The agricultural crisis at the turn of the 20th century caused many aristocratic families to sell their paintings, but the British national collections were priced out of the market by American plutocrats.
This prompted the foundation of the National Art Collections Fund, a society of subscribers dedicated to stemming the flow of artworks to the United States.
Their first acquisition for the National Gallery was Velázquez's Rokeby Venus in 1906, followed by Holbein's Portrait of Christina of Denmark in 1909.
However, despite the crisis in aristocratic fortunes, the following decade was one of several great bequests from private collectors.
In 1909 the industrialist Dr Ludwig Mond gave 42 Italian renaissance paintings, including the Mond Crucifixion by Raphael, to the Gallery.
Other bequests of note were those of George Salting in 1910, Austen Henry Layard in 1916 and Sir Hugh Lane in 1917.

In the National Gallery on 10 March 1914, the Rokeby Venus was damaged by Mary Richardson, a campaigner for women's suffrage, in protest against the arrest of Emmeline Pankhurst the previous day.
Later that month another suffragette attacked five Bellinis, causing the Gallery to close until the start of the First World War, when the Women's Social and Political Union called for an end to violent acts drawing attention to their plight.

The initial reception of Impressionist art at the Gallery was exceptionally controversial.
In 1906, Sir Hugh Lane promised 39 paintings, including Renoir's Umbrellas, to the National Gallery on his death, unless a suitable building could be built in Dublin.
Although eagerly accepted by the director Charles Holroyd, they were received with extreme hostility by the Trustees; Lord Redesdale wrote that "I would as soon expect to hear of a Mormon service being conducted in St. Paul's Cathedral as to see the exhibition of the works of the modern French Art-rebels in the sacred precincts of Trafalgar Square".
Perhaps as a result of such attitudes, Lane amended his will with a codicil that the works should only go to Ireland, but crucially this was never witnessed.
Lane died on board the RMS Lusitania in 1915, and a dispute began which was not resolved until 1959.
Part of the collection is now on permanent loan to Dublin City Gallery ("The Hugh Lane") and other works rotate between London and Dublin every few years.

A fund for the purchase of modern paintings established by Samuel Courtauld in 1923 bought Seurat's Bathers at Asnières and other modern works for the nation; in 1934, many of these were transferred to the National Gallery from the Tate.
The agricultural crisis at the turn of the 20th century caused many aristocratic families to sell their paintings, but the British national collections were priced out of the market by American plutocrats. This prompted the foundation of the National Art Collections Fund, a society of subscribers dedicated to stemming the flow of artworks to the United States. Their first acquisition for the National Gallery was Velázquez's Rokeby Venus in 1906, followed by Holbein's Portrait of Christina of Denmark in 1909. However, despite the crisis in aristocratic fortunes, the following decade was one of several great bequests from private collectors. In 1909 the industrialist Dr Ludwig Mond gave 42 Italian renaissance paintings, including the Mond Crucifixion by Raphael, to the Gallery. Other bequests of note were those of George Salting in 1910, Austen Henry Layard in 1916 and Sir Hugh Lane in 1917.
In the National Gallery on 10 March 1914, the Rokeby Venus was damaged by Mary Richardson, a campaigner for women's suffrage, in protest against the arrest of Emmeline Pankhurst the previous day. Later that month another suffragette attacked five Bellinis, causing the Gallery to close until the start of the First World War, when the Women's Social and Political Union called for an end to violent acts drawing attention to their plight.
The initial reception of Impressionist art at the Gallery was exceptionally controversial. In 1906, Sir Hugh Lane promised 39 paintings, including Renoir's Umbrellas, to the National Gallery on his death, unless a suitable building could be built in Dublin. Although eagerly accepted by the director Charles Holroyd, they were received with extreme hostility by the Trustees; Lord Redesdale wrote that "I would as soon expect to hear of a Mormon service being conducted in St. Paul's Cathedral as to see the exhibition of the works of the modern French Art-rebels in the sacred precincts of Trafalgar Square". Perhaps as a result of such attitudes, Lane amended his will with a codicil that the works should only go to Ireland, but crucially this was never witnessed. Lane died on board the RMS Lusitania in 1915, and a dispute began which was not resolved until 1959. Part of the collection is now on permanent loan to Dublin City Gallery ("The Hugh Lane") and other works rotate between London and Dublin every few years.
A fund for the purchase of modern paintings established by Samuel Courtauld in 1923 bought Seurat's Bathers at Asnières and other modern works for the nation; in 1934, many of these were transferred to the National Gallery from the Tate.
National Gallery