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Constable 'masterpiece' bought by Tate for £23.1m Constable 'masterpiece' bought by Tate for £23.1m
(4 months later)
A turbulent landscape in which storm clouds and sunlight vie for mastery over Salisbury Cathedral, which John Constable hoped would help secure his eternal reputation as an artist of genius, has been acquired by the Tate for £23.1m.A turbulent landscape in which storm clouds and sunlight vie for mastery over Salisbury Cathedral, which John Constable hoped would help secure his eternal reputation as an artist of genius, has been acquired by the Tate for £23.1m.
Many gallery visitors probably assumed it was already safely in the national collection, since Salisbury Cathedral from the Water Meadows, fondly described by the artist himself as "the great Salisbury", has been one of the best-loved paintings in the National Gallery in London for decades.Many gallery visitors probably assumed it was already safely in the national collection, since Salisbury Cathedral from the Water Meadows, fondly described by the artist himself as "the great Salisbury", has been one of the best-loved paintings in the National Gallery in London for decades.
In fact it was on long loan from the Ashton family, which has owned it since 1850. By the time the children of Lord Ashton of Hyde, who died in 2008, decided to sell, the National was already committed to the most expensive purchase in its history of masterpieces by Titian.In fact it was on long loan from the Ashton family, which has owned it since 1850. By the time the children of Lord Ashton of Hyde, who died in 2008, decided to sell, the National was already committed to the most expensive purchase in its history of masterpieces by Titian.
Instead it will move into the ownership of Tate Britain just down the road, but will be shared and travel between a group of regional museums, including the national galleries of Wales and Scotland, as well as Colchester and Ipswich, near the East Anglian landscapes which inspired so many Constable masterpieces, and Salisbury Museum, which is just a few hundred yards from the remarkably unchanged setting of the painting.Instead it will move into the ownership of Tate Britain just down the road, but will be shared and travel between a group of regional museums, including the national galleries of Wales and Scotland, as well as Colchester and Ipswich, near the East Anglian landscapes which inspired so many Constable masterpieces, and Salisbury Museum, which is just a few hundred yards from the remarkably unchanged setting of the painting.
The Tate raised £23.1m to buy it, equivalent to £40m after the tax breaks for sales to national collections, a conservative estimate of its value on the open market. In 1850, 13 years after Constable's death when his work was considerably cheaper than his great contemporaries and rivals such as JMW Turner, Samuel Ashton paid £500 for it.The Tate raised £23.1m to buy it, equivalent to £40m after the tax breaks for sales to national collections, a conservative estimate of its value on the open market. In 1850, 13 years after Constable's death when his work was considerably cheaper than his great contemporaries and rivals such as JMW Turner, Samuel Ashton paid £500 for it.
The Tate director, Sir Nicholas Serota, described it as "one of the great masterpieces of British art" and he was proud to acquire it "for the nation – or as my friends in Scotland and Wales would probably prefer me to say, for the nations".The Tate director, Sir Nicholas Serota, described it as "one of the great masterpieces of British art" and he was proud to acquire it "for the nation – or as my friends in Scotland and Wales would probably prefer me to say, for the nations".
The purchase prize was raised with many grants and donations, including £1m from the Art Fund charity and more than £15m from the Heritage Lottery Fund, one of the largest grants it has given for a painting. The HLF chair, Jenny Abramsky, said: "It is unimaginable that this particular painting could have ended up anywhere except a British public collection."The purchase prize was raised with many grants and donations, including £1m from the Art Fund charity and more than £15m from the Heritage Lottery Fund, one of the largest grants it has given for a painting. The HLF chair, Jenny Abramsky, said: "It is unimaginable that this particular painting could have ended up anywhere except a British public collection."
The heaving skies reflected the turmoil in the artist's life when he painted it, heartbroken after the early death of his beloved wife Maria, mother of their seven children. He took refuge with his friend John Fisher, a priest at Salisbury Cathedral.The heaving skies reflected the turmoil in the artist's life when he painted it, heartbroken after the early death of his beloved wife Maria, mother of their seven children. He took refuge with his friend John Fisher, a priest at Salisbury Cathedral.
The curator Amy Concannon described it as "an eerie scene in which sunlight and shadows are at war", and said apart from his personal anguish it also reflected his fears for the Anglican church at a time of Catholic emancipation and political reform. Another storm is clearly imminent, but the hope of salvation lies in the rainbow and the spire piercing a patch of clear bright sky.The curator Amy Concannon described it as "an eerie scene in which sunlight and shadows are at war", and said apart from his personal anguish it also reflected his fears for the Anglican church at a time of Catholic emancipation and political reform. Another storm is clearly imminent, but the hope of salvation lies in the rainbow and the spire piercing a patch of clear bright sky.
It met a mixed reception when he showed it at the Royal Academy in 1831, and he spent years continuing to work on it before sending it on a regional tour, a precursor of its new role in future years.It met a mixed reception when he showed it at the Royal Academy in 1831, and he spent years continuing to work on it before sending it on a regional tour, a precursor of its new role in future years.
It will be seen first at Tate Britain, then Cardiff next year, and Colchester in 2015. In 2016 it will travel to Salisbury, forcing the museum director, Adrian Green, to break a promise. When he managed to borrow it in 2011 and mounted a special exhibition around it, he described it as "a once-in-a-lifetime experience". It became the most successful exhibition since the museum opened in 1860, quadrupling visitor numbers, with the powerful extra experience of being able to walk from the museum into Constable's setting, a scene once voted the best view in Britain.It will be seen first at Tate Britain, then Cardiff next year, and Colchester in 2015. In 2016 it will travel to Salisbury, forcing the museum director, Adrian Green, to break a promise. When he managed to borrow it in 2011 and mounted a special exhibition around it, he described it as "a once-in-a-lifetime experience". It became the most successful exhibition since the museum opened in 1860, quadrupling visitor numbers, with the powerful extra experience of being able to walk from the museum into Constable's setting, a scene once voted the best view in Britain.
Despite the broken promise he is confident the success will be repeated: "It has a special place in people's hearts."Despite the broken promise he is confident the success will be repeated: "It has a special place in people's hearts."
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