The Government Art Collection is seeking an Assistant Curator: Interpretation, with experience of working ideally in a museum or visual arts context, and an appetite for producing rich interpretation content about works of art in the Collection, for various platforms and a wide range of audiences.

This is an exciting time to join the Government Art Collection, which is about to celebrate its 125th Anniversary. This role will play a key part in the development of dynamic and engaging content for this anniversary campaign, alongside contributing to the Government Art Collection’s Interpretation Strategy and Representation of the People Project.

Kauffman’s portrait of Theresa Parker was commissioned by Parker herself as a gift for her friend Lady Pelham. The portrait is on loan from a private collection and is being shown in public for the first time in this country.  

The small full-length depiction of Theresa is intimate in scale and shows her in fashionable Turkish dress. The portrait representing Theresa’s love for her friend contrasts the portrait by Reynolds, which was commissioned for public display at the Royal Academy in 1773, and as a companion for another large historical family portrait in the Saloon.  [...]

The two portraits of Theresa Parker have added poignance as Theresa sadly died in 1775 at the age of only 35. Reynolds was the one to write her obituary, again, a testament to their friendship and his respect of her artistic knowledge and sensibility. 

The RCP Museum holds a fascinating collection of hundreds of fine art portraits, featuring great British and European artists. In 1596 the RCP announced that any member or 'noble person' could display his portrait or coat of arms in our headquarters on payment of £10. After sadly losing many of our early paintings in the Great Fire of London in 1666, we began a deliberate policy of rebuilding our portrait collection in the 18th century. Today we continue to collect and commission contemporary artworks and portraiture of notable medical figures past and present.

This fully illustrated catalogue presents the most up-to-date research on the seventy-five paintings in the National Gallery created in the German-speaking lands before 1800. Among them are important groups of works by artists such as Hans Holbein the Younger—including his famous double portrait The Ambassadors of 1533—Lucas Cranach the Elder, Albrecht Dürer, Adam Elsheimer, the fifteenth-century Cologne painter known as the Master of the Saint Bartholomew Altarpiece and his Westphalian contemporary, the Master of Liesborn.

This is the first catalogue of the National Gallery’s German paintings since 1959 and includes revelatory entries on a number of important new acquisitions, among them significant works by Albrecht Altdorfer, Wolf Huber, Franz Anton Maulbertsch, Hans Rottenhammer and Hans Wertinger. The German Paintings before 1800 also includes two essays, the first discussing the history of the paintings’ acquisition by the National Gallery and the taste for German painting in Britain, and the second addressing the ways in which these German artists produced their work.

A celebrated member of the French Impressionists, Pennsylvania-born Mary Cassatt challenged the conventional expectations of Philadelphia’s elite. In Paris, Cassatt committed herself to a career as a professional artist and made the social, intellectual, and working lives of modern women a core subject of her prints, paintings, and pastels. Though recognized in her lifetime for her intimate depictions of women and children, Cassatt has yet to be appreciated for her serious engagement with the realities of gender and labor in her portrayal of other traditionally feminine activities, such as embroidery, reading, or making social appearances.

These depictions lie at the heart of Mary Cassatt at Work, which will present over 130 diverse works that follow the artist’s evolving practice and demonstrate her interest in the “serious work” of artmaking. The exhibition will present new findings about the materials she used and her processes—which were advanced for her era—as it coincides with a detailed technical study of the Philadelphia Museum of Art’s significant Cassatt holdings.

Almond-shaped, sightless eyes are an unmistakable feature of Modigliani’s style. With their stoic noblesse, his portraits and nudes have become icons of modern art. Like Frida Kahlo and Pablo Picasso, Amedeo Modigliani provoked both hostility and admiration, and his early death encouraged the creation of legends. Only a few of his pieces are found in German collections. The show Modigliani: Modern Gazes, the first exhibition of his work in Germany in fifteen years, offers a revised image of Modigliani, presenting him as an artist who turned his gaze to emancipated women.

Kedleston Hall is a neo-classical show-palace that also houses a significant Asian collection of over 1,000 objects in a dedicated museum. Welcoming over 200,000 visitors a year we aim to create wonder by celebrating art and design, from exploring the art and culture of our unique collection of objects from across the Asian Continent to unpacking how 18th-century design has impacted our world today.

Managed by the Collections and House Manager, you'll lead on the preventive conservation plans, from cleaning routines to environmental management, and on delivering engaging 'Conservation in Action' to enrich the visitor experience. You'll be supported to deliver this by two Collections and House Officers and three Collections Assistants, the latter you will manage.

Interesting to see how poorly paid so many of these UK arts-related jobs remain. The £25,000-£30,000 Senior Collections Officer at Kedleston is considerably below the average UK annual salary of about £35,000.

The Georgians placed these figures, whether beautifully dressed, sociable or industrious, into their drawings to animate, add intrigue and enhance the aspirational appeal of their designs. They also played, and continue to play, an important role in indicating the scale and function of architectural elements and drawing attention to the special features of designs.

Just as architects today use staffage to help prospective buyers imagine a life in and around new developments, these historic scenes were created to market new possibilities to audiences. They have, therefore, taken on a new significance as a means of signalling shifts in style, demographics, work, and culture. Between the city traders and happy families, street-side boxing matches and children riding in dog-carts, the figures celebrated in this exhibition help piece together a vibrant picture.

The FT is looking for an arts editor. Reporting to the FT Weekend editor, the arts editor is responsible for overall coverage of all art forms in the Life & Arts section of FT Weekend, plus a page of the daily FT each weekday, and a variety of special supplements (usually 12 a year) covering the art market. This highly skilled individual will be able to balance our coverage of everything from opera to gaming, fine art to TV streaming. They will be an imaginative commissioner, efficient editor and prominent ambassador for the FT’s well respected and market leading arts coverage. Moreover they will be able to steer it confidently through the continuous innovation necessary to keep up with these endlessly evolving disciplines and industries. 

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Dated to circa 1769, this monumental canvas is the artist’s grandest statement on the theme of Mares and Foals, the series of paintings executed in the 1760s which arguably stand as Stubbs’ crowning achievement. The picture is believed to have been painted for the Prime Minister of Britain from 1768-1770, Augustus Fitzroy, 3rd Duke of Grafton (1735-1811), who was part of the closely-connected nexus of ‘Whig’ statesmen that provided Stubbs with his most important patronage during this career-defining period. Having only appeared at auction once before, almost 50 years ago, it will be on public view in New York from 18 to 22 May, and in the pre-sale London exhibition which runs from 28 June to the morning of 2 July.

Begun over three stays in the capital between 1899 and 1901, the series—depicting Charing Cross Bridge, Waterloo Bridge and the Houses of Parliament—was unveiled at a landmark exhibition in Paris in 1904. Monet fervently wanted to show them in London itself the following year, 1905, but plans fell through. To this day, they have never been the subject of an exhibition in the UK.

The Griffin Catalyst Exhibition: Monet and London. Views of the Thames will realise Monet’s unfulfilled ambition of showing this extraordinary group of paintings in London, on the banks of the Thames and a mere 300 metres from the Savoy Hotel where most were painted. By presenting the paintings Monet himself selected for his public in Paris and London, it will provide visitors with the unique experience of seeing the show Monet curated and the works he felt best represented his ambitious artistic enterprise – brought together for the first time 120 years after their inaugural exhibition.

Introduction
Apprenticeship in Italy
Maria Hadfield becomes Maria Cosway
Room 1 • Maria Cosway in English
society The Queen of Pall Mall
About women artists
Pasquale Paoli and Maria Cosway
Room 2 • Maria Cosway painter
The influence of the Roman circle
Friendship with David
Exhibiting at the Royal Academy
Room 3 • Rupture
Room 4 • Emancipation: Maria Cosway as a teacher