History
It is housed in the Tate's original premises on Millbank on the site of Millbank Prison. The front part of the building was designed by Sidney R. J. Smith with a classical portico and dome behind. Construction, undertaken by Higgs and Hill, commenced in 1893. The gallery opened on 21 July 1897 as the National Gallery of British Art, but became commonly known as the Tate Gallery, after its founder Sir Henry Tate. There have been several extensions over the years. The central sculpture gallery was designed by John Russell Pope.
Crises during its existence include flood damage to work from the River Thames and bomb damage during World War II, though most of the collection was in safe storage elsewhere, and a large Stanley Spencer painting, deemed too big to move, had a protective brick wall built in front of it.
The gallery housed and displayed both British and Modern collections, but was renamed "Tate Britain" in March 2000, before the launch of Tate Modern, since which time it has been dedicated to the display of historical and contemporary British art only.
Tate Britain includes the Clore Gallery of 1987, designed by James Stirling, which houses work by J. M. W. Turner.
Diana, Princess of Wales visited the gallery as guest of honour at an event on 1 July 1997, her 36th and last birthday.
Read more about this topic: Tate Britain
Famous quotes containing the word history:
“Three million of such stones would be needed before the work was done. Three million stones of an average weight of 5,000 pounds, every stone cut precisely to fit into its destined place in the great pyramid. From the quarries they pulled the stones across the desert to the banks of the Nile. Never in the history of the world had so great a task been performed. Their faith gave them strength, and their joy gave them song.”
—William Faulkner (1897–1962)
“Postmodernism is, almost by definition, a transitional cusp of social, cultural, economic and ideological history when modernism’s high-minded principles and preoccupations have ceased to function, but before they have been replaced with a totally new system of values. It represents a moment of suspension before the batteries are recharged for the new millennium, an acknowledgment that preceding the future is a strange and hybrid interregnum that might be called the last gasp of the past.”
—Gilbert Adair, British author, critic. Sunday Times: Books (London, April 21, 1991)
“The history of modern art is also the history of the progressive loss of art’s audience. Art has increasingly become the concern of the artist and the bafflement of the public.”
—Henry Geldzahler (1935–1994)