The National Gallery has just added a remarkable piece to its collection, and it demands attention. After the Audience by Sir Lawrence Alma-Tadema, the British-Dutch painter known for his meticulous depictions of Classical antiquity, is now on display. This isn’t just another acquisition—it's a significant moment for the Gallery, marking its third major addition in a year dedicated to celebrating its 200th anniversary.
Walking into Room 45, viewers will be immediately struck by the sheer scale of After the Audience. The painting looms large, not just in size but in its ambition. Alma-Tadema, who was celebrated in the Victorian era, offers a scene that feels like a snapshot of a grand historical drama. The subject, Marcus Vipsanius Agrippa—right-hand man to Augustus Caesar—is captured mid-step, ascending the stairs of his opulent villa. The scene is set with petitioners’ gifts spread out in the foreground, giving the painting a depth that pulls you into its ancient world.
What’s particularly fascinating about this work is its context within Alma-Tadema’s career. This painting isn’t just about Agrippa or Ancient Rome—it’s about Alma-Tadema’s own story as an artist. Created shortly after he moved to the UK, After the Audience was his attempt to impress Sir William Armstrong, an industrialist with an eye for art. The story goes that Armstrong admired an earlier work by Alma-Tadema, An Audience with Agrippa, and sought something similar. But rather than simply repeating himself, Alma-Tadema chose to reimagine the scene, this time showing Agrippa after the audience, leaving the crowd and their offerings behind.
This decision, while artistically bold, didn’t sit well with Armstrong, who saw the changes as a slight. He declined to purchase the painting, which, ironically, went on to be well-received when exhibited at the Royal Scottish Academy in 1879. The layers of this story—an artist striving to outdo himself, a patron left unimpressed, and a public that ultimately embraced the work—add a richness to the painting that goes beyond its surface.
The National Gallery’s decision to acquire After the Audience is a statement in itself. This is a work that bridges Neoclassicism and Aestheticism, two movements that have been somewhat overlooked in the Gallery’s recent acquisitions. Alma-Tadema’s work, once dismissed, is now rightly recognised as a crucial piece of 19th-century art history. The fact that this is the only Alma-Tadema in the Gallery’s collection makes its arrival even more significant.
For those who appreciate the intricate and the historical, After the Audience is a must-see. The painting isn’t just a visual feast; it’s a testament to the shifting tides of art and taste. Alma-Tadema’s resurrection in the 20th century is a reminder that the art world, much like history, is full of second chances. This latest acquisition by the National Gallery is not just about filling gaps in a collection; it’s about reclaiming a piece of art history that had, for too long, been relegated to the sidelines.
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After the Audience is on display from August 15th in room 45
The National Gallery
Trafalgar Square, London WC2N 5DN
Words by Jheanelle Feanny
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