Royal Society of Portrait Artists Annual Exhibition 2025

I had an extremely pleasant time at the Private View yesterday for the Annual Exhibition 2025 of the Royal Society of Portrait Painters. 

Overall it was a real pleasure to be able to meet artists and view an exhibition and the artwork in a very congenial environment. So much so it will be my abiding memory of the exhibition!

The catalogue of the Royal Society of Portrait Painters Annual Exhibition 2025

How to have a great Private View

The reasons for the congenial environment were:

• the Private View started at 11am and the speeches and prize giving was in the evening at 6pm, by which time I'd disappeared!
• at all times there were enough people around for it to be happily populated - but at no time was there any sort of crush or sense of standing room only
• as a result I could SEE THE ART!!! 
• More importantly for me, I was also able to talk to various artists - both members and open artists - without the sound of the constant chatter generated when you invite everybody to the same PV in a very short time slot!
• AND I was able to take photos of the galleries because they were not too crowded
• Net Result: I don't have to pay a second visit just to get photos - which always makes me rather grumpy....

Moreover, this was one of the best hung exhibition by the Royal Society of Portrait Painters that I've seen in recent years. It looks great and has got a really nice flow to it and, more importantly 90% of the artwork is worth a good look (Note: I never like everything!). I gather there was a new set of hangers this year and I think they should be encouraged to do a repeat job next year!

West Gallery

I took photos of all the artwork in the exhibition and 

• UPDATE: I have now uploaded my photos into three different folders on my Facebook Page - which you can access if you have a Facebook Account
• West Gallery
• East Gallery
• North Gallery
• plus my FB album RP Annual Exhibition 2025 - Artists with their paintings.

• my photos include the artwork I liked - as single artwork photos. It's always interesting to see which aligned with the views of the Judges. Plus there's commentary on some of the photos.

More about the exhibition after the innovations highlighted below!

• You can also see the exhibition online on this link.
• These are the Award winners - the news post about the artwork which won prizes - although you have to click it to see which prize, which I'm not a fan of - because that just turns the post into clickbait.
• This is the Events Programme

The Buyers' Preview

Sainsbury Wing reopens + Coronation Portraits on display

The unveiling of the two new Coronation Portraits

Two big events happened yesterday at the National Gallery in London.

• In the Central Hall the King and Queen unveiled the Coronation State Portraits, commissioned from the artists Peter Kuhfeld and Paul S. Benney. These portraits will remain on display at the National Galleryfor one month until 5 June, before they then move to the Throne Room at Buckingham Palace.
• the King officially "reopened" the Sainsbury Wing after the major £85m project to transform it over the last two years to marh the 200th anniversary of the National Gallery.

The new entrance to the National Gallery

Two Coronation Portraits

"Flowers - Flora in Contemporary Art & Culture" at the Saatchi Gallery - extended!

I'm never very sure why some art society selection panels have been somewhat sniffy about paintings of flowers. I've certainly encountered that view in the past (I think they ranked just above paintings of cats!). I guess this was associated with times when those running societies were somewhat sniffy about the participation of women...

However, anybody doubting the popularity of flowers should have been in Chelsea recently. Absolutely HORDES of people have been to see Flowers - Flora in Contemporary Art and Culture at the Saatchi Gallery (£20 entry or £12 if you like me are pensioner age)

Due to the popularity of this exhibition, pre-booking is strongly advised. Visitors are welcome to turn-up on the day, but may be turned away once the capacity for each ticket session is reached.

I've been meaning to go and see it but wanted to avoid the hordes at the beginning and weekends and holidays - and then forgot that it was supposed to finish on 5th May! 

So I scooted along yesterday morning before the hordes wanting to see it before it "finishes" on Bank Holiday Monday.

EXCEPT it's so VERY popular that the exhibition is reopening from 30th May to 31st August 2025.

We’ve been overwhelmed by the incredible response to Flowers. Visitor numbers and feedback have been exceptional, with audiences of all ages sharing feelings of joy, nostalgia, and wonder. We look forward to welcoming new audiences over the summer period, and those returning to enjoy the exhibition again.”

Which means it's on at the same time as the RHS Botanical Art & Photography Show for those who really like flower paintings!

About the Exhibition

It's very much a mulit-media exhibition - examining all the different ways flowers have been presented in visual culture and artefacts.

FLOWERS spans a wide array of media – including large-scale installations, fine art, photography, sculpture, fashion, film, literature, and music – offering a multifaceted exploration of the flower as artistic and cultural muse. The exhibition invites visitors of all ages to engage, learn and reflect on their personal response to flowers, with each section of the exhibition revealing different instance of flora through art, culture and our everyday lives.

It's a very curious exhibition. I'd love to be certain about the business model behind it - which I think I've worked out. Let's just say there's an element of commercial which is not very evident unless you observe and take a little time to think - and read a few exhibit labels.

Anyway, back to the exhibition.

I was glad I went. I saw some things I've never ever seen before. 

At the same time I also saw some art I hurried past and would be happy to never see again.

Some names were new to me - and I'm glad to have found them out

Some names which one might expect to see there were absent. I'm guessing those in charge of the artwork were not collaborating (eg how could you have a photography exhibition without Karl Blossfeldt. Apparently you can - you get Blossfeldt imitators instead!!).

The names of SOME of the artists are listed on the main page for the exhibition on the Saatchi website - I suspect these are where there has been commercial support for the exhibition.

However not all artists are listed which I thought grossly unfair to those who were not (eg all the artists who have contributed paintings of plants via the Chelsea Physic Garden Florilegium Society - and donated these to the Chelsea Physic Garden. CPG got a call out - but none of the artists did.)

The Rooms

The exhibition is on two floors and organised by themes which are as follows. 

The first sentence - in bold - is the official explanation. What follows is me.

The Entrance / Stairs: Greeting visitors at the entrance is Journey of Progress, a monumental 50m² mural by British artist Sophie Mess. Spray-painted over nine days along the height of the Gallery’s stairwell, the work is a symbolic meditation on growth. 

• Well I do lifts not stairs so this was a bit lost on me in terms of walking up next to it. However I did get to admire it from the first floor looking down at it.

Sophie Mess with her artwork spray painted up the stairs

Room 1: ROOTS explores the rich history of artists depicting flowers, from the Renaissance to the modernist works of the 20th century. 

ROOM 1 - the Van Gogh on the left has been sprayed/painted on to the wall.

• It looked like it might start well with a painting by Bosschaert - EXCEPT for the fact that 
• it came from a minor museum (Shakespeare Birthplace Trust) 
• IT was absolutely filthy and well overdue for a visit to the restorers for a good clean. 
• was not by one of my favourites - the wonderful and very famous 16th century painter Ambrosius Bosschaert the Elder (who you can see in the National Gallery) - but rather by the 17th century Jean-Baptiste Bosschaert (1667-1746) who I've never ever heard of and appears to be fairly low key and essentially a decorative painter
• Some interesting stuff from Sanderson and William Morris - including my bedroom curtains from 40 years ago! 

"Time was" by Sanderson
- and my bedroom curtains 40 years ago



• one of the best know contemporary painter printmakers was Elizabeth Blackadder RA - but the example in the exhibition is a fairly weak cousin of the type of artwork she normally produced - which was normally more colourful and had more presence. Again it made me feel like this was an exhibition which had scrimped and saved where artwork was not donated. (To see an excellent exhibition of work by Elizabeth Blackadder - see my review of the 2021 exhibition at the Garden Museum - Elizabeth Blackadder - Favourite Flowers)

Poppies (2005-2006) by Elizabeth Blackadder
hand coloured etching
courtesy of Falkirk Museum

• there was quite a bit of translation of famous paintings into mega versions of the art - from the Van Gogh Irises on the side wall to Botticelli's La Primavera on the end wall. I'd be interested to know whether these are spraypainted or decals or maybe both.
• Plus some bronze chrystanthemums

Van Gogh paintings translated into other media

Room 2: IN FULL BLOOM showcases works by established contemporary artists from the past 40 years, demonstrating how flowers continue to inspire in the modern age.  

• It was full on Saatchi - with some big names, including Mark Quinn. I wasn't a fan of his very hard edges around each petal where the tape re the spraying had been removed. I assume "lost and found edges" is not something he's familiar with.  I think this was when I realised that some of the artwork in the exhibition is for sale - which was when I started pondering on the business model....

a very large artwork covering the end wall by Mark Quinn

Six prints by Michael Craig-Martin RA
Screenprint on Somerset Satin White 410gsm paper

Room 2 - which also includes spoon flower sculptures and Jeff Koon's flower puppy

Room 3: FLOWERS IN FASHION explores the enduring relationship between flowers and fashion 

• (I skipped throight this one pretty fast as it's not really something which interests me). 
• However, I gaped at some of the very decorative plant tattoos adorning various bodies and hurried through. I couldn't quite work out whether there was a critical association with larger ladies ie. does fat make big tattoos easier to do?

artists like Daniel The Gardener merge fashion with "living art" through tattoos

the tattoed ladies

The Photography and Sculpture Gallery

Room 4: FLOWERS IN PHOTOGRAPHY AND SCULPTURE features contemporary photograpgers and sculptors, capturing moments of beauty in two and three dimensions. 

• For me, there was only one question, WHERE was Karl Blossfeldt? I kept expecting him to turn up but he just didn't. Just some who were trying to be like him. 

Photos not by Blossfeldt

• I liked some of the photographs more than I expected - but I've seen MUCH better exhibitions of plant photography in other shows. It felt more like up and comings rather than experienced and adept.

In terms of presentation, this jars a bit for me

Room 5 is a stunning 2,000 sq ft gallery entirely dedicated to LA FLEUR MORTE, a bespoke installation by internationally renowned artist Rebecca Louise Law. 

• HOWEVER......frankly her dried flowers and plants falling from the ceiling now seem to be very old, very much less colourful and very much less interesting than those I saw in her exhibit in Gallery 3 at the Shirley Sherwood Gallery of Botanical Art at Kew Gardens back in 2017 (this post includes a pic which illustrates what I mean).  Overall, this exhibit - compared to my clear memory of the last one I saw - just looked very tired. I rather think it involved a tight budget.

very brown dried flowers
nothing like as impressive as the previous exhibit I've seen of her work

Room 6: FLOWERS IN MUSIC, FILM, AND LITERATURE highlights the role of flowers as symbols and motifs across these different media. 

• This was truly fascinating. I'd never realised before what an enduring motif flowers have been on vinyl covers of the past, film adverts and the books covers past and present.

Room 7: MIGUEL CHEVALIER, EXTRA-NATURAL is a generative and interactive virtual reality installation, bringing virtual flowers and plants to life across 70 square metres while interacting with visitors’ movements. 

• This one was very innovative and intriguing and made me walk backwards and forwards in front of it to see what happened. I am sure children will absolutely love it! There was however a distinct feel of "Dayglo Day of the Triffids" about it.

My photo: Dayglo Day of the Triffids was my name for this room

The press photo of the same room

Room 8: SCIENCE: LIFE OR DEATH. In collaboration with the Chelsea Physic Garden, this room explores the scientific aspecgs of flowers, highlighting their medicinal and poisonous properties, as well as the mathematical principles behind natural floral phenomena.

• This was where the collaboration with the Chelsea Physic Garden takes place. I have to say given the nature of the artwork displayed in this room, it was all undermined by the huge fluroescent signs used for to signify two themes relating to Pharmacy and Poisonous. This is when trying to be too contemporary completely undermines the nature of the artwork on display. It was really difficult to get a photo of any work in the room without the dayglo fluorescent in green or red intruding into the reflection. Don't ask people to display - and then ruin the presentation by a bit of graphic addon!

Botanical paintings by members of the Chelsea Physic Garden Florilegium Society
Helen Allen, Judi Stone, the late Penny Stenning and Christine Battle
Note the big red sign reflecting in the painting second from right

• I saw a number of familiar works from artists who belong to the Chelsea Florilegium Society. Such a pity that the existence of the Society and why the artists produce the artwork they gift to the Chelsea Physic Garden wasn't acknowledged in any way by the exhibition exhibit text.
• The display of orchids by the RHS Orchid artists was interesting - but I didn't spot an explanation as to why the paintings exist, the history of the orchid artists and how they continue to be painted today. (Happy to be corrected if I'm wrong).

Watercolour paintings recording the various features, colours and markings
of different species of orchids
by various RHS Orchid Society Artists

• Digital forms of contemporary recording of the features of various plants and flowers were exhibited alongside the older and more traditional forms of botanical art. I liked the LED lightbox artwork Hortus siccus by Amy Shelton and it's always pleasing to see Nicki Simpson's digital plates for plant identification.

Coltsfoot (Tussilago farare) 2009
a digital compilation by Niki Simpson
print on satin paper mounted on aluminium

About The Saatchi Gallery

This is what Saatchi's Press people have to say about the Gallery

Since 1985, Saatchi Gallery has provided an innovative platform for contemporary art. Exhibitions have presented works by largely unseen young artists, or by international artists whose work has been rarely or never exhibited in the UK. This approach has made the Gallery one of the most recognised names in contemporary art. Since moving to its current 70,000 square feet space in the Duke of York’s Headquarters in Chelsea, London, the Gallery has welcomed over 10 million visitors. The Gallery hosts thousands of school visits annually and has over 6 million followers on social media. In 2019 Saatchi Gallery became a registered charity, beginning a new chapter in its history.

A comprehensive look at Turner - all my blog posts

This is the blog post I should have done yesterday - on the 250th anniversary of the birth Joseph William Mallord Turner on 23 April April 1775 in Maiden Lane in Covent Garden #turner250

Below is a list of all my blog posts about some aspect of Turner since I started writing this blog. They all include images of various works by Turner - and some even include my versions

Many of you will never have seen or read them.

However, beware the links to pages relating to the Turner Bequest at Tate Britain. They revamped their website - without bothering to do any 301 commands to take people from old URLs to new URLs. In part bebcause they've dumped a lot of their content relating to Turner which used to be on the website - which is a very great shame.

Turner on Making A Mark (2007-2025)

A drawing by JMW Turner
On the Washburn, under Folly Hall
British Museum

2007

• Turner Watercolours with Hockney and Shirley

2008

• Tonight Matthew I'm going to be JMW Turner..... includes one of my sketches of Turner paintings

A study of Turner's snowstorm seascape
coloured pencil on Arches HP, 8" x 10"
copyright Katherine Tyrrell

2010

• Exhibition review: Turner and the Masters at Tate Britain
• Talk and Draw at the National Gallery

The Fighting Temeraire (1839)

oil on canvas, 90.7 x 121.6 cm

Joseph Mallord William Turner

Turner Bequest 1856

2011

• Review: 'Watercolour' exhibition at Tate Britain
• Turner finished my sketchbook

2012

• A Picture of London

"The burning of the Houses of Parliament" by JMW Turner

2013

• 25th November 2013 - Who's made a mark this week? - featuring Turner and the Sea - a major exhibition of marine paintings which opened at the National Maritime Museum.

2014

• Royal Academy Videos: how we made Mr. Turner
• "Mr Turner" - a new film about JMW Turner

2015

• J.M.W. Turner's House in Twickenham - open today!
• Review of Ruskin's Turners at the Fitzwilliam Museum

Brunnen, Lake Lucerne in the distance c.1841-3,
J.M.W Turner (1775-1851).
watercolour over graphite, with pen, brown and black ink on paper
(touches of watercolour, verso, from next page)
height, 225, mm; width, 290, mm
Image: copyright Fitzwilliam Museum, Cambridge

2016

• Art History: JMW Turner and the Industrial Revolution

Rain, Steam, and Speed - The Great Western Railway
Location: Maidenhead Railway Bridge looking east,
across the River Thames​ between Taplow and Maidenhead
The bridge was designed by Isambard Kingdom Brunel and completed in 1838. 
Exhibited: Royal Academy in 1844
Collection: National Gallery

2018

• Visit the Prints and Drawings Room at Tate Britain

2019

• JMW Turner's Travelling Watercolour Paints

Watercolour palette owned by J.M.W. Turner, R.A.
175 mm x 148 mm x 4 mm

2020 

J.M.W. Turner (1775-1851), The Doge's Palace and Piazzetta, Venice, c.1840.
Image © National Gallery of Ireland

• J.M.W Turner and The Vaughan Bequest
• British Museum: Prints and Drawings - The Solution! - how to see some of his drawings and watercolours up close

2023

• Unseen Turner and Bonington watercolours now on display at the Wallace Collection

2025

• The Turner Prize Shortlist 2025 begs a question

Where you can see Turner's artwork

The Turner Society maintains a list of all the larger collections in public museums and galleries throughout the world, has a magazine and various events, walks, visits related to Turner. 

You can become a member of the Turner Society.

The Turner Prize Shortlist 2025 begs a question

Today is Turner's 250th Birthday. Two days ago, the artists shortlisted for Turner Prize 2025 shortlist were announced.

What is The Turner Prize?

What the Tate says - other than in this year's press release - is

The Turner Prize is awarded to a British artist. 'British' can mean an artist working primarily in Britain or an artist born in Britain working globally. The prize focuses on their recent developments in British art rather than a lifetime's achievement.

Very many well known artists - or ones who have gone on to become very well known - have won The Turner Prize in the past. You can see a list here.

The award in 2025 is £55,000

• £25,000 goes to the winner and 
• £10,000 each goes to the other shortlisted artists.

In the past, the prize has been criticised for having criteria which are unfocused i.e. how do they get from the vast range of contemporary art development in the UK to those artists who are shortlisted for this prize.

Can one determine purpose from those shortlisted this year?

One of the world’s best-known prizes for the visual arts, the Turner Prize aims to promote public debate around new developments in contemporary British art.

They are:

• Nnena Kalu, 
• Rene Matić, 
• Mohammed Sami and 
• Zadie Xa.

Nnena Kalu, Conversations, Walker Art Gallery, installation view.
Courtesy of the Artist and Walker Art Gallery, Liverpool.
Photo credit: Pete Carr.

the unveiling of the short list often occasions a fierce debate about the artists’ relative merits and sometimes about the very definition of art. 

My initial inclination is to think somebody is trying to make a point. Which is all art needs to have a message. 

I don't think it does. I think art can be very many things. What it emphatically does not ALWAYS need to be is something with "a message" - and yet this is what jurors always seem to like.

In 2025, art seems to have become something which can only be celebrated if the artist is marginalised in some way - in terms of heritage or gender or ethnicity. Maybe this is connected to the fact that this year the Turner Prize is associated with Bradford as the City of Culture - and one might expect some sort of respect for the diverse communities that live in Bradford. 

But should it reflect just one city or the nation as a whole?

Of very great and increasing concern to me is that art favoured by jurors often seems NOT to connect in any way with vast numbers of the British public.
In turn, this can then be exploited by extreme right wing political parties which leads to increasing numbers of people voting for them. That way lies fascism and all that goes with that - as we are seeing playing out right now in the USA. That is very much NOT the way I want to see the UK go.

I'm also left wondering if the jurors selected their four shortlisted artists before or after this headline from the Evening Standard - Visitor numbers plunge at London art museums as Tate galleries lose 2.7 million in five years (25th March 2025) - which really shocked me! (There will be another blog post on this topic and why numbers have dropped - which is pertinent to my comments above).

But who decides?

It seems to me that which artistic developments get noticed rather depends on who is judging the prize - and which organisations they are associated with. 

This year the members of the Turner Prize 2025 jury are:

Noli me Tangere revisited

On Easter Sunday in 2017, I published a post about Noli me tangere - suggested to be the first words words said by Christ on meeting Mary Magdelene in the Garden of Gethsemane.

The Latin words 'Noli Me Tangere' mean 'Do not touch me', and refer to the episode of Mary Magdalene's first encounter with Christ after his Resurrection. National Gallery

There have been very many drawings, paintings, fine art prints of the biblical scene of Mary Magdelene recognising Jesus Christ after his resurrection. It's an iconic and artistic motif which has continued for centuries. 

On this Easter Morning I've reprised the post:

• Today I've found the images (mainly in Wikimedia Commons) and put them in an album on my Facebook Page - with the details of each image from the original blog post.
• plus I've found a new image - by two past masters of Netherlandish art

Artworks have been produced by very many notable artists. My blog post documented various of the artworks in chronological order. They include: Giotto, Duccio, Fra Angelico, Memling, Botticelli, Dürer, Titian, Holbein, Poussin, Lorrain

This is an additional - and unusual - image. It was painted by BOTH Jan Brueghel the Younger, Peter Paul Rubens. Rubens did the figures and Brueghel did the landscape and plants. One interesting aspect is that Christ is portrayed as a gardener and while flowers are still in bloom the vegetables are ready to be harvested— which I gather is an allusion to Paradise.

Christ Appears to Mary Magdalene on Easter Morning (Noli me tangere) c. 1626
Jan Brueghel the Younger, Peter Paul Rubens
59.0 x 100.0cm, oil on wood
Kunsthalle Bremen - Der Kunstverein in Bremen

In addition, this Wikimedia Commons Category:Paintings of Noli me tangere has the paintings ordered by century in date order.

Going for Gold

I have an article in the June edition of Leisure Painters and The Artist Magazine. It's called "Going for Gold" - which is much shorter, snappier and better than my title which was "How to exhibit botanical art and win a medal"!

"Going for Gold" in the June Edition of The Artist Magazine

Essentially it's a synopsis of what you need to do:

• to be approved to exhibit at the RHS Botanical Art Show
• how to choose and develop an exhibit of 6 botanical artworks which might help win you a Gold Medal
• how to get a space at one of the shows - and what you have to do then in terms of delivery what is required

It also contains LOTS of tips - most of which came from RHS Gold Medal Winners who I've been interviewing for years!

You can order a copy of the magazine online

I was very chuffed to find that my credit for the article, rather than being just a small paragraph in italics at the end which explained who the author was, that I actually got a photo and links to my websites!! (see pic on right)

The RHS Botanical Art & Photography Show 2025

One of my major recommendations is that you should always try and visit the show before trying to get accepted.

You can learn such a lot about how to approach a major project from observation of the exhibitions which made it all the way through to the actual show. It's a bit like going to watch the Olympics if you are an athlete!

Which leads me to highlight that the RHS Botanical Art and Photography Show will be at the Saatchi Gallery in Chelsea between 13th June and 27th July 2025 - and will be open from 10am to 6pm each day. 

This year entrance is FREE for the first time and pre-booking is not required!
There is a suggested donation of £5.

Beyond The Prize

Beyond The Prize is a NEW and different sort of contemporary figurative art exhibition. It's all about 160 new artwork produced by over one hundred recent award-winning artists artists - and it opens at the Mall Galleries on Wednesday 16th April.

Bringing together the best emerging and established artists from art societies across the UK, the exhibition celebrates the impact of prizes and awards on their work, and their work on the world.

• The aim of the exhibition is to provide them with a showcase for their new works and to highlight figurative art as a thriving, contemporary art form. 
• The artists and artwork have been guest curated by Tabish Khan - an art critic who specialises in London's art scene. He is the visual arts editor for Londonist, a trustee of ArtCan, (a non-profit arts organisation that supports artists through profile raising activities and exhibitions), Discerning Eye, and is a member of The Critics’ Circle.

The exhibition is presented by the Federation of British Artists, a collective of leading art societies based at Mall Galleries. It is through the exhibitions and initiatives of the Federation - led by artists, for all - that more than £100,000 worth of prizes and awards, bursaries, residencies and scholarships are awarded to artists annually. Featured in this exhibition are many of these winners, plus award-winning artists from the Royal West of England Academy, Royal Scottish Academy, Royal Ulster Academy of Arts, and Wales Contemporary.

The artwork is already available to see - and buy - online. 

The exhibition is accompanied by an online series, featuring interviews with many of the exhibitors about their journey to the prize and beyond.  This includes their responses to the question:

"What impact do you think art has on the world, now, and in the future?"

There are also a number of events - listed after the details of the exhibition below.

The Artists in the Exhibition

The exhibition includes both emerging and established artists. Exhibitors are 

• award-winning artists from the annual open exhibitions of the art societies within the Federation of British Artists in 2023 and 2024, 
• plus winners of the gallery’s bursaries, residencies and scholarships over the same period.
• plus award-winning artists from the Royal West of England Academy, Royal Scottish Academy, Royal Ulster Academy of Arts, and Wales Contemporary.

If this exhibition continues beyond this year, it provides an enormous incentive for:

• artists to submit great artwork to FBA Exhibitions with a view to winning a prize
• a high standard of judging in relation to who wins prizes.

You can see the names of the artists in the online exhibition

However, very oddly, none of the listings provide any reference to the prize they won. Which I thought was the whole point of the show - to demonstrate that these are prizewinners!

I did ask the Mall Galleries for a copy of the list of the artists - but got an email back from the consultant who is doing their publicity saying she doesn't monitor her email account!!!

I think there are a few aspects which could be improved if this exhibition were to run again!

Artworks in the Exhibition  

There are 160 new artworks in the exhibition. 

Media

• 75 - oil or acrylic
• 26 - waterbased media (watercolour, gouache, pen and ink)
• 25 - mixed media
• 24 - dry media (pastel, charcoal, graphite)
• 6 - scultures
• 4 - prints

Subject matter

I'll be interested to see how these fare in the selling stakes as I know which category tends to generate the most sales - and it isn't Portrait and Figures.

• 61 - Portrait and Figure 
• 39 - Landscape and Cityscape
• 23 - Still life and Interiors
• 16 - Wildlife and Animals
• 11 - "Other" - including "Freemotion embroidery on painted silk"
• 1 - Abstract

Pricing

It's worth commenting on the pricing in advance. There are four approaches to pricing by different groups of artists who I would characterise as follows

• artists who are not willing to compromise their prices and choose to make them not for sale. The exhibition represents a marketing opportunity for commissions.
• artists who have stuck to their normal price range for size and media
• artists have have been optimistic as to who this exhibition might be marketed to, one way and another - who might have got rather ambitious / overly optimistic in their pricing and will very probably be disappointed
• artists who have read my blog posts on pricing for exhibitions at the Mall Galleries.

How to see the Beyond the Prize Exhibition

Independent Review of the Arts Council - do you want to comment?

The Government has commissioned an Independent Review of the Arts Council England (ACE). 

There's an Open Call for Evidence - which means the likes of you and me and/or the organisations we are affiliated to could provide evidence to the Review

We want to hear from anyone who has an interest in or a view about the operation of the Arts Council England and what it delivers. From the users of the art forms ACE funds, through creative practitioners, freelancers, national, local or community based organisations and institutions, all views will be welcomed and taken into consideration.

• These are the Survey Questions.
• YOU can complete your submission online - and are encouraged to do so
• This call for evidence closes at midday on 24 April 2025.

Image by John Hain from Pixabay

Why have a review of Arts Council England?

The objective is summarised in the quotations below. The introductory questions in bold are mine.

Is cultural excellence attuned to a local voices?

The Arts Council England review is an opportunity to examine how to bring cultural excellence to every corner of the country while amplifying local voices in decision-making. 

How to foster creativity?

It will consider how Arts Council England nurtures creativity at all levels - from community arts to international masterpieces - and explore ways to enhance this through stronger dynamic partnerships between national and regional stakeholders. 

Can you have a world class culture which is accessible and has a community focus?

At its heart, this review asks how we can ensure this country has a vibrant, accessible arts ecosystem that truly serves all communities and delivers world-class culture at every level.

This last one is the nitty gritty of what makes this review difficult. How do you achieve excellence at a national level is you also need to make sure you are delivering for local people.

What is ACE?

RBA Annual Exhibition 2025 METRICS: Analysis of art sales & Recommendations about pricing

This is an analysis of the art sales at the recent Annual Exhibition 2025 of the Royal Society of British Artists. 

It contains a number of charts and tables which attempt to explain what can be learned by both members and open artists about sales compared to artwork hung.

The charts and tables include

• CHART 1: an analysis and comparison of the number of artworks sold by type of artist and price range
• CHART 2: a comparison of the number and percentage of artworks sold with the total hung hung - according to the Mall Galleries Price Ranges
• TABLE 1: an analysis of the distribution of artwork by media (numbers hung and sold) - and then ranked according to the percentage of sales for different media
• TABLE 2: An analysis is subject matter by media used

Looking at numbers in isolation does not however tell the whole story. It's only when we look at comparative data in previous years that the very obvious and very significant finding stands out.

This was a much bigger exhibition with much fewer sales when compared to previous years.  There were 554 artworks hung in the show split between:

• 275 artworks by members
• 279 artworks by open entry artists

This was my review of the exhibition - Review: Royal Society of British Artists Annual Exhibition 2025 in which I commented

The artwork selected comes from 3,843 submitted images. To give you a sense of what that represents it's bigger than the entry for some major art competitions.

Mostly it was good work, although it certainly included artwork I personally would have edited out at the selection stage.

You can see a much bigger version of the chart below on this post on my Facebook Page . Just click it to see the big version

Or get a magnifying glass out!

CHART 1: An analysis of the number of artworks sold
at RBA Annual Exhibition 2025
by type of artist (member or open) and the price range

The main findings of this chart are as follows

• A total of 63 artworks sold (just 11% of the artwork hung) which is VERY LOW 
• SEE SOLD ARTWORK HERE
• Previous sales figures for this exhibition 
• 2023:  97 sold (20% of the exhibition) - overall volume of sales was excellent
• 2024: however this year's exhibition is marginally better than the 52 sold from 491 hung (10%) last year - but only just (11%!!)
• in general the trend is the MORE artwork exhibited, the FEWER sales are achieved