The National Gallery, one of London’s most venerable art institutions, is gearing up for its most significant transformation since its founding in 1824. Home to masterpieces from the 13th century, the museum has secured unprecedented funding for its new wing, dubbed “Project Domani.” With a total of £375 million (approximately $500 million) from donors like Michael Moritz’s family foundation and Julia Rausing’s trust, the museum is poised for a bold new start. These contributions rank among the largest single donations ever made to a museum.
At the heart of this massive transformation lies a critical question: will the National Gallery, which has traditionally focused on collecting pre-1900 artworks, now shift its approach? The new wing is set to include “works acquired in modern times.” The museum already owns 25 post-1900 pieces, including a Picasso painting, signaling potential changes ahead.
According to the museum’s leadership, the new wing won’t separate modern works from the main collection but will integrate them into the continuum of Western art tradition. This development turns attention to London’s other art giant, Tate, which has long focused on post-1900 art. Speculation is rife: will this spark a rivalry between the National Gallery and Tate, or foster the “close collaboration” both institutions claim to seek? Representatives from both have already begun meeting to discuss loaning and exhibiting works.
“Project Domani” will feature an international architectural competition, with the new wing slated to open in the early 2030s. This is more than a museum expansion; it marks the start of an exciting process that will redefine the historical and future boundaries of art.
