
Letter from Australia’
Masterpieces from Paris Van Gogh, Gauguin, Cézanne & beyond
Post-Impressionism from the Musée d’Orsay
National Gallery of Australia, Canberra, ACT
From 4 December 2009 – 18 April
2010
For many of the almost half a million people who have queued to see the Masterpieces of Paris exhibition, it would be their first visit to the National Gallery. I spoke to families who had travelled interstate by plane and paid higher than average prices to stay in lower than average hotels, just to view Van Gogh’s “Starry Night”. As a teacher of Art History and Theory, it was inspirational to see Australians eager to view these paintings and to learn about them. There was a one hour queue just to buy the catalogue in the shop. Gangly teenagers stood in front of Gauguin’s Femmes de Tahiti (1891) making notes and older visitors gathered close to Cézanne, having read long ago that he was ‘the master’.
What a pity then, that the viewing experience was such a debacle. Everyone is raving about this being ‘the greatest show’ ever to hit Australia and headlines in the press boast about the numbers. Forget that many visitors had such a rough time of it that they won’t be coming back. Not only did they have to queue up to three hours outside, even if they had gone to the trouble to purchase pre-paid tickets online, but once inside they had to shuffle past the masterpieces in a pack six persons deep. Children and people in wheelchairs saw practically nothing. It was hot, noisy, over-crowded and the atmosphere was hostile. Having travelled so far and waited so long to get in, visitors did not easily step aside to let others have a peek. Exhaustion was visible by the time people reached the final room, a strangely anomalous Nabis melange called ‘Decoration’. I caught two men having a bit of a rest, leaning up against a Bonnard panel at the back of the room. I wondered if the strange high-toned beeps were an alarm, but nobody bothered to fight through the throng and move them on.
The lighting was the worst I have ever seen in an international show of this calibre. Many works were behind glass and no care had been taken to minimize reflection. Paintings appeared to be flat and lifeless and were hung tightly together in a series of six bland rooms. I had to point out to my son the thick impasto used by Monet to render the sun and its reflection in London, Parliament: sun through the fog (1904) because the lighting had rendered the paint surface featureless.
The entire experience from arrival at the gallery and the walk through dimly lit, dusty, out-dated galleries is uncomfortable and bordered on the claustrophobic. What an unfortunate time to host such an important exhibition. The National Gallery is undergoing extensive renovation and reconstruction. It is in the midst of Stage 1 of a long-term expansion project that has the place looking and feeling like the construction site it is; there is no disguising it. Surely it would have been more appropriate to time the exhibition with the predicted completion of Stage 1 this winter?
I lament the shambolic organization of the exhibition and I lament the repercussions this may have for first-time visitors to our nation’s Capital. We need to encourage and nurture a respect for and understanding of works of art, not deter people or worse still, relegate the observation of art to the more accessible realm of the printed press.
A. Nemessis

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