Photo credit: www.theguardian.com
In central London during the early hours of Saturday morning, the National Gallery’s exhibition Van Gogh: Poets and Lovers drew a thriving crowd, overshadowing the typical nightlife found in Soho or Covent Garden.
This marked only the second occasion in its long history that the gallery remained open for a full 24 hours, an endeavor reminiscent of a student pulling an all-nighter before exams. Previously, the gallery extended its hours for the much-acclaimed Leonardo da Vinci: Painter at the Court Milan exhibition in 2012, which at the time set attendance records. With only a few days left until the exhibition’s conclusion, Van Gogh’s showcase is anticipated to surpass that popularity.
The timing of this event shaped the visitor experience significantly, with many attending simply because they could not find earlier availability. Beverley Kanuga, visiting with her son Darius, reflected, “I wondered if a 3am slot might have been quieter.” Darius humorously countered, “You’d have been asleep.”
Speculations about quieter viewing times wove through the conversations among attendees. Sarah Polak, alongside her friend Nicole Horgan, expressed that a 4am visit could create a profoundly unique experience. When asked why she didn’t choose that time, she replied, “Because I want to be in bed then,” clearly indicating the challenges of late-night outings.
All time slots throughout the night were booked within a day of release, underscoring the continuous allure of art, even under the cover of night. The absence of natural light in the gallery creates an almost timeless atmosphere; however, visitors noted that their personal experience fluctuates significantly based on the hour.
Rachel Gough observed a shift in demographics late at night, articulating a sense of her surroundings while noting a more diverse crowd compared to daytime visits. “I feel relatively older now,” she acknowledged, highlighting how the late hours attracted a different group of art enthusiasts.
Among the attendees, Sophie Jackson and her friend Anna Lumley perceived a change in atmosphere, with Jackson remarking, “It’s more like I have a different atmosphere. Somehow you feel a greater sense of reverence at night.”
Contrasting this reverence, John, a younger participant, shared his unique perspective: “Late hours at such a renowned exhibition allow for a more enhanced experience.” He humorously added that he and his friends were engaging in “small doses of mushrooms” to deepen their appreciation of Van Gogh’s art, something he felt was less feasible during regular hours.
John suggested that the night offered a safe environment for this enriched experience. He was joined by several friends, all eager to indulge in a collective appreciation of art, reflecting a broader social shift since the pandemic that has seen nightlife options dwindle.
More than a century ago, Van Gogh himself frequented such galleries while navigating the vibrant streets of London. During this formative time, he cultivated his admiration for British artists that would eventually shape his own artistic trajectory. He famously expressed a desire to live passionately, stating, “I’d rather die of passion than of boredom,” a sentiment that continues to resonate with those inspired by his work.
Joseph Dean, who attended with Anissa Colaco Souza, noted that coming out at this hour suggests a deeper passion among attendees. “You’ve got to have some sense of passion,” he said, reflecting on how such motivations might foster a more engaged group of art admirers.
The tragic legacy of Van Gogh remains poignant, as he took his own life at 37, largely unrecognized during his lifetime. The irony persists that on his visits to the National Gallery in the 1870s, he could not have imagined the posthumous acclaim that would follow.
Acknowledging the influences of London on his development as an artist, Van Gogh wrote to his brother Theo of his transformation into a cosmopolitan. As attendees wandered through the gallery in the small hours of Saturday morning, that same vibrancy of artistic evolution felt as alive as the timeless works displayed.
Source
www.theguardian.com