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In the early 1950s, Lawrence Gowing, as Professor of Fine Art, King’s College, Durham (now Newcastle University) curated significant exhibitions for the College’s Hatton Gallery. During 1951 and 1952 these included  Pictures from Collections in Northumberland,  and two exhibitions concerned with the display of Poussin’s series of paintings  The Seven Sacraments , loaned from the National Gallery of Scotland. Pictures from Collections in Northumberland  engaged Gowing with country house collections, art scholars and connoisseurs, and resulted in the reattribution and global relocations of artworks. The  Poussin  project similarly drew on academic expertise and involved the Hatton Gallery in what Gowing described as ‘the scene of an experiment’. Concurrently, Gowing was also formulating the idea of creating an art collection for the Hatton Gallery. In this article, these projects are described, and examined for their contribution to the art market, art scholarship, art education, and the formation of a university art collection within the structure of a higher education institution. Consideration is also given to how Gowing’s use of the Hatton Gallery may have set the scene for its use, later in the decade, for the experimental and acknowledged ground-breaking exhibition-making of Richard Hamilton and Victor Pasmore.

museum history journal

‘The Hatton gallery will be the scene of an experiment’: The impact of the relationship between a university institution, its art gallery and its fine art professor