The National Gallery in London, renowned for its vast collection of Western masterpieces spanning from the 13th to the early 20th centuries, is set to undergo its most significant transformation since its inception in 1824. The museum has announced plans to construct a new wing, fueled by an impressive £375 million (~$500 million) in private funding, which aims to accommodate an expanded collection of artworks.
The forthcoming wing will facilitate flexible and permanent galleries designed to seamlessly blend modern acquisitions with works created within the Western tradition up until 1900, according to a spokesperson from the National Gallery who spoke to Hyperallergic.
On September 9, the National Gallery disclosed that it has secured two monumental cash pledges of £150 million (~$200 million) each from the family foundation of billionaire Michael Moritz, originally from Wales, and the estate of the late British philanthropist Julia Rausing. This expansion initiative is dubbed “Project Domani.” Remarkably, these donations represent the two largest publicly reported contributions to any museum globally.
In addition to these substantial pledges, an extra £75 million (~$100 million) has been pledged by the National Gallery Trust, along with contributions from the museum’s board and anonymous donors.
The National Gallery’s esteemed collection features iconic works, including Vincent van Gogh’s celebrated Sunflowers (1888), Leonardo da Vinci’s enigmatic 15th-century Virgin of the Rocks, Jan van Eyck’s Arnolfini Portrait (1434), as well as masterpieces by Rembrandt, Vermeer, Raphael, Cézanne, and Monet.
Reports from various media outlets have speculated that the new wing represents the National Gallery’s pursuit of modern art acquisition for the first time. This ambition represents a departure from a long-standing agreement, which stipulated that the National Gallery would refrain from collecting pieces created after 1900, thereby allowing the Tate, its younger counterpart featured across four museums, to encompass that field. However, the announcement of Project Domani makes no explicit commitment to acquiring contemporary art, instead hinting at an enhanced collaboration with the Tate. The two institutions have already established a working group to coordinate art loans and the further development of the National Gallery’s new displays.
A spokesperson for the National Gallery did not directly confirm the museum’s plans to collect modern and contemporary art, but mentioned that the institution currently holds a modest collection of 25 artworks produced after 1900, including Pablo Picasso’s Fruit Dish, Bottle and Violin created in 1914.
The spokesperson dismissed claims that the new wing would serve solely for modern artworks, asserting that the initiative’s objective is to integrate recent acquisitions within the historical narrative of Western painting.
The Guardian has reported that the potential inclusion of artworks beyond the early 1900s could spark tensions between the National Gallery and Tate Modern over the respective institutions’ domains, citing sources within senior management. Maria Balshaw, Tate’s director, has stated that trustees and curators from both establishments will convene to explore collaborative efforts. Hyperallergic has reached out to the Tate for further insights.
In the initial phase of Project Domani, the National Gallery will initiate an international architectural competition to design a completely new museum wing dedicated to its expanded collection. The new wing will be situated on the St. Vincent House property, which the museum has owned for three decades and is included within its current campus.
A representative from the National Gallery has indicated that the new wing is expected to open in the early 2030s.
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