“When should painters become old masters?” Former National Gallery director Philip Hendy put that question to then Tate director John Rothenstein almost 70 years ago. Founded in 1897 as the National Gallery’s annexe for British Art, by the 1950s Tate had developed into a gallery of modern as well as British art. Rothenstein wanted it to emerge from its parent’s shadow. Any move towards independence, however, required agreement between the National Gallery and Tate on how to divide the collection they shared.
Now that same question, of where one collection ends and the other begins, is getting another airing. The National Gallery has announced the winner of a competition to design “Project Domani”, a £750 million expansion. A new building by architect firm Kengo Kuma and Associates will replace the 1960s office block that currently stands on Orange Street, behind the gallery’s Sainsbury Wing. According to the National Gallery, the annexe will allow Trafalgar Square to show the “continuum” of “the history of painting in the western tradition”.
That phrase, “the western tradition”, is itself something of a land grab. Until fairly recently the National Gallery was understood to be a collection of western European painting. In 2014, however, it paid £18.6 million for Men of the Docks, a painting by American artist George Bellows. Unlike his fellow countrymen John Singer Sargent and James McNeill Whistler, Bellows had never travelled to Europe and could not be considered an honorary Englishman.
