Dulwich Picture Gallery sheds its ‘Old Masters’ image

Dulwich Picture Gallery is fighting to stay relevant within the ever-changing community of South London.

Whilst facing declining appeal for its Old Master paintings, the first public gallery in England debates whether art should simply adorn its walls or manifest itself within the heart of the community.

Charming cottages, white picket fences and large open spaces. Few places in London are synonymous with luxury as the Dulwich area.  Situated just South of Camberwell and Peckham, it has an almost rustic feel and idyllic charm, thanks to its lavish community and upmarket amenities.

The area has built its sense of exclusivity and picturesque feel by championing its bourgeois vicinities. Many private educational institutions, a classical art gallery and a colossal green meadow – all paragons of a shining community.  The residential area in Zone 3 has long lured wealthy families looking for upscale homes close to the heart of the city.

Whilst Dulwich remains largely off the beaten track for tourists, it draws in curious Londoners. From time to time, readers of Time Out set off to find neighbourhoods which foster a strong village charm. They will likely visit Dulwich Park, the nearby boutiques and independent food shops and even the prestigious Dulwich Picture Gallery. 

This local landmark was founded in 1811 as the nation’s first purpose-built art gallery, exhibiting Old Master paintings. It features the works of European painters and temporary collections by other established classical artists. While the gallery is open to the public, it has traditionally draw in fairly well-heeled audiences, art connoisseurs if you will. 

The gallery screams class from its finest collections to its grand architecture. Designed by Sir John Soane, natural light fills its spaces, with the opulent paintings illuminated by large skylights. It alludes to a classical architecture style, separating itself from the Victorian properties in the area.

 While the gallery is extensively marketed as a prominent feature of the area, its existence beyond it is faint. It is therefore questionable as to who the gallery entices and what value it has to the wider local community?

Much like other amenities in the area, Dulwich Picture Gallery is prey to countless perceptions and prejudices, limiting its demographic to those of wealth or artistic sophistication. However, in recent years, it has developed strategies to branch out and tap into the local boroughs.

In 2018 and 2019, the gallery partnered with the London Festival of Architecture to produce temporary outdoor structures to grace its grounds. Due to the limited space inside, a summer pavilion was established each year to host events, lates and discussions.

Jane Findley, head of learning at Dulwich Picture Gallery, said: “It enhanced our opportunities and embraced the connections with other artists and creatives. We were able to platform and exhibit a variety of events, all focused around the community, inclusion, design production and cultural spaces.”

The two parties hosted an architectural competition to champion young talent. Up-and-coming architects were invited to pitch their designs, and the public was involved in the selection of the winners. Both victorious designs were a juxtaposition to the gallery itself, meeting a demand for modern art over Old Masters within the community.

This year’s pavilion was “The Colour Palace” developed by Pricegore and Yinka Llori, a fusion of Nigerian/European cultures and creative concepts. Nigerian artist Llori’s design championed diversity, encouraging broader audiences to visit the gallery. Jane Findley said: “It has become the perfect way for people to explore the gallery, without it being unnerving and intimidating for visitors.”

The summer pavilion had a great response from the community – with more people visiting the site and it piquing interest in other exhibitions. During the season, a staggering 25% increase in visitors was recorded. The monument was very much a celebration of heritage and identity, expressed through architecture, building a link between members of different communities.

While “The Colour Palace” encouraged visitors to explore the grounds, difficulties remained with attracting them to browse inside the gallery. The exhibitions were still very much centred around classical art, unlike the more contemporary feel of the modern timber structure.

Recognising this, the gallery founded its “Under 30s” initiative, whereby tickets were priced at £5 for younger audiences. In October 2019, the gallery saw crowds of younger viewers by helping overcome financial barriers. Moreover, the scheme helped rebrand the gallery as welcoming to all demographics.

Novel schemes were developed to appeal to the youngest of audiences, scholars and families. Artist-led workshops, enquiry sessions, tours and drawing sessions have flourished, charming schools and higher learning institutions inside the gallery. Additionally, a summer programme was aimed at families, who are traditionally unlikely to visit the gallery, with the aim of getting them involved.

The latest in community projects hosted by the gallery is titled “Migration”, geared towards locals of the borough of Southwark with a resettlement story. Six curators within the community were invited to create a novel display, which would shape their narrative and add value to their stories.

Jane Findley explained: “The initiative will aim to resonate with people, echoing issues that are pertinent today, tackling contemporary issues of migration, identity and belonging.” The display will run from 21 January to 24 June, communicating a universally transcending theme.

From dance pieces, commissioned installations and temporary displays, the gallery has animated its venerable spaces and added new flavour to meet ever-changing consumer demands. While aiming to overcome the prejudice of art being restricted to art enthusiasts, the organisation has continually invested in promoting diversity and shedding new light on its Old Masters.

Aiming to both celebrate its past and look to the future, the gallery has made great efforts to diversify, capture wider audiences and to tap into the demand for culture in its local boroughs.

Photography courtesy of Dulwich Picture Gallery