How Curatorial Practices Shape an Exhibition - Research Paper Example

Curatorial Practices that Shape an Exhibition “RENAISSANCE FACES: VAN EYCK TO TITIAN” AT THE NATIONAL GALLERY, LONDON Introduction From the1960s, the main focus in art exhibitions turned from critique of the art work as independent objects of study, towards curatorial criticism “in which the space of exhibition was given critical precedence over that of the objects of art” (O’Neill, 2008: 13). The role played by the curator of exhibitions and curatorial practices have become increasingly dynamic, encompassing multiple roles such as that of link, interface, mediator, producer and neocritic. An important exhibition Renaissance Faces: Van Eyck to Titian at the National Gallery, London, from 15th October, 2008 to 18th January, 2009; explores the dramatic rise of portraiture during the 15th and 16th century Renaissance, through the art works of great masters of Northern and Southern Europe. The exhibition is organised in collaboration with the Museo Nacional del Prado, Madrid (Artdaily.org, 2008). It is essential that the exhibition is an intelligently planned and painstakingly executed interpretation of the art works selected. While providing for other possible understandings of the art displayed, it is essential to acknowledge the fact that some art pieces that might have been included to enhance the experience further, could not be procured. According to Storr (2006: 14), “a good exhibition is never the last word on its subject”. The exhibition’s curator, Susan Foister states that during the Renaissance, “great painters burst upon the scene with a fascination for the human likeness. They not only acquired the technique to do it, but also the intellectual liberation required to think about what it meant to an individual” (Higgins, 2008). After the dark ages, humanism greatly focused on the individual. The purpose of this paper is to discuss how curatorial practices shape this exhibition of Renaissance portraits and to critically evaluate the location, type of event and related factors. Discussion The exhibition Renaissance Faces: Van Eyck to Titian at the National Gallery, London provides a rare opportunity to explore over seventy Renaissance portraits along with important sculptures, drawings and medals. Some major paintings have been loaned from the United Kingdom, Europe and North America. These are displayed alongside a selection from the rich in-house collection of Renaissance portraits in The National Gallery, London such as Holbein’s “The Ambassadors”. Similarly, outstanding masterpieces by Raphael, Titian, Botticelli, Van Eyck, Holbein, Durer, Lotto, Pontormo and Bellini are featured (Artdaily.org, 2008). The curator, Susan Foister has stated that the exhibition examines the reasons why portraits were made during the Renaissance, “the motivations that animated lives are the same as those today. Love, marriage, death, making money, power”. People obtained the services of artists to paint their portraits to mark events such as betrothals, and also to advertise themselves as virtuous, to establish their reputation as intellectuals, royalty or wealthy tycoons (Higgins, 2008). During the Renaissance, the belief was prevalent that a person’s appearance mirrored their soul, with physical beauty reflecting inner morality and virtue. The representation of ideal beauty in paintings had highly individual approaches by various artists. Examples are Palma Vecchio’s exquisite Portrait of a Young Woman (Museo Thyssen-Bornemisza, Madrid), Fig.1. and Tullio Lombardo’s marble relief of A Young Couple as Bacchus and Ariadne (Kunsthistorsches Museum, Vienna Website), Fig.2.which are significant portraits embodying the key theme of beauty. One of the focal points of this exhibition is the reunion for the first time since the 18th century, of Van Eyck’s self-portrait, Fig.3. in which he is wearing a scarlet turban, placed next to the portrait of his wife, Margaret, Fig.4. From a Swedish art museum, has been loaned Giuseppe Arcimboldo’s Portrait of Emperor Rudolf II, Fig.5. in which the subject is painted with fruits and vegetables making up the entire composition. This portrait represents Vertunmus, the Roman God of fruitfulness. Moreover, Domenico Ghirlandaio’s An Old Man and his Grandson, Fig.6. is installed alongside the original sketch for the portrait (Higgins, 2008). Fig.1. Palma Vecchio’s Portrait of a Young Woman (La Bella, 1518-20) (Palma Vecchio Gallery Website, 2008) Fig.2. Tullio Lombardo’s A Young Couple as Bacchus and Ariadne (1505-10) (Kunsthistorsches Museum, Vienna Website, 2008) Fig. 3. Self-Portrait by Jan Van Eyck (1433) (The Independent, 2008) Fig.4. Van Eyck’s Wife, Margaret. by Jan Van Eyck (1439) (Olga’s Gallery, 2008) Fig.5. Giuseppe Arcimboldo’s Portrait of Emperor Rudolf II (1591) (Guardian.co.uk, 2008) Fig.6. Domenico Ghirlandaio’s An Old Man and his Grandson (c1490) (Artcyclopedia, 2008) As seen in the above portraits, Renaissance artists moved away from the religious themes of the middle ages and focused instead on the humanist themes of glorification of humanity and respect for the individual. In Renaissance art which began in the late 13th century in Italy, spread to northern Europe, and lasted till the end of the sixteenth century, the predominant techniques and themes were: increasing use of oil paints, focus on secular rather than religious subjects, figures with distinct facial features, realistic looking expressions, attention to perspective and depth in the paintings, a sense of movement and activity conveyed by the realistic portrayal, and adherence to symmetry and proportionality in the composition. (Rabinowitz, 2005: S6, S7). A good art exhibition has a definite point of view that invites serious analysis and critique “not only of the art but of the particular weights and measures used in its evaluation” (Storr, 2006: 14) by the curator and others organizing the exhibition. Curators who are institutionally situated are benefited by the highly visible, highly influential platforms from which to present their work. There is a disadvantage as well as an advantage in the fact that the institutional context provides a critical framework for the creation and reception of an exhibition. Some of the organizations where the curator of the exhibition may have worked, are privileged bases of practice which form the standards and guidelines for the field of art exhibitions. Radical breakthroughs have taken place from curators working independently as well as those associated with smaller galleries, museums or alternative spaces which provide more scope to experiment and take risks. This occurs because these spaces offer a quicker response time, more curatorial autonomy and freedom, and less serious financial stakes. This means that organizationally bigger is not necessarily always better (Marincola, 2006: 11). The curatorial framework consisting of the intentions, strategies and beliefs that form the basis of exhibitions, provide valuable insight into how art museums construct learning experiences. Exhibitions are designed as events that operate at many levels; and involve careful decison making regarding explicit goals and agendas, while taking into consideration practicalities, unforeseen events, innate beliefs and values and the limitations of time and budget. An art exhibition is created from the work of the curator along with other museum staff including an architect, the installation staff, and museum educators. Temporary exhibitions presented in art museums contribute significantly to the discipline of art history; hence a team based approach with specialists and consultants assisting the curator is essential, in the display of expensive and comprehensive exhibits. Art curators provide not only a learning experience, but also communicate to a scholarly audience (Leinhardt et al, 2002: 5, 8). For the development of a successful interpretive history exhibition such as the Renaissance Faces: Van Eyck to Titian, it is essential for the curator to research on the permanent collection of Renaissance paintings already available at the National Gallery, London. Then, the theme of the exhibition is decided, which in this case is on portrait paintings by the great masters of the Renaissance period of the fifteenth and sixteenth centuries. According to Susan Foister, the National Gallery’s chief curator for the exhibition, the project began by grouping the National Gallery’s breathtaking portraits, including Jan van Eyck’s Portrait of Giovanni Arnolfini and His Wife (1434), Giovanni Bellini’s Doge Leo­­nardo Loredan (1501–1504), and Hans Holbein the Younger’s Ambassadors (1533, with the Prado’s staggering Habsburg portraits, especially those of the Spanish king Philip II, who is represented here by Titian, Anthonis Mor, and Leone and Pompeo Leoni, and in a bust attributed to Jacques Jonghelinck. Splendid paintings on loan enhance this rich base: the Louvre’s poignant image entitled An Old Man and His Grandson (c.1490) by Domenico Ghirlandaio; the Museo Thyssen-Bornemisza’s sensuous Portrait of a Young Woman (c.1525) by Jacopo Palma il Vecchio; and the eccentric Emperor Rudolf II as Vertumnus (c. 1591) by Giuseppe Arcimboldo, from Sweden’s Skoklosters Slott, which visits the United Kingdom for the first time (Figures 1 to 6 above). Key decisions are made by the curator in consultation with other members of the exhibition design team, on the artworks to be included, which artists to represent, how best to augment the art works already present, and which paintings would need to be brought in from other galleries within and outside the country. At design meetings, besides the curator, the architect, graphic designers, lighting consultants and members of the exhibition design staff discuss the development of the installation plans and architectural design. These meetings are also attended when required, by the registrars, conservators, marketing and education staff. Keeping within the budget and coordination among all departments has to be supervised by the curator. The production process involves “the catalogue, memos, media releases, layout plans, lighting plans, object lists, label copy, schedules, and drafts of programme ideas” (Leinhardt et al, 2002: 10). The exhibition may be developed as a collaborative arrangement with another art gallery, as seen in this exhibition on Renaissance portraits, in which The National Gallery, London collaborates with the Museo Nacional del Prado, Madrid. Liaison with other museums and art galleries for borrowing artworks for the exhibition, making loan agreemens and contracts are responsibilities of the curator; as also the selection of reproductions for the publication, and any educational materials to be created. A work schedule is planned, and an agreement is confirmed, on the responsibilities for grant proposal writing. The contents of the catalogue are approved through consultation with all the team members. Professionalism is crucial in all areas, for optimal success to be achieved. Ethics in curatorial practices can be ascertained for all parties by the careful preparation of an agreement to assure equitable treatment (King & Levin, : 157-158). The particular tensions surrounding the interpretation of art for the general public need to be understood, and catered for. The art works require care throughout, to ensure that they are properly conserved, displayed and protected with adequate security measures. The curator works to provide the intellectual framework for the exhibition, selecting and grouping objects, for expressing the theme, and fulfilling the vision of the exhibition. As a thematic exhibition, detailed object labels, group labels that make connections between several objects, one-word section headings, and large-scale room level explanatory labels are placed for providing required information. As a complex, rhetorical event, an argument is advanced, at visual, cognitive and affective levels of the viewers (Leinhardt et al, 2002: 12). Exhibitions are always ideological, and since the late 1980s, the group exhibition has become the primary site for curatorial experimentation, replacing the traditional custom of monographic or single artist presentation in exhibitions. Curatorial practice is a new discourse around the creation of art works. In the group exhibition, a greater mix of artists are used, thereby creating a space for the emergence of diverse methods of dealing with different interests which are often trans-cultural in background. “Group exhibitions are ideological texts that make private intentions public” (O’Neill, 2008: 14). Moreover, the temporary nature of exhibitions with its distribution and reception of artworks between institutions, galleries, museums, both within the country and internationally, help in the debate and criticism about aspects of the visual arts. For the public to experience art in its most complete form from several perspectives, is made possible through the increasing numbers of international exhibitions. Similarly, writing about exhibitions also serves to promote the value of curatorial practice as a vital element. In the globalized world of today, such event-exhibitions shape new social, cultural and political relations by promoting cultural travel, urban renovation and local tourism. With the spread of biennial exhibitions from the 1990s, new levels of responsibility and visibility have been placed on the curator. The main issues are scale of the exhibition, temporality and location, with identity-driven curatorial practices. The maintenance of a set of power relations between art, display and reception is a particular characteristic especially of the “blockbuster exhibition”, which normally incorporates anachronistic elements in which the displayed artworks are of historical significance; as opposed to contemporary art (O’Neill, 2008: 17). According to Miller (1996: 270), the mega-exhibition is an ideological institution that consolidates social relations between artworks and spectators. The predominant purpose of these shows is to offer a comprehensive survey of artworks based on different cultures and populations. For the public to understand the significance of the artworks on display, the availability of relevant literature on the topic, is crucial. The art critic as well as the art historian write about an art work after viewing it. The curator herself is a scholar, with deep knowledge about art history as well as art criticism. While the art historian balances visual experience against the written evidence, a critic’s writing reflects his fresh approach based on a momentary experience of what he sees. Viewing and visual thinking about art by the viewers attending the exhibition, is supported by the literature made available by the curator, or art historians and critics, and this progresses to the development of an interpretative community (Carrier, 2003: 19, 23). Some factors that may be beyond the curator’s control include: inadequate budgets, institutions which may obstinately refrain from lending required art works, constraints in exhibition space, competing institutional priorities and requirements, or a lack of secondary resources. These may obstruct the implementation of the curator’s carefully cherished ideas and ideals. “Curatorial intgelligence, invention, improvisation, and inspiration are developed and refined by effectively engaging and reconciling these constraints as the inevitable limitations that accompany most exhibition-making” (Marincola, 2006: 10). The structures, methods and conditions of exhibition practice may become easier to formulate and master by the curator with necessary experience and practical engagement. This exhibition provides new insights into basic issues of likeness, memory and identity, and reveals a large community of Renaissance personalities, from princes, envoys and merchants, to clergymen, tradesmen, and artists. The final room of the exhibition displays the full-length court portrait, and its crucial role in court propaganda. The significant artworks include the bronze statue of Philip II by Leone and Pompeo Leoni (Prado) and Anthonis Mor’s Portrait of Philip II in Armour (El Escorial). The exhibition also features several captivating portraits of children, both individually and in family groups. Renaissance Faces demonstrates the high levels of cross-cultural exchange active in Europe at this time. “Van Eyck, Titian and Memling were in demand from North to South” and the impact of their work extended far beyond the courts of their patrons (Artdaily.org, 2008). This is an important exhibition, if only in that what is to be learned from it can be applied in a other galleries. It seems possible, however, that in organising and hanging the exhibits under such headings as Remembering, Identity, Friendship, Love and other abstractions, the curators, fearing to seem like teaching morally, have so much cut across chronological development that we easily lose a basic conception of time and nationality (Sewell, 2008). The presentation of art is now viewed as an integration of institution context and artistic content. High-profile, large-scale exhibitions such as that of the Renaissance Faces puts into doubt the explicit or implicit role of the curator. The traditional demarcations are continuously questioned, in recent curatorial practice. Professional opportunities for independent or semi-independent curating have expanded. The institutionalization of self-consciousness by curators stands for self-awareness and self-doubt (Rugg & Sedgwick, 2008: 93). The uncertainty and undecidability in curating is a phenomenon peculiar to the current times and produces more discussion about its changing nature, rather than causing any serious theoretical crisis or professional rupture. Self-reflexivity is now an essential part of curating. The independent curator has emerged as an influential go-between, dealing with artworks as well as exhibition venues such as galleries, museums and independent spaces. The independent curator is free and not tied to the major institution; at the same time is not subjected to vulnerability, lack of resources and marginality. “The potential of the new curators as go-between brokers of cultural capital” (Rugg & Sedgwick, 2008: 96) gives rise to the new “culturepreneur” in place of the curator. During the period in which the self-reflexive discussion on curating has emerged, the power of institutions has increased in the upgrading of the international temporary exhibition as final judge of the global artistic value. Also, large national institutions have re-directed their mission towards gaining greater audience share, which in Britain has been encouraged by funding policy that has tended to prioritize larger institutions over smaller ones. The institutional power of curating which was mediated and legitimated through shared critical, cultural values and criteria has disappeared, causing a defensive reaction in the form of an increased preoccupation with the authorial aspect of curating. The new individualized and personalized form of curating is represented by the nomadic, culturally flexible and free, independent curator. According to Greenberg et al (1996: 22-23), the key feature about curators is that they are institutionally recognized experts of the artworld establishment, whether they operate inside an institution or independently. As compared to other artworld professionals, curators additionally depend on an established infrastructure to support their work. This infrastructure includes institutional networks such as those provided by museums, galleries and other spaces, financial sponsors: public, private or corporate, and teams of technical or professional experts. Curators are thus intermediaries between institutional and professional networks on the one hand, and between artists and audiences on the other. This results in curatorial function being restricted by the interests of larger or more powerful groups related to the market or institutions. The mega exhibition is increasingly evolving beyond a mere presentation of artworks to becoming a medium for the production of knowledge and intellectual debate. Large scale international exhibitions have become a form of institution in themselves, but their importance is now being challenged. Even when the exhibitions are progressive in political or economic intentions, international exhibitions are presumed to support an illusionary world view by the curators, which is believed to influence the perspective of the spectators also. To create a new genre of exhibition, it is necessary that a more specific and sustained engagement with communities and audiences is achieved, to create meanings which go beyond the spectacular or the festivalising of such occassions. To cover both audience demands as well as in-depth understanding of historically significant artworks, curators need to build into the structure of exhibitions a facility for mutual dialogue and interaction. In an increasingly globalized world, cultural travel, urban renovation and local tourism are promoted by such large-scale exhibitions of historical importance (Rugg & Sedgwick, 2008: 16, 18). Greater visibility and responsibility are now placed on the curator. Maintaining a given set of power relations between art, display and reception is practised. Consequently, a cycle of raised expectations and quick disillusionment become possible. The basic ideologies of institutions also influence curatorial choices. When institutions view audiences as a concrete social constituency, art works are considered to be mere raw material in the total art work of an exhibition, thus acknowledging the curator’s subjectivity, and producing an illusion of curatorial inspiration and genius. “Discussions, lecture programmes, conferences, publications, discursive events” now form an integral part of exhibitions (Rugg & Sedgwick, 2008: 18). The most marketable aspects of global tourism are culture and location, promotion of tourist spots, local specialities, sites, culture and produce. The curator’s primary role is now to function as an agent who offers exposure and potential prominence to artworks. The curator today is given an uncommon degree of freedom, visibility, and a prestige similar to that enjoyed by artists. On the other hand, because of the absence of a single authority, curators are becoming scapegoats, being in the frontline of a big battle for meaning. Since the exhibition is carefully planned, substantially contributing to knowledge within the field of Renaissance art of the fifteenth and sixteenth centuries, there are complex dialogues existing between the artworks, and between the curator and the works. “The multiple discourses through which this dialogue resonates contribute to quality of audience engagement” (Rugg & Sedgwick, 2008: 31). However, it is essential to note that viewers exist beyond curator control. Spectators may have an independent sense of an exhibition, since they bring their own subjectivity, desires, history and cultural experiences into play, even while viewing historically acclaimed works. Visual effect, display and narrative are the key elements of this exhibition. Display is crucial because an exhibition is essentially “the most privileged form for the presentation of art” (Rugg & Sedgwick, 2008: 25). Exhibition installations have a crucial influence on how meaning is created in art; however, the background and the significance of the artworks presented are given the context of the period in which the artwork was created. The importance of the modernistic “white cube” is that it eliminates the requirement of appropriate architecture and institutional conditions, so that the undying beauty of the masterpiece is emphasized. Thus, art is to be seen as essentially independent and autonomous, experienced mainly by formal visual means. Conclusion This paper has highlighted how curatorial practices shape an exhibition in relation to Renaissance Faces: Van Eyck to Titian currently open at the National Gallery, London. The event has been critically evaluated, stating the curatorial practices employed in the exhibition. The location and type of exhibition have been taken into consideration, and the debates arising from the chosen event have been critically contextualized. The main problem in curating today has been identified as the divisions of power within the institutions of art; and the difficulty in the resolution of that division except in a symbolic form. The self-reflexive method of curating prolongs the endlessly critical debate on the actual cultural potential and quality of definable artwork, as well as the authority and power of curatorial practice over the public space in which that potential is evaluated, justified and given legitimacy. A less self-reflexive method of conceptualizing institutional power, cultural freedom and artistic value is essential, for effective and successful curating which is devoid of narcissism, or projection of self (Rugg & Sedgwick, 2008: 98). Repeated performance as well as thinking based on doing impact the concepts surrounding curating. The exhibition being institutionally situated, enjoys the advantage of high visibility from a greatly influential platfrorm. For the curator, the institutional context provides a critical framework for the creation and reception of the exhibition (Marincola, 2006: 10, 11). The timing, opportunity and curatorial subjectivity have determined the collection displayed in this exhibition. The contemporary period is known as the age of the curator who is responsible for not only exhibition planning and execution, but also preserving and presenting at an optimal level, permanent collections, academic programmes and publications. With changes in the conditions and definitions of art exhibition practice, the curator’s work evolves concurrently by providing a hospitable place in which to formulate and respond to new challenges. Renaissance Faces: Van Eyck to Titian invites the viewer to meet a fascinating cast of characters in the portraiture, and to understand what concerned them.  As the ancient ancestors of much of Western culture today, they are worth knowing (Brownstein, 2008). References Olga’s Gallery. (2008). Van Eyck’s Wife, Margaret. Retrieved on 27th October, 2008 from: http://www.abcgallery.com/E/eyck/eyck25.html Artcyclopedia. (2008). An Old Man and his Grandson by Dominico Ghirlandaio. Retrieved on 28th October, 2008 from: http://www.artcyclopedia.com/artists/ghirlandaio_domenico.html Artdaily.org. (2008). Renaissance Faces: Van Eyck to Titian opens Wednesday, October 15, 2008 at the National Gallery in London. Retrieved on 19th October, 2008 from: http://www.artdaily.com/index.asp?int_sec=11&int_new=26640&int_modo=2 Brownstein, J.R. (2008). Report from Europe, October 2008: Old masters and more. The Magazine Antiques. Retrieved on 20th October, 2008 from: http://www.themagazineantiques.com/index.php?option=com_content&task=view&id=1324&Itemid=117 Carrier, D. (2003). Writing about visual art. New York: Allworth Press. Guardian.co.uk (2008). The Emperor Rudolph II as Vertumnus by Giuseppe Arcimboldo. Retrieved on 28th October, 2008 from: http://www.google.co.in/imgres?imgurl=http://static.guim.co.uk/Guardian/culture/gallery/2008/jun/04/renaissance.faces/vertumnus-5668.jpg&imgrefurl=http://www.guardian.co.uk/culture/gallery/2008/jun/04/renaissance.faces%3Fpicture%3D334578807&h=450&w=369&sz=24&tbnid=Tmlj7iOy2X0J::&tbnh=127&tbnw=104&prev=/images%3Fq%3DPortrait%2Bof%2BEmperor%2BRudolf%2BII%2B%252B%2Bgiuseppe%2Barcimboldo&hl=en&usg=__XqrBBH0kSbt77_I1VUV2IJt2NOE=&sa=X&oi=image_result&resnum=1&ct=image&cd=1 Greenberg, R., Ferguson, B.W. & Naime, S. (1996). Thinking about exhibitions. Great Britain: Routledge. Higgins, C, Art Correspondent. (2008). Renaissance show has blockbuster credentials. The Guardian, Wednesday, June 4, 2008. Retrieved on 20th October, 2008 from: http://www.guardian.co.uk/artanddesign/2008/jun/04/art.london King, E.A. & Levin, G. (2006). Ethics and the visual arts. New York; Allworth Press. Kunsthistorsches Museum, Vienna Website. 2008. A young couple as Bacchus and Ariadne. Retrieved on 28th October, 2008 from: http://www.khm.at/system2E.html?/staticE/page269.html Leinhardt, G., Crowley, K. & Knutson, K. (2002). Learning conversations in museums. New Jersey: Lawrence Erlbaum Associates. Marincola, P. (2006). What makes a great exhibition? London: Reaktion Books. Miller, J. (1996). The show you love to hate: a psychology of the mega exhibition. In B.W. Ferguson, R. Greenberg & S. Nairne (Eds.). Thinking about exhibitions. London: Routledge. pp. 269-274. NG (2008). Press Release: June 2008. Renaissance Faces: Van Eyck to Titian. The National Gallery, London. Retrieved on 20th October, 2008 from: http://www.nationalgallery.org.uk/about/press/2008/renaissancefaces.htm O’Neill, P. (2008). The curatorial turn: from practice to discourse. In J. Rugg & M. Sedgwick (Eds.). Issues in curating contemporary art and performance. Bristol: Intellect Books. pp.13-28. Palma Vecchio Gallery Website. 2008. All Palma Vecchio oil paintings. Retrieved on 28th October, 2008 from: http://www.fineart-china.com/china/oil-painting-artist-Palma%20Vecchio&mn=252&page=2.html Rabinowitz, L. (2005). Renaissance art and architecture. The United States of America: Social Studies Publications. Rugg, J. & Sedgwick, M. (2008). Issues in curating contemporary art and performance. Bristol: Intellect Books. Sewell, B . (2008). Arts and Exhibitions. Renaissance faces: Van Eyck to Titian. The Evening Standard. Retrieved on 19th October, 2008 from: http://www.thisislondon.co.uk/arts/artexhibition-20649913-details/Renaissance+Faces:+Van+Eyck+To+Titian/artexhibitionReview.do?reviewId=23574496 Storr, R. (2006). Show and tell. In P. Marincola (Ed.). What makes a great exhibition? London: Reaktion Books, pp.14-31. The Independent. (2008). Jan Van Eyck and his wife reunited for exhibition. Retrieved on 28th October, 2008 from: http://www.independent.co.uk/arts-entertainment/art/news/jan-van-eyck-and-his-wife-reunited-for-renaissance-exhibition-839605.html The National Gallery. (2008). Renaissance Faces Paperback Catalogue. The National Gallery Shop. Retrieved on 19th October, 2008 from: http://www.nationalgallery.co.uk/shop/product_display.asp?mscssid=8L20FK22AFEJ8MPXSFR278UNRFTNA9E2&ProductID=525520 The Sun. (2008). Renaissance portraits come to national gallery. By Bloomberg News, 4th June, 2008. The Sun, New York. Retrieved on 19th October, 2008 from: http://www.nysun.com/arts/renaissance-portraits-come-to-national-gallery/79207/ Read More