his career in Paris. He was a close friend of Degas and also of Proust, and moved in aristocratic and upper middle-class circles. During his lifetime, he enjoyed considerable success, becoming the favourite portraitist of a rich, international clientele. In Paris, the fashion capital of the world, he had no equal when it came to portraying princesses and rich heiresses – always wearing the most beautiful dresses. His inimitable style, which was modern but at odds with the avant-garde, has made his works captivating and moving testimonies of that lost era in Paris.

Eight pairs of screen paintings were sent by the Japanese shogun Tokugawa Iemochi shortly after Japan’s reopening to the West, following more than two centuries of deliberate isolation. 

The opulent gift to Victoria marked a landmark treaty that reopened seven Japanese ports and cities to British trade and allowed a British diplomat to reside in Japan for the first time.

But the screens were wrongly catalogued as Japanese works by an unidentified artist when they arrived,  and their links to Shogun Iemochi and their historical significance were lost.

It was also found that the pieces – featuring two to three layers of paper rather than the usual six to nine – were hastily produced, probably due to a huge fire in Edo Castle in Tokyo which would have destroyed the original versions before they could be sent to Victoria.

The sky of Turner's picture was exceedingly bright, but it had a most injurious effect on the colour of the two portraits. Lawrence naturally felt mortified... On the morning of the opening of the exhibition, at the private view, a friend of Turner's who had seen the Cologne in all its splendour, led a group of expectant critics up to the picture. He started back from it in consternation. The golden sky had changed to a dun colour. He ran up to Turner, who was in another part of the room. "Turner, what have you been doing to your picture?" "Oh," muttered Turner in a low voice, "poor Lawrence was so unhappy. It's only lamp-black. It'll all wash off after the exhibition" 

Mark Baker, chairperson of the trust, said: “She was a force of nature locally and her diaries, which are in the National Library of Wales, are a great source for learning about life in Abergele nearly 200 years ago.

“This portrait hung at Gwrych Castle from 1902 and disappeared from the records in 1928. 

“We believe it dates to about 1825 and the time of Marianne's marriage. 

“In the 1870s, the house was said to house 'many interesting works of art, including several family portraits by Richard Wilson, and one by Beechey of Barbara Lisle Bowles, the great-great-great niece of Sir Isaac Newton'. 

“We believe Marianne's portrait is by an artist called Henry William Pickersgill RA (1782-1875), who was a noted painter, and his sitters were all the notables of the day.

Martyn Downer explains: “Mather Brown was one of a small group of artists – such as his fellow American Benjamin West, who were well known to Nelson in London. That familiarity is evident in Brown’s vivid and theatrical representation of Nelson receiving his fatal wound at the battle of Trafalgar which, amid the smoke of conflict, offers us one of the most compelling and well-informed late portraits of the admiral. The re-discovery of Brown’s bold attempt to win the 1805 competition for the best painting of the dramatic scene is an exciting moment for Nelson enthusiasts and for scholars of eighteenth-century art, especially for followers of this fascinating and complex artist.”  

Whereas Rococo painting was considered frivolous and immoral after the French Revolution, it underwent a revival in the nineteenth century and was widely visible in Renoir’s lifetime. Having trained as a porcelain painter, he was also intimately acquainted with the imagery of artists such as Antoine Watteau, Baptiste Siméon Chardin, François Boucher and Jean-Honoré Fragonard. He shared the Rococo’s predilection for certain subjects, among them promenaders in the park and on the riverbank, moments of repose in the outdoors, and the garden party. Renoir also frequently devoted himself to the depiction of domestic scenes and family life as well as intimate moments such as bathing, reading or making music. Yet he not only took orientation from the motifs of the Rococo, but also particularly admired its loose and sketchy manner of painting as well as its brilliant palette, aspects that would have a formative influence on him and many other artists in the Impressionist circle. 

Trenchant juxtapositions of Renoir’s art with works of the eighteenth century as well as his own contemporaries – Edgar Degas, Édouard Manet, Claude Monet and Berthe Morisot – will provide an overview of Impressionism’s intense artistic examination of the Rococo. 

The exhibition will show a total of some 120 outstanding paintings, works on paper and handcrafted objects from international museums such as the National Gallery in Washington, D.C., the Musée d’Orsay in Paris, the National Gallery in London, the Metropolitan Museum of Art in New York, the J. Paul Getty Museum in Los Angeles, as well as private collections.

This significant collection consists of 17 maritime paintings, a ship’s register (1912) from The Cork Harbour Commissioners referencing both the Titanic and Lusitania, an illuminated address to Charles Stewart Parnell (1846-1891), and a silver Admiralty Oar from 1686. 

Now visitors will have the opportunity to encounter a selection of paintings from the Port of Cork collection, including works by George Mounsey Wheatley Atkinson (1806-1884), Henry Albert Hartland (1840-1893), Robert Lowe Stopford (1813-1898), and Seán Keating (1889-1977).  Although not attending to certain social or political realities of late nineteenth-century Ireland, these artworks do act as a visual reminder of that time.

They also underscore Cork Harbour's links with empire, its international significance for commerce and trade, and ever-present story of migration. Glimpses of half-remembered histories are framed within these heritage views of Cork Harbour. Each artist provides an insight into the Port of Cork's operations, from Atkinson's extraordinary rendering of naval vessels to Hartland and Stopford's depictions of commercial shipping and leisure craft. Perhaps unexpectedly, Keating's elevated View of the Port of Cork draws us into Cork City itself and remembers the busy working quays of recent memory.

Our summer blockbuster exhibition offers you the chance to rediscover a host of 'forgotten' British artists working at the turn of the twentieth century, including Frederick Cayley Robinson (pictured), Evelyn Pickering de Morgan and Charles Ricketts. These artists sought to understand their place in the changing modern world by re-examining the nostalgic and romantic art of the Pre-Raphaelite Brotherhood. The exhibition is a rare opportunity to see the Gallery's important collection of Modern Pre-Raphaelite artwork in the context of significant loans from around the country including works from Tate, the British Museum, the Fitzwilliam Museum, Manchester Art Gallery and many more.