We don't only need discerning eyes these days, we also need alternative eyes. When the history of late twentieth century British art comes to be written it will by no means resemble what the high priests of contemporary art history and criticism tell us. Within any society there are always pundits who dominate the art scene decreeing what is 'in' and equally what is 'out'. My own view of British art in the last half century and also at present is that it is far more eclectic than the fashion-conscious would ever wish to admit. Things linger on in this country, going underground often to resurface at a later date. The reality is that we live in an age of multiplicity of styles.

It is always a corrective to recall that many of the historic greats of our visual culture, men like George Stubbs, John Constable, Samuel Palmer or indeed William Blake were certainly never revered in their time in such a way. Equally there is the roll call of others like poor G. F. Watts, "England's Michaelangelo", who, since their own day, have fallen mightily in esteem. So in the year that Tate Modern has opened and Tate Britain has presented its new public face, it is important to remember that their version of things is far from immutable. And that is one of the reasons why we should welcome the present exhibition, precisely because it does offer the public such an alternative vision, one which the public can share by both looking and even more by purchasing.

 

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