As part of its 200th anniversary celebrations, the National Gallery has launched National Treasures, a nationwide programme of exhibitions in which 12 of the Gallery's most significant works are being exhibited at 12 other museums across the United Kingdom. My 'local' is the Walker Art Gallery in Liverpool, who are the proud recipients of The Rokeby Venus by Diego Velázquez. They have risen to the occasion by presenting it as part of an excellent two-room exhibition. 

The painting, and its history, are well known. But the new context gives us an opportunity to consider the work afresh. Infamously known for the attack by a Suffragette in 1914 - just eight years after its acquisition by the National Gallery - it has also become a focus of concern for the 'Me Too' generation. Painted by a man for a man, it is undoubtedly voyeuristic in its intent. However, maybe we should ask how complicit the model was in the artist's interpretation of the subject. How do women see themselves, and wish themselves to be represented? However, do we have enough information about the model to be able to tell? Perhaps a consideration of the character she was embodying would be more fruitful. Is Venus herself shown as submissive, or empowered? 

Despite the wide-ranging debates which have been ardently proclaimed in recent years - and equally offhandedly dismissed - there have been few coherent suggestions for ways to address these concerns. However, I think that the curators at the Walker have come up with a brilliant display. While all attention is focussed on the painting by Velázquez, sitting in splendid isolation and superbly presented in a room almost entirely to itself, the previous, introductory room exhibits an intriguing, wide-ranging and beautiful set of paintings, drawings, prints and photographs from the museum's own collection, all of which are by women, and which explore the female gaze, and how women see themselves.

 

While the Rokeby Venus is entirely the same as it has always been - and we will look at it closely - it can also be seen in a new light, and in splendid company.