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  • Thomas Kilpper, 'The Ring: Nicholas Serota' 2000

    Thomas Kilpper
    The Ring: Nicholas Serota 2000
    Woodcut on fabric
    Presented by the Friends of the Tate Gallery 2000 Thomas Kilpper

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  • Photograph of Sir Alan Bowness, Tate Director 1980 - 1988

    © Tate Archive, 2003

  • Sir Lawrence Gowing, 'Portrait of Sir Norman Reid' 1980

    Sir Lawrence Gowing
    Portrait of Sir Norman Reid 1980
    Oil on canvas
    support: 660 x 451 mm
    Presented by the Trustees of the Tate Gallery 1981 The estate of Sir Lawrence Gowing

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  • Sir William Rothenstein Portrait of Sir John Rothenstein C.B.E. 1938

    Sir William Rothenstein Portrait of Sir John Rothenstein C.B.E. 1938

  • Stephen Bone, 'Charles Aitken' exhibited 1932

    Stephen Bone
    Charles Aitken exhibited 1932
    Oil on canvas
    support: 610 x 508 mm
    Presented by Sir Robert and Lady Witt through the Art Fund 1932 The estate of Stephen Bone

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  • Donald Maclaren, 'D.S. MacColl' circa 1906

    Donald Maclaren
    D.S. MacColl circa 1906
    Oil on canvas
    support: 536 x 340 mm
    Presented by D.S. MacColl 1947

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  • Photograph of Charles Holroyd, Keeper at Tate from 1897

    Photograph of Charles Holroyd, Keeper at Tate from 1897

    © Tate Archive, 2003

Charles Holroyd

Keeper, 1897–1906

Holroyd was the first Keeper appointed to the National Gallery of British Art (as Tate was initially known) on the Millbank site. He was an artist and scholar and member of the Royal Society of Painter-Etchers.

His chief contribution to Tate was the formation of a collection of work by Alfred Stevens, a painter, sculptor and designer whose best known work is the Wellington Monument in St Paul’s Cathedral. On leaving the Tate, Holroyd went on to become Director of the National Gallery.

D.S. MacColl

Keeper, 1906–1911

MacColl originally studied for the church but abandoned these studies to teach art history. He was perhaps an unlikely choice for Keeper of a national collection in that he had become renowned for his fierce attacks on the art establishment, criticizing not only the Royal Academy but works at Tate collection including Henry Tate’s collection and the Chantrey Bequest. 

However his astute mind and willingness to stand up for his beliefs made him invaluable to Tate in its early years. He strengthened the collection on many fronts: re-hanging the galleries to display it at its best, strengthening the holdings of Pre-Raphaelite work and drawing up a list of desirable additions to the collection including works by Philip Wilson Steer, Augustus John OM, and Walter Sickert.

Charles Aitken

Director, 1911–1930

Previously Director of the Whitechapel Gallery, where he had been dedicated to making art accessible to the ordinary people of London’s East End, Charles Aitken was a quiet and modest man who seemed an unlikely candidate for the task of heading the Tate Gallery.

However, he achieved a great deal during his Directorship. His able administration helped the cash-strapped gallery gain strength and improve the collection: he was the first to suggest charging an entrance fee to fund the purchase of new artworks. One of his great achievements was the acquisition of some of William Blake’s illustrations to Dante’s Divine Comedy.

J.B. Manson

Director, 1930–1938
Manson, a painter whose loyalties appear to have been divided between his own work as an artist and his responsibilities as Director of the Tate, was the least successful of Tate’s Directors. Although there were some improvements during his Directorship such as the 1932 adoption of Tate Gallery as its official name and the installation of electric lights in 1935, his dislike of modern art meant that – at a time when museums in Europe and America were expanding their collections – important works of modern art were turned down by the Tate.

Sir John Rothenstein

Director, 1938–1964

The longest serving Director to date, Rothenstein’s role was pivotal in ‘dragging the British art world screaming and kicking into the twentieth century’, as his obituary in The Independent had it. When he took over the directorship in 1938 the collection did not represent much of what was happening in contemporary British art. Rothenstein set about rectifying this, adding a great number of works by modern British artists including Stanley Spencer, Henry Moore, Francis Bacon and Lucian Freud. He also strengthened the modern international collection by acquiring important works by major European artists such as Picasso and Matisse, as well as paintings representing the new wave of American abstract art.

Sir Norman Reid

Director, 1964–1979

A trained painter, Reid strengthened the collection, particularly in the area of early twentieth-century European art, acquiring outstanding works by artists including Brancusi, Mondrian and Dalí. Reid also forged strong personal relationships with artists, which led to a number of important works being donated to Tate, including Rothko’s Seagram murals, and work by Hepworth, Ben Nicholson, Naum Gabo and Henry Moore.

During his Directorship, the much needed North East Quadrant expansion was completed in 1979, vastly increasing the exhibition space at the Millbank site.

Sir Alan Bowness

Director, 1980–1988

Alan Bowness’ directorship saw the creation of Tate Liverpool and the Clore Gallery at Millbank. The success of these projects was largely due to his unflagging enthusiasm and dedication.

He also paved the way for the creation of Tate St Ives by forming links with the Cornish town through taking over the management of the Barbara Hepworth Museum in 1980. His acquisition of Surrealist and American artworks greatly strengthened these areas of the collection.

Sir Nicholas Serota

Director, 1988–present

Nicholas Serota was appointed Director of the Tate in 1988. An art historian and curator, he was previously Director of the Museum of Modern Art, Oxford and the Whitechapel Art Gallery. Under his Directorship Tate has seen a dramatic period of expansion. Tate St Ives was opened in 1993, followed by Tate Modern in 2000 and the redevelopment and re-launch of the original Millbank gallery as Tate Britain, to emphasise the nature of the collection displays and exhibitions at each site.