BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Tracey Emin&rsquo\;s installation My Bed 1998 returns to Tate Britain after it first came to public attention when s hown in the 19 99 Turner Prize \;exhibition.

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It is displayed here alongside six of the artist&rsquo\;s recent figure dr awings\, as well as two oil paintings by Francis Bacon selected by Emin. Her installa tion\, as Bacon&rsquo\;s paintings do\, retains a strong sense of the lived presence and memory traces of past \;events.

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By virtue of bringing the domestic into the public sphere\, wi thout directly representing specific events\, My Bed is forcefully and compellingly suggestive of personal \;narratives.

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I was at a point in my life when I was pretty low \;&ndash\; I hadn&rsquo\;t got out of the bed for four days\ , I hadn&rsquo\;t eaten properly for maybe a few weeks and had been drinkin g like an absolute fish &ndash\; Couldn&rsquo\;t sleep because I wasn&rsquo \;t eating and I went out and got absolutely paralytically drunk\, came hom e and didn&rsquo\;t get out of bed for four days. I thought &lsquo\;If I do n&rsquo\;t drink water soon\, I&rsquo\;m going to die&rsquo\; but I was in a weird nihilistic place where I thought if I die it doesn&rsquo\;t matter. But because I didn&rsquo\;t want to die I got up\, and then fell over\, an d crawled to the kitchen and managed to get some tap water and then kinda c rawled back. When I looked at the room I thought &lsquo\;Ughh!&rsquo\; it w as disgusting &ndash\; it was so vile what I was looking at- it seemed so i ncredibly ugly. But then when I looked again I saw all of these things out of that room in a different place in my head and I thought \;&ndash\; & lsquo\;That&rsquo\;s closed\, that&rsquo\;s finished&rsquo\; and then once I had transported that death bed and took it somewhere else in my head it b ecame something incredibly beautiful.
Tracey Emin\, The South Bank Show\, \;2001

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Best known for making works that convey experiences and events from her o wn life by using a range of media\, read our introduction to Tracey Emin to find out more about the artist in her own \;words.

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The display is curated by \;Elena Crippa and Leyla \;Fakhr .

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Lent by The Duerckheim Collection&nb sp\;2015

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DTEND:20160507 DTSTAMP:20150530T003007 DTSTART:20150331 GEO:51.4931052;-0.1251533 LOCATION:Tate Britain\,Millbank \nLondon\, SW1P 4RG SEQUENCE:0 SUMMARY:BP Spotlight: Tracey Emin and Francis Bacon\, Tracey Emin\, Francis Bacon UID:385414 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Whaaam! Pop! Kapow! This is po p art\, but not as you know \;it.

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Tate Modern is ready to tell a global story of pop art\, breaking new ground along t he way\, and revealing a different side to the artistic and cultural \; phenomenon.

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From Latin America to Asi a\, and from Europe to the Middle East\, this explosive exhibition connects the dots between art produced around the world during the 1960s and 1970s\ , showing how different cultures and countries responded to the \;movem ent.

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Politics\, the body\, domestic r evolution\, consumption\, public protest\, and folk &ndash\; all will be ex plored and laid bare in eye-popping Technicolor and across many media\, fro m canvas to car bonnets and pinball \;machines.

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The exhibition will reveal how pop was never just a celebrat ion of western consumer culture\, but was often a subversive international language of protest &ndash\; a language that is more relevant today than&nb sp\;ever.

DTEND:20160124 DTSTAMP:20150530T003007 DTSTART:20150917 GEO:51.5081675;-0.0951608 LOCATION:Tate Modern\,Bankside \nLondon\, SE1 9TG SEQUENCE:0 SUMMARY:The EY Exhibition: The World Goes Pop UID:385412 END:VEVENT BEGIN:VEVENT DTEND:180000 DTSTAMP:20150530T003007 DTSTART:100000 GEO:51.5081675;-0.0951608 LOCATION:Tate Modern\,Bankside \nLondon\, SE1 9TG SEQUENCE:0 SUMMARY:The EY Exhibition: The World Goes Pop UID:385413 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition\, organised by the Barbican\, will feature the personal collections of major artists incl uding Arman\, Peter Blake\, Edmund de Waal\, Damien Hirst\, Howard Hodgkin and Andy Warhol. It will examine the personal obsessions of artists and how their collections relate to their work.

DTEND:20160131 DTSTAMP:20150530T003007 DTSTART:20150912 GEO:52.6219215;1.2391761 LOCATION:Sainsbury Centre for Visual Arts\,University of East Anglia \nNorw ich\, NR4 7TJ SEQUENCE:0 SUMMARY:Magnificent Obsessions: The Artist as Collector\, Arman\, Peter Bla ke\, Edmund de Waal\, Damien Hirst\, Howard Hodgkin\, Andy Warhol UID:385408 END:VEVENT BEGIN:VEVENT DTEND:170000 DTSTAMP:20150530T003007 DTSTART:100000 GEO:52.6219215;1.2391761 LOCATION:Sainsbury Centre for Visual Arts\,University of East Anglia \nNorw ich\, NR4 7TJ SEQUENCE:0 SUMMARY:Magnificent Obsessions: The Artist as Collector\, Arman\, Peter Bla ke\, Edmund de Waal\, Damien Hirst\, Howard Hodgkin\, Andy Warhol UID:385409 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Friendship Portraits\ , a display of paintings and drawings by Chantal Joffe and Ishbel Myerscoug h\, captures their very particular artistic collaboration. Self-portraits\, portraits of each other and portraits of their children explore their live s and shared history from their student days to the present.

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Supported by the William Brake Charitable Trust

DTEND:20150928 DTSTAMP:20150530T003007 DTSTART:20150611 GEO:51.5094596;-0.1272596 LOCATION:National Portrait Gallery\,St Martin's Place \nLondon\, WC2H 0HE SEQUENCE:0 SUMMARY:Friendship Portraits\, Chantal Joffe\, Ishbel Myerscough UID:385404 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20150530T003007 DTSTART:100000 GEO:51.5094596;-0.1272596 LOCATION:National Portrait Gallery\,St Martin's Place \nLondon\, WC2H 0HE SEQUENCE:0 SUMMARY:Friendship Portraits\, Chantal Joffe\, Ishbel Myerscough UID:385405 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Creative Connections is a four-year project connecting young people with contemporary artists to create a series of new artworks inspired by the Gallery&rsquo\;s Collectio n.

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The spotlights for the third year of the project are the London borough of Camden and the portraits and biogr aphies of people who have local connections. The project partner is Haverst ock school and the artist is photographer Kate Peters. Together they explor ed the Gallery and its photographic Collection\, the history of the borough and created new portraits in response to these. The students and Kate&rsqu o\;s work will be shown alongside the Gallery Collection in the display.

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Creative Connections is genero usly supported by the Palley family

DTEND:20151010 DTSTAMP:20150530T003007 DTSTART:20150701 GEO:51.5094596;-0.1272596 LOCATION:National Portrait Gallery\,St Martin's Place \nLondon\, WC2H 0HE SEQUENCE:0 SUMMARY:Creative Connections Year 3: Camden UID:385402 END:VEVENT BEGIN:VEVENT DTEND:180000 DTSTAMP:20150530T003007 DTSTART:100000 GEO:51.5094596;-0.1272596 LOCATION:National Portrait Gallery\,St Martin's Place \nLondon\, WC2H 0HE SEQUENCE:0 SUMMARY:Creative Connections Year 3: Camden UID:385403 END:VEVENT BEGIN:VEVENT DESCRIPTION:

One of India&rsquo\;s leading contemporary photographers\, Ketaki Sheth has a long-standing interest in q uestions of identity and representation. In her most recent project\, shown here\, she features the Sidi\, a people of African descent living in India . With origins in historic trade routes\, they have called India home since the seventeenth century\, adopting many of the conventions of dress\, food \, and ceremony characteristic of the subcontinent. At the same time\, they maintain a distinct identity and culture. \;

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There are currently about 70\,000 Sidi living in India. Descen ded from sailors\, traders\, and slaves\, some continue to think of Africa as an ancestral homeland\, but nearly all consider themselves Indian in eve ry other way. Most live in the western state of Gujarat and the southern st ate of Karnataka.

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Sheth&rsquo\;s phot ographs are true portraits&mdash\;insightful pictures of personalities livi ng in Sidi communities. \;At the same time\, her project \;explores the complexity of \;national and cultural \;identity and how this might shift over time\, questions that relate \;closely to the Collecti on in National Portrait Gallery. \; With a group such as the Sidi\, how does one begin to separate issues of nationality\, ethnicity\, and culture ? And how much of personal identity is shaped by tradition and context?&nbs p\; As touching as Sheth&rsquo\;s photographs are\, they also remind us how complicated portraits can be.

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Th is display is supported by the Tia Collection

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PUBLICATION

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An illustrated book titled A Certain Grace: The Sidi\, In dians of African Descent\, which includes an introduction by Mahmood Mamdani\, is available from the National Portrait Gallery Shop or < a href="http://www.npg.org.uk/shop/shop-list.php?sText=A%20Certain%20Grace: %20The%20Sidi\,%20Indians%20of%20African%20Descent&\;x=7&\;y=16&\; _ga=GA1.3.161497709.1426583942&\;showProductDetails=7917">online.&nb sp\;

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Published by Photoink\, 2013.

DTEND:20150831 DTSTAMP:20150530T003007 DTSTART:20150413 GEO:51.5094596;-0.1272596 LOCATION:National Portrait Gallery\,St Martin's Place \nLondon\, WC2H 0HE SEQUENCE:0 SUMMARY:On Belonging: Photographs of Indians of African Descent\, Ketaki Sh eth UID:385401 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A focus on the illustrator and writer\, Aubrey Beardsley (1872-1898). In a short life of intense and feve red activity\, Beardsley produced many original and highly-finished black-a nd-white drawings for process block reproduction. His designs were frequent ly grotesque\, morbid and erotic and include illustrations of Alexander Pop e's Rape of the Lock (1895) and Oscar Wilde's Salome (189 4). \; He was also art editor for The Yellow Book (1894&ndash\ ;5) and\, with Arthur Symons\, produced The Savoy (1896). \; B eardsley was known for his elegance\, charm and witty conversation and beca me a cult figure of the decadent aesthetic movement. He became embroiled in the scandal surrounding Oscar Wilde&rsquo\;s arrest for committing &lsquo\ ;indecent acts&rsquo\; and in 1895 was sacked from the Yellow Book \, after which he fled to France. \; Beardsley died of tuberculosis\, w hich had plagued him since his youth\, on 16 March 1898 aged only twenty-fi ve.

DTEND:20160301 DTSTAMP:20150530T003007 DTSTART:20150714 GEO:51.5094596;-0.1272596 LOCATION:National Portrait Gallery\,St Martin's Place \nLondon\, WC2H 0HE SEQUENCE:0 SUMMARY:Aubrey Beardsley: Artist and Aesthete\, Aubrey Beardsley UID:385399 END:VEVENT BEGIN:VEVENT DTEND:180000 DTSTAMP:20150530T003007 DTSTART:100000 GEO:51.5094596;-0.1272596 LOCATION:National Portrait Gallery\,St Martin's Place \nLondon\, WC2H 0HE SEQUENCE:0 SUMMARY:Aubrey Beardsley: Artist and Aesthete\, Aubrey Beardsley UID:385400 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The works in t hese two component displays are drawn from around 2500 photographs from the nineteenth and twentieth centuries generously donated by Terence Pepper\, Senior Special Adviser on Photographs. Curators&rsquo\; Choice is a tribute to his skills of detection and identification\, and his eye for an overloo ked or mis-identified sitter or photographer\, as well as his interest in c harting cultural life in all its variety.

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Terence&rsquo\;s long and illustrious career at the Nation al Portrait Gallery as Curator of Photographs and Head of the Photographs C ollection (1978-2013) has left its mark in the remarkable body of photograp hic works acquired for the Collection in this period. Terence&rsquo\;s expe rtise\, energy and enthusiasm transformed the Gallery&rsquo\;s photographic holdings\, and today the Photographs Collection comprises over 250\,000 po rtraits by leading photographers including many that he has helped bring ba ck to prominence.

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This se lection\, taken from the gift\, has been made by staff who worked with Tere nce Pepper over a number of years: Georgia Atienza\, Clare Freestone\, Imog en Lyons\, Constantia Nicolaides and Helen Trompeteler.

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The display in Room 24 shows photographs from the Victorian and Edwardian periods. Beginning with cartes-de-visite and continuing with cabinet cards\, stereoscopic cards\, c igarette cards and postcards\, presented broadly chronologically\, the sele ction reflects Terence&rsquo\;s recognition and championing of the popular forms of photography that helped drive the medium&rsquo\;s development duri ng the nineteenth-century and which are integral to its history.

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The themes covered in the display in Ro om 31 aim to reflect Terence&rsquo\;s career\, his appreciation of the arts\, his championing of press prints as an invaluable record of key historic moments\, his breadth of knowledge of popular culture\, notably fr om the 1960s\, as well as the defining exhibitions he curated.

DTEND:20160124 DTSTAMP:20150530T003007 DTSTART:20150512 GEO:51.5094596;-0.1272596 LOCATION:National Portrait Gallery\,St Martin's Place \nLondon\, WC2H 0HE SEQUENCE:0 SUMMARY:Curators' Choice: Photographs from the Terence Pepper Gift UID:385398 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cornelius Johnson (1593&ndash\ ;1661) is the forgotten man of seventeenth-century art\, even though his pa intings &ndash\; all of them portraits &ndash\; are found in many British m useums\, galleries and country houses. He was prolific and successful but\, as a painter at Charles I&rsquo\;s court\, had the bad luck first to be ov ershadowed by the superstar Anthony van Dyck\, and then to have his British career halted by the civil wars. Born in London in 1593 into a Flemish/Ger man Protestant family\, Johnson probably trained mainly in the northern Net herlands\, returning to London by early 1619 &ndash\; the date on his earli est portraits. Based in Blackfriars\, Johnson painted gentry\, aristocrats\ , lawyers and merchants\, including members of London&rsquo\;s Netherlandis h community. He meticulously recorded their fine dress and lace collars. In 1632 he was appointed &lsquo\;picture-drawer&rsquo\; to Charles I\, produc ing a few small-scale royal portraits\, although the main royal commissions went to Van Dyck. Johnson was the first British-born artist consistently t o sign and date his paintings\, although his signatures varied over the yea rs. He worked on every scale\, from the miniature to the big group portrait .

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In late 1643\, following the outbre ak of civil war in Britain\, and the collapse of court patronage\, Johnson and his family moved back to the Netherlands. There\, he joined the painter s&rsquo\; guild in the thriving coastal city of Middelburg in Zeeland\, whe re he had friends from the London Dutch community. In 1644\, he was commiss ioned to paint Middelburg&rsquo\;s burgomaster (mayor). Johnson and his wif e subsequently lived in Amsterdam\, and he also worked at The Hague\, where he produced his largest surviving portrait\, a civic group depicting The H ague Magistrates. Early in the 1650s\, the Johnsons settled in one of the b est streets in Utrecht\, where he remained a leading portrait-painter until his death. He was buried in Utrecht on 5 August 1661. His only surviving s on\, also named Cornelius\, who had been born in London in 1634\, assisted his father\, and continued to work as a painter in the Netherlands\, dying in Utrecht in 1715.

DTEND:20150913 DTSTAMP:20150530T003007 DTSTART:20150415 GEO:51.5094596;-0.1272596 LOCATION:National Portrait Gallery\,St Martin's Place \nLondon\, WC2H 0HE SEQUENCE:0 SUMMARY:Cornelius Johnson: Charles I’s Forgotten Painter UID:385397 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The growing interest in the hi story of Britain led to the popularity of antiquarianism in the eighteenth and nineteenth centuries\, and to a demand for portraits of historical figu res in a variety of media. This display explores that fashion through the w ork of the miniature painter and copyist George Perfect Harding. \; The eldest son of another miniature painter\, Silvester Harding (1745&mdash\;1 809)\, George was probably taught by his father who ran a successful busine ss as an engraver with his brother\, Edward Harding (1755-1840). For some f orty years\, from 1804\, George travelled the United Kingdom copying portra its and recording details of their history. His notebooks from this period survive and provide a detailed record of the content of over 250 collection s\, from castles and country houses to inns of court\, university colleges\ , livery companies and hospitals. This display pairs some of the original p ortraits\, now in the National Portrait Gallery\, with Harding&rsquo\;s cop ies. \;

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The watercolours in this display appear to have been produced either singly or in very limited quant ities for the most dedicated of collectors. The preservation of their colou r indicates that they were kept in folios and books. \; They also revea l the appearance of many Tudor portraits before environmental factors or ch emical changes had caused certain pigments to fade. This can be seen partic ularly clearly in Harding&rsquo\;s copy of the portrait of Nicholas Throckm orton.

DTEND:20160117 DTSTAMP:20150530T003007 DTSTART:20150314 GEO:51.5094596;-0.1272596 LOCATION:National Portrait Gallery\,St Martin's Place \nLondon\, WC2H 0HE SEQUENCE:0 SUMMARY:The Tudors Reimagined: George Perfect Harding\, George Perfect Hard ing UID:385396 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I\, the sculptor\, am the landscape. I am the form and I am the hollow\, the thrust and the contour.

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Barbara Hepworth. A Pictoria l Autobiography (1970)

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Dame Barb ara Hepworth (1903-1975) was born in Wakefield\, Yorkshire. She trained in sculpture at Leeds School of Art and at the Royal College of Art where Henr y Moore was a fellow student. In 1924 Hepworth won a travel scholarship to Italy\, there she married the sculptor \;John Skeaping and moved to Rom e where she learned to carve marble. In 1931 Hepworth met artist Ben Nichol son\, who became her second husband. They worked in close association\, shi fting towards abstraction\, her sculptures becoming more simplified. They j oined Abstraction-Cré\;ation and were major figures in the British mo dernist group Unit One.

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At the outbre ak of the Second World War\, Hepworth\, Nicholson and their three children moved to St Ives\, Cornwall\, a thriving centre for artists. They founded P enwith Society of Arts\, which promoted the development of abstract art. Sh e bought Trewyn Studios in 1949\, now the Barbara Hepworth Museum\, where s he lived from 1950\, after her divorce from Nicholson\, and continued to wo rk there until her death in \;1975.

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Already an important post-war artist with numerous public commissions\, Hepworth was awarded the Grand Prix at the 1959 Sã\;o Paolo Bienal\, followed by a second Whitechapel exhibition (1962) and a Tate Gallery retro spective (1968).

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This is one of the p hotographs taken by Madame Yevonde for her exhibition Some Distinguishe d Women held in 1968 to coincide with the 50th Anniversary of Women&rs quo\;s Suffrage. Surviving correspondence between Hepworth and Yevonde char ts how they arranged to meet at Tate Gallery for the sitting\, chose which pose to print and Hepworth&rsquo\;s request that the variants be destroyed as she appeared in ill-health. Hepworth was recovering from a fractured hip suffered the previous year. She is seen here touching\, almost holding Corinthos (1954-5)\,which was on display at the time. \; Her gest ure directly referenced by the tactile quality of Yevonde&rsquo\;s choice o f a velvet mount.

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Margaret Gardiner h ad taken Hepworth on a Greek cruise in August 1954 to recover after the tra uma of her son's death the year before. Immediately after her return\, insp ired by the light and landscape\, Hepworth worked on a series of wooden scu lptures\; Corinthos being the first. Carved from a single piece of guarea\, a hardwood specially delivered from Nigeria\, Hepworth worked the warm timber by tunnelling through the material in a double spiralling shap e.

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This portrait is shown alongside t wo photographs of Hepworth by Peter Keen and Mayotte Magnus.

DTEND:20150630 DTSTAMP:20150530T003007 DTSTART:20150511 GEO:51.5094596;-0.1272596 LOCATION:National Portrait Gallery\,St Martin's Place \nLondon\, WC2H 0HE SEQUENCE:0 SUMMARY:Spotlight\, Madame Yevonde\, Peter Keen\, Mayotte Magnus UID:385395 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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This fascinating photographic exhibition will illustrate the life of actres s and fashion icon Audrey Hepburn (1929-1993). From her early years as a ch orus girl in London&rsquo\;s West End through to her philanthropic work in later life\, Portraits of an Icon will celebrate one of the world& rsquo\;s most photographed and recognisable stars.

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A selection of more than seventy images will define Hepburn&r squo\;s iconography\, including classic and rarely seen prints from leading twentieth-century photographers such as Richard Avedon\, Cecil Beaton\, Te rry O&rsquo\;Neill\, Norman Parkinson and Irving Penn. Alongside these\, an array of vintage magazine covers\, film stills\, and extraordinary archiva l material will complete her captivating story.

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#Hepburn

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Supported by the Audrey Hepburn Exhibition Supporters Gro up

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Organised with support from the Au drey Hepburn Estate / Luca Dotti &\; Sean Hepburn Ferrer

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DTEND:20151018 DTSTAMP:20150530T003007 DTSTART:20150702 GEO:51.5094596;-0.1272596 LOCATION:National Portrait Gallery\,St Martin's Place \nLondon\, WC2H 0HE SEQUENCE:0 SUMMARY:Audrey Hepburn: Portraits of an Icon\, Richard Avedon\, Cecil Beato n\, Terry O’Neill\, Norman Parkinson\, Irving Penn UID:385393 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20150530T003007 DTSTART:180000 GEO:51.5094596;-0.1272596 LOCATION:National Portrait Gallery\,St Martin's Place \nLondon\, WC2H 0HE SEQUENCE:0 SUMMARY:Audrey Hepburn: Portraits of an Icon\, Richard Avedon\, Cecil Beato n\, Terry O’Neill\, Norman Parkinson\, Irving Penn UID:385394 END:VEVENT BEGIN:VEVENT DESCRIPTION:

If Degas&rsquo\;s 'After the Bath\, Woman drying herself' wa s a perfume\, what would it be? In this multisensory tour we experience Fre nch Impressionist and Symbolist paintings th rough our sense of smell. Can the subject matter\, colour\, composition\, a nd brushwork of a painting be mirrored in a modern or historic fragrance? A nd how can scents help us to explore themes such as beauty\, sexuality\, an d metropolitan life?

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Join perfume con noisseur Odette Toilette and Gallery educator Christina Bradstreet to both see and sniff the art of the belle é\;poque.

DTEND:200000 DTSTAMP:20150530T003007 DTSTART:183000 GEO:51.5080393;-0.1280693 LOCATION:National Gallery\,Trafalgar Square \nLondon\, WC2N 5DN SEQUENCE:0 SUMMARY:Scentscapes: Smelling belle époque paintings UID:385392 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Soundscapes has commissioned musicians and soun d artists to select a painting from the collection and compose a new piece of music or sound art in response. Immersive and site-specific\, the experi ence encourages visitors to 'hear' the paintings and 'see' the sound.

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Exhibition curator Minna Moore Ede will be discussing with sound recordist Chris Watson the ideas behind his new work for the exhibition\, inspired by Lake Keitele.

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Lunchtime talks

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Focus in on one p ainting with our talks in the Gallery\, or explore wider themes in the coll ection at our in-depth theatre talks.

DTEND:134500 DTSTAMP:20150530T003007 DTSTART:130000 GEO:51.5080393;-0.1280693 LOCATION:National Gallery\,Trafalgar Square \nLondon\, WC2N 5DN SEQUENCE:0 SUMMARY:Soundscapes: Curator Minna Moore Ede in conversation with Chris Wat son\, Chris Watson UID:385391 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Soundscapes has commissioned musicians and soun d artists to select a painting from the collection and compose a new piece of music or sound art in response. Immersive and site-specific\, the experi ence encourages visitors to 'hear' the paintings and 'see' the sound.

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Exhibition curator Minna Moore Ede will be discussing with sound artist Susan Philipsz the ideas behind her new work for the exhibition\, inspired by The Ambassadors.

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Lunchtime talks

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Focus in on one painting with our talks in the Gallery\, or explore wider themes in the collection at our in-depth theatre talks.

DTEND:134500 DTSTAMP:20150530T003007 DTSTART:130000 GEO:51.5080393;-0.1280693 LOCATION:National Gallery\,Trafalgar Square \nLondon\, WC2N 5DN SEQUENCE:0 SUMMARY:Soundscapes: Curator Minna Moore Ede in conversation with Susan Phi lipsz\, Susan Philipsz UID:385390 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Soundscapes has commissioned musicians and soun d artists to select a painting from the collection and compose a new piece of music or sound art in response. Immersive and site-specific\, the experi ence encourages visitors to 'hear' the paintings and 'see' the sound.

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Exhibition curator Minna Moore Ede will be discussing with composer Nico Muhly the ideas behind his new work for the exhibition\, inspired by The Wilton Diptych.

DTEND:173000 DTSTAMP:20150530T003007 DTSTART:163000 GEO:51.5080393;-0.1280693 LOCATION:National Gallery\,Trafalgar Square \nLondon\, WC2N 5DN SEQUENCE:0 SUMMARY:Soundscapes: Curator Minna Moore Ede in conversation with Nico Muhl y \, Nico Muhly UID:385389 END:VEVENT END:VCALENDAR