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Founded in , Provident Financial has grown into one of the most successful companies in the UK. Our patronage of the arts began in , a time when corporate support of the arts was not commonplace. We began purchasing pictures from up-and-coming artists in Yorkshire, many of whom have since established successful careers. Our own collection now holds more than works by artists including Henry Moore, David Hockney and Barbara Hepworth. We believe that the arts are an essential ingredient of a balanced and flourishing society.
Through the use of art, young people can build their creative skills and their confidence; and Provident Financial is committed to the use of art as a force for positive change within communities and is pleased to have developed a number of educational initiatives with the National Portrait Gallery to accompany this exhibition.
These include working with inner-city schools from London, Liverpool and Bradford, and also enabling a number of school groups nationwide and students attending the practical art workshops to have free ehtry to the exhibition. In particular, we hope that this outreach programme will inspire GCSE pupils to draw on the exhibition in a creative and inter-disciplinary way. We wish this historically important exhibition every success. Foreword The idea of this exhibition, Painting the Century, goes back to a discussion held long ago as to what the National Portrait Gallerv' should do to celebrate the millennium.
Robin Gibson, the Gallery's chief curator, came up with the suggestion, which has remained intact, that we ought to stage an exhibition consisting of one portrait to represent each year of the century. Very importantly, he suggested that it should consist not only of British portraits, - the normal subject of exhibitions at the National Portrait Gallerv' - but of major portraits from all over the world.
As such, it is one of the largest and most ambitious exhibitions ever held at the Gallery. The discipline of selecting one portrait to represent each year of the century has been a considerable intellectual as well as logistical challenge. What should be the appropriate balance between conventional art practice and the avant-garde?
