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Tate Britain, Millbank
I first came here years ago to see Frank Auerbach majestic J.Y.M. Seated No. 1 and once I had see it in the flesh (Auerbach is the one artist that reproductions in books and prints can't do justice to) I kept going back.
It is a wonderful building though I can't help feeling it is a little forgotten after all the fanfair and hype over the opening in 2000 of Tate Modern down the river. I for one prefer Tate Britain as the setting is far more atmospheric for the British paintings it now houses, especially the older ones from the Gods of painting that were the Pre-Raphaelites.
The shop is a bit pricey as in you need a lorry-load of cash to buy a book type-pricey. They do have some gorgeous stuff though.
It's history is thus:
Originally occupying only a small part of its site, the Gallery continually expanded to accommodate the growth of its twin collections. The final quarter of the site was filled in 1979 and the Gallery then took over the redundant military hospital across the street to the east, together with the street. This new space permitted the building of the Clore Gallery for the Turner Collection, opened in 1987, which finally provided proper housing for the Turner Bequest of 300 oil paintings and many thousands of watercolours by Britain's great Romantic artist, JMW Turner. Some of the hospital buildings were listed for preservation and became office accomodation, thus freeing up space in the original building.
By about 1990 it had become clear to the Tate that its collection of British and international modern art had greatly outgrown the building, and indeed the possibilities of the whole site on Millbank. Even the creation of two regional Tate galleries, Tate Liverpool in 1988 and Tate St Ives in 1993 did not solve the problem. It was decided to create a new gallery in London and to display in it the international modern component of the Tate Collection. This became Tate Modern, which opened in the year 2000. The beauty of this scheme was that the building on Millbank could once again become the national gallery of British art, to be known as Tate Britain, thus reverting to Henry Tate's original dream and finally fulfilling it. In preparation for this a major rebuilding of the north-west quarter of the Gallery was undertaken, creating a new entrance and spaces for temporary exhibitions as well as new galleries for the display of the Collection. At the same time the Hyman Kreitman Research Centre was created to bring together and make accessible the Tate Library and Archive.
Source for Tate History: Official Tate Website
Speaking of the Pre-Raphaelites, I have also photographed the Millais statue which has been unforgiveably tossed like some unwanted rubbish to the back of the Gallery in John Islip Street. Apparently, the Tate-meister, Nicholas Serota, ordered it to be removed to the back in 2000. You can view it here
Also photographed the Henry Moore statue, Locking Piece, which is by the river near the building. If you leave the Tate at Millank, cross the road, it is roughly halfway to Vauxhall Bridge. Locking Piece is an apt title as it seems to be two pieces locking. Hope that clarifies things in case you were wondering. Maybe I should apply for Andrew Graham-Dixon's presenting job on The Culture Show as I'm sure I could demystify art for the masses. The statue can be viewed here.
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Most of these photos are available as signed prints. Please e-mail for details.
I'd be grateful if the photos are not used without prior permission. Please e-mail any request for usage or to obtain any photo without the copyright wording. Any commercial usage will incur a small fee.
- Paul Page (2009)
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