2023.05.25. ３日めは、ロンドンの美大を卒業し、日本へ帰国引越し直前！というa-chanの友だちが案内してくれました。ロンドンらしい場所をいろいろと見せてもらって、とても助かりました。sachanは若いふたりの後から写真を撮りながらくっついて歩いて最高に楽しかった！
朝はホテルから待ち合わせのトラファルガー広場まで歩いて向かいます。ナショナルギャラリーの前で待ち合わせ。
館内は綺羅星のように名作が並んでいます。

Caravaggioの「エマオの晩餐」　The Supper at Emmaus　Michelangelo Merisi da Caravaggio　1601

On the third day after the Crucifixion two of Jesus’s disciples were walking to Emmaus when they met the resurrected Christ. They failed to recognise him, but that evening at supper he ‘… took bread, and blessed it, and brake and gave to them. And their eyes were opened, and they knew him; and he vanished out of their sight’ (Luke 24: 30–31).

Painted at the height of Caravaggio’s fame, this is among his most impressive domestic religious pictures. He brilliantly captures the dramatic climax of the story, the moment when the disciples suddenly see what has been in front of them all along. Their actions convey their astonishment: one is about to leap out of his chair while the other throws out his arms in a gesture of disbelief. The stark lighting underlines the dramatic intensity of the scene.

Typically for Caravaggio, he has shown the disciples as ordinary working men, with bearded, lined faces and ragged clothes, in contrast to the youthful beardless Christ, who seems to have come from a different world.

さすがにターナーの作品はいくつもありました。
National GalleryのHPへ。
 この絵に関しては、こちら。　よく見ると、線路の手前のほうに逃げ出しているうさぎがいます！

This portrait of Gainsborough’s daughters is likely to have been painted in Bath a year or so after the family moved there in late 1759. Mary appears to be about ten or eleven years old, and Margaret about eight or nine. Margaret leans her forehead back against her sister’s cheek as she holds their barely sketched-in cat, while Mary wraps her arms around her little sister, partly to help her with the writhing cat – whose tail she appears to pull – but also in a moving gesture of tenderness. No other portrait of this date conveys so strongly the sense that it is painted from life.

Although the faces have been painted, most of the picture is unfinished. The feathery pattern of gold, blue and grey brushstrokes that surrounds the girls seems to suggest storm clouds, sun and woodland.

Gainsborough paints his daughters in attitudes that are natural to them and familiar to him. No other portrait of this date conveys so strongly the sense that it is painted from life. The result is very different from Gainsborough’s commissioned portraits of children whom he did not know so well. In those paintings he expresses children’s youthful charm, social confidence and financial security. In The Painter’s Daughters with a Cat, Gainsborough observes his own daughters with a moving insight that comes from knowing them intimately and understanding their vulnerability.