The Dulwich Picture Gallery, South London, has around 220 Dutch and Flemish Golden Age paintings in its collection. The gallery intends to publish its first comprehensive catalogue of the collection in the autumn of 2017. To whet the public’s appetite for these treats, the gallery’s chief curator, Xavier Bray, and the assistant curator, Helen Hillyard, have planned a series of monographic shows titled Making Discoveries. Over the next two years, works by artists including Peter Paul Rubens and Rembrandt van Rijn will be on view. The first show in the series, which looks at Anthony van Dyck, has as its star object not a work from the gallery’s collection, but the artist’s last self-portrait of around 1640-41, on loan from the National Portrait Gallery, London, which bought it for £10m in 2014 following a public appeal. As has become the custom with museums lacking conviction in the integrity of their collections of “old” art, there is the obligatory parallel presentation of contemporary art, in this case a series of self-portraits by Mark Wallinger—whom we are now to understand as the Van Dyck of our time?
The show is supported by the Elizabeth Cayzer Charitable Trust and the Samuel H. Kress Foundation.
• I am Van Dyck, Dulwich Picture Gallery, 12 January-24 April