Level 0 is in the basement of The National Gallery. Or feels like it after the airy heights of Level 2 and the Sainsbury Wing. It contains a cruciform quintet of rooms, with a couple more off one side I blasted through. This was “Running out of time!” territory and “Really need to get to airport, Frances.” Gallery A, though, how could I not?
Honoré-Victorin Daumier’s Don Quixote and Sancho Panza was before all that, but appears at the end here, as chronologically it makes more sense, and was in one of those other small rooms. It’s a bit of an orphan. I would gladly steal it and have it break me into a smile every morning.
So much good art here! Gallery A is a rotating exhibition of the Gallery’s collection, and spans much of the last seven hundred years. On its own it could be a small town museum, like Musée des Beaux-Arts de Valenciennes with its walls of Rubens. And there’s a Rubens here: A Roman Triumph, which is frankly bonkers, more or less in keeping with him. A lot of mediæval and Renaissance Italian art, the dominant region for these periods in the gallery. It speaks of how vast and strong the collection is that some of these are only worthy of being in Gallery A and not upstairs.
Amidst all the mediæval art, Agnolo Gaddi’s The Coronation of the Virgin caught me for the delicate colour that needs to be seen up close, as does Benozzo Gozzoli’s The Virgin and Child Enthroned among Angels and Saints, almost sculptural in its flatness, like a bas relief. Yes, Rubens, elephants and a huge, thronging crowd of musicians, dancers, animals probably going to be slaughtered, fire, smoke, noise, they’re all well amped for a party, definitely one of my favourites of his.
Giovanni Domenico Tiepolo’s The Lamentation at the Foot of the Cross reminds me of Master of the Saint Bartholomew’s The Deposition though each such different works in style and technique. It’s the grotesque, visceral movement in both, frozen and posed, like a scene in a film. And I felt like I’d already written this exact sentence before realising there is an almost identical one by him in the Level 2, 1700–1930 collection, from a slightly different angle, like two moments in time by photographers standing side by side.
I was by then running late for the airport and now have been writing all day, so in both instances this where I stop. Abruptly.