Moya Lothian-McLean, a Journalist from Novara Media, joins Nicholas Cullinan, Director of the National Portrait Gallery, artist Thomas J Price, and David Lascelles, Eighth Earl of Harewood, to explore the gaps in British historical representation. They discuss the Missing Portraits initiative, focusing on the importance of including diverse voices in art. The conversation also highlights the impact of the transatlantic slave trade on cultural narratives and the need for grassroots efforts to honor overlooked histories within the African Caribbean community.
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Harewood House and Slave Trade
Harewood House, a stately home in West Yorkshire, has deep roots in the transatlantic slave trade.
Its art collection historically lacked diversity, reflecting a narrow view of British history.
insights INSIGHT
Missing Portraits
Historical portraits in stately homes offer a limited perspective, often focusing on wealthy white individuals.
Missing Portraits aims to 'retrofit' this by adding portraits of people of Afro-Caribbean heritage connected to Harewood.
insights INSIGHT
NPG's Transformation
The National Portrait Gallery's transformation project aims for a more inclusive representation of Britain.
It seeks to add contemporary art to fill gaps and reveal existing untold stories, acknowledging Britain's complex past.
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Intelligence Squared and Harewood House partner for this live podcast exploring the power of portraiture in representing Britain’s complex history. The expert panel includes artist Thomas J Price, Director of the National Portrait Gallery, Nicholas Cullinan, and Contributing Editor at Novara Media, Moya Lothian-McLean. Joining our speakers are the Earl of Harewood David Lascelles and our host, writer and presenter Yassmin Abdel-Magied. The event coincides with the recent launch of Missing Portraits, a new series commissioned by David and Diane Lascelles to be part of the permanent collection at Harewood House, that depicts people of Afro-Caribbean heritage with a connection to Harewood – the inaugural portrait being of Arthur France, founder of the Leeds West Indian Carnival. The series is part of an effort to better reflect the history of Harewood, which was built on the vast fortune made by Henry Lascelles through the Transatlantic Slave Trade. Harewood acknowledges the troubled roots of its wealth and seeks to address the historic lack of diversity within its vast art collection. This situation is not unique to Harewood, which since 1986 has been an educational charity. Whether it’s in the school curriculum or the collections of museums and galleries, the diversity and complexity of Britain’s colonial history is not fully reflected in our understanding of the past.
Find out more at https://harewood.org/
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