Visual Snapshots: The National Gallery
Four masterpieces from the four hours I spent exploring this wonderful museum
My second full day in London, I headed to the National Gallery in the morning, and ended up spending four hours in this phenomenal museum. I spent time in front of art dating from the 1400s through the early 20th century, and easily could have spent another two hours to see the whole gallery. I used the app SmARTify, which allows you to scan artwork in a museum and it will give you a brief history of the piece. I highly recommend it; it gives you more than just the brief panel at the gallery, and you can even learn more about the artist and other works they’ve done. Here I’ve included four of my favorite pieces from the museum, spanning from about 1500 to the lat 1800s. Although part of the experience is of course seeing these pieces in person, I hope that you can enjoy some of these masterpieces from wherever you are in the world.
The Execution of Lady Jane Grey - Paul Delaroche (1883)
Wow - I truly have no words for this one. This painting is one that first sparked my interest in Art History. It was often paired with the song Labour by Paris Paloma on TikTok and Instagram last year, since Lady Jane Grey’s story is one example in a long line of women being used as political pawns throughout history.
Lady Jane Grey was executed after ruling as Queen of England for only nine days, when Mary Tudor (Henry VIII’s daughter by Catherine of Aragon, more popularly known as “Bloody Mary”) claimed the throne in 1553. Lady Jane Grey, only sixteen or seventeen at the time, and her nineteen year old husband were beheaded after being charged with high treason. (Henry VIII’s son, Edward VI (by Jane Seymour) had left the crown to Lady Jane Grey because she was Protestant, while Mary and Elizabeth I (Henry VIII’s daughter by Anne Boleyn) were Catholic).
Lady Jane Grey’s youth and innocence are highlighted in this work by Delaroche, painted nearly 300 years after her death. She is led to the block by the Lieutenant of London Tower, while two of her ladies-in-waiting mourn her demise in the left corner. The executioner on the right looks on with remorse at the task he must perform.
Delaroche’s painting has a stage-like quality to it, with a light shining on Lady Jane Grey as the rest of the characters are hidden in the shadows. She is in white, a symbol of her innocence and purity, and the surrounding characters mourn her death. She blindfolded herself before the execution, and reportedly couldn’t find the block, crying, “What shall I do? Where is it?”1 The moment depicted by Delaroche shows the final moment of tenderness shown to Lady Grey, as the Lieutenant guides her to the block.
This painting is massive (the characters almost lifesized), which adds to the drama of it all. This was the final painting I saw at the National Gallery and was taken aback by the size and gravity that Delaroche so elegantly demonstrates. The moment is so tragic, and feels so imminent, that the viewer is transported into this scene, wanting to stop the inevitable.
Lady Jane Grey’s story is so haunting, and Delaroche takes artistic license in the portrayal of the space (Lady Grey was actually executed outside in the courtyard of the Tower of London), but does so in a way that makes the piece even more compelling. It almost feels like you’re witnessing a play, a tragedy while you hope for a different ending. (Those of you who have seen Hadestown will understand why I was reminded of the finale of that musical). I stood in front of this painting and felt that the story of Lady Jane Grey is so poignant a metaphor for women throughout history who have faced the punishment for the actions of their fathers/brothers/husbands/sons. It is absolutely stunning, and intensely powerful when seen in person.
The Skiff (La Yole) - Pierre-Auguste Renoir (1875)
Renoir’s “The Skiff” is an image of the river Seine and is a quintessential example of Impressionism motifs. The women and the boats are so classically French Impressionism — although I have never been to France, my imagining of this country is based in many of these paintings. The visible, individual brushstrokes in the water particularly compelled me when I viewed this painting in real life. During my one painting class in undergrad, I enjoyed painting our impressionist assignment the most. Having now viewed many more impressionist paintings, I am interested in attempting this genre again at some point.
The blue and orange next to each other creates a visually-delightful contrast and illustrates the heat of a summer day, and the reflections in the water add incredibly depth to this work. Especially on a dreary day in London, this painting made me even more eager to explore France in the coming months.
Sunflowers (Fourth Version) - Vincent van Gogh (1888)
The Sunflower series by van Gogh is perhaps one of his most iconic, and to see this artwork in real life was powerful. The individual brushstrokes which appear in this painting, along with the monochrome color palette make it instantly recognizable and a compelling example of van Gogh’s style.
van Gogh leaned into his training as a preacher to unearth spiritual energy in the landscaped he painted2 (think “Starry Night,” where the brushstrokes of the night sky seem to fly off the page and swirl convincingly to convey movement — “Starry Night” illuminates an even deeper sense of magic beyond just a gorgeous night sky).
The Virgin and Child with Saint Anne and the Infant Saint John the Baptist (‘The Burlington House Cartoon’) - Leonardo da Vinci (c. 1499-1500)
This piece is the only surviving large-scale drawing by da Vinci, and it is absolutely stunning. It is sensitive to light, and can only be viewed in a dark room with a single, dim spotlight. Walking into that room feels like entering a sacred space — a quiet sanctuary where everyone speaks in hushed whispers or simply stands in awe of this masterpiece.
As someone who did not grow up with religion, for much of my life art that touched on stories of the Bible felt foreign to me. In preparation for this trip, I started reading Art History for Dummies to familiarize myself with various periods throughout Western art history. Doing so was perhaps the best thing I could have done — my understanding of all this art now allows me to experience it in a much deeper, richer way.
This picture, which depicts the Virgin Mary, her mother, Saint Anne, Christ and Saint John the Baptist stood out to me because of the intimacy da Vinci portrays between these women and children. Mary looks at her son with loving adoration, sitting on his mother’s lap and reaching towards his cousin. Saint Anne points upward (perhaps indicating her grandson’s destiny), while gazing with adoration at her daughter. John the Baptist also leans inward. Everyone is touching, everyone is connected. Mary sits on her mother’s lap. The connections between these people feel palpable — for a moment, it feels like we are viewing them as a simple family, peeking in at their intimate, loving relationship. The fact that it is simply drawn, rather than painted, adds to this warmth and the casual nature of their relationship — instead of an over-emphasis on the holy destiny of Christ, it emphasizes the powerful relationship between mother and daughter.
Leonardo never created a finished painting of this exact drawing, although other artists have used it for reference.3 In a way, I find that perfect. The medium of the art creates an emphasis on the intimacy, and exhibits da Vinci’s skill with charcoal and chalk.
https://en.wikipedia.org/wiki/Lady_Jane_Grey
Art History for Dummies.
https://en.wikipedia.org/wiki/The_Virgin_and_Child_with_Saint_Anne_and_Saint_John_the_Baptist
Love the writing!