National Gallery of Zimbabwe historical background

The National Gallery of Zimbabwe has been in existence for more than 50 years and in its lifetime has witnessed the dramatic shift in the country from colonialism to independence. In addition, it has been central to the meteoric rise of Zimbabwean artists in the world art market. The Gallery was initially planned in the 1930s, but the outbreak of the Second World War impeded the colonial government's involvement in its progress. However, the idea was given new life when in 1943, Sir James McDonald, a friend and colleague of Cecil John Rhodes, left a bequest of 30,000 "in trust for the people of the colony" to establish an art gallery and art museum in Salisbury, Southern Rhodesia. At the end of 1952, the inaugural Board of the Gallery was established, chaired by the Governor of Southern Rhodesia.

The passing of the National Gallery Act of Parliament in early 1953 saw the dissolution of the inaugural Board and the establishment of the Board of trustees. Major (later Sir) Stephen Courtauld presided as chairman of the Board until 1962. He was an enthusiastic supporter of the Gallery right from its inception and remained so even after his departure from the Board, when he and his wife became the first patrons of the Gallery.

From the outset, the Gallery was conceived as a national institution acting as the artistic representative not only for Southern Rhodesia, but also Northern Rhodesia and Nyasaland, governed from 1953 to 1963 as a united federation. Salisbury City Council agreed to take full responsibility for overseeing the building, establishment and administration of the Gallery and the Mayor of Salisbury was made a fixed appointee to the Board of Trustees. The first responsibilities of the Board were: to establish funds for the building; to select the building design and to appoint a director. The second responsibilities were: to establish funds for the running and administration costs of the Gallery and to make provision for an endowment fund for the acquisition of a Permanent Collection.

At that time, the building funds consisted only of the McDonald bequest and a further £150,000 had yet to be raised. It was decided that an appeal should be launched among local businesses in support of building a Gallery in Southern Rhodesia. "In all great countries of the world art galleries have their place in the cultural life of the community, and it is the firm belief of the Trustees that a National Art Gallery is essential to the progress of the people of this land," stated Sir Stephen Courtauld in the annual report of 1954, giving voice to the Board's support of the establishment of the Gallery. Messrs Montgomerie and Peter Oldfield, who had won the architectural competition for the design of the Gallery building, designed the Gallery in Harare and construction started in 1955. Frank McEwen was then appointed first director of the Gallery in 1957.

The National Gallery of Zimbabwe was then officially opened to the public on the 16^th of July 1957 by Her Majesty Mother with an exhibition titled “From Rembrandt to Picasso”, of almost 200 works mostly paintings and tapestries on loan from reputable Galleries in Europe, like the Tate Gallery in London, the Louvre Gallery in Paris and others. The main aim or function of the Gallery was to collect, preserve, promote and present art in all forms, encourage artists and teach them to develop their art. In Pip Curling’s book (1998:9) the Queen was quoted at the opening saying; “I trust that, this center of art with your continued support and care will radiate an influence which will enrich the lives of all who dwell in Rhodesia.”

Frank McEwen saw the need to build a Permanent Collection so that it could be used as a source of exhibitions other than to rely on loaned artworks. McEwen set up the Workshop School of Shona Sculptures in 1962, which provided material for exhibitions and helped the Gallery stage shows overseas from 1968-1972. The Gallery at the time held over 200 exhibitions including the first International Congress of African Art and Culture organized by the National Gallery in 1962. He also encouraged and provided material for Gallery Attendants to produce art, which encouraged Paul Gwichiri and Nicholas Samhokore, who were Attendants to sculpt and these artworks were later donated to the Gallery. In 1963 the Gallery opened the Sales Gallery/Shop as an outlet for the sculptures that were being produced in the Workshop School and today the Sales Gallery has quite a wide range of art and artifacts and fine crafts on sale and is open to the public.

The Gallery in Bulawayo became part of the National Gallery in 1972 and was housed in the Old Market Building on Main Street. McEwen resigned in 1973 and was replaced in 1974 by Brian Bradshaw, a Professor of Fine Art at Rhodes University in South Africa. Professor Brian Bradshaw’s policy of work was; to educate by example, to encourage by comparison and stimulate by the opportunity to see how other individuals in other countries are developing their art forms. However, Bradshaw was only present at the Gallery once or twice a month since he was still lecturing at the Rhodes University. There were few additions made to the Permanent Collection during his term because of his perceptions of local art and the unavailability of funds from government, which was mainly channeling its funds to the liberation war.

McEwen’s Workshop School was disbanded in 1975. Bradshaw introduced the Insight Magazine in 1977, which had articles on art history and theory, news on forthcoming events and exhibitions among others. This gave the Gallery much coverage in the regional and international community as the magazine had a wide readership. Bradshaw resigned in 1979 and was replaced by Christopher Till in 1980. After independence in 1980 the Gallery was exposed to more European institutions, Galleries and museums.

The Douslin House, currently housing Bulawayo Gallery was purchased from the African Associated Mines in 1980. The refurbishment of Douslin House in Bulawayo during the nineties provided a first class venue for the showcasing and development of artworks in the south of the country. Another Workshop School was opened in 1981, with the support of the British America Tobacco and was known as the BAT Visual Arts Studios. The BAT Visual Arts Studios now known as the National Gallery Visual Arts Studios (NGVAS) was established in order to provide instructions, materials, career development, studio facilities and encouragement for young upcoming artists at no expense. It has been a major pedagogical machinery through which most of today’s practicing artists of significance have emerged. BAT sponsored the school until the year 2000 and then the school is being sponsored by the Royal Norwegian Embassy (NORAD).

Till resigned in 1983 and was replaced by Professor Cyril Rogers in 1985 who in turn resigned in 1992 and was replaced by Professor George Kahari in 1994. Jerry Zondo was appointed the National Gallery of Bulawayo’s (NGB) first Director in 1994 and during the same year the NGB was officially opened. Zondo resigned in 1995 and was replaced by Stephen Williams who held the post until his death in 1996. Dr. Yvonne Vera became the first woman Director within the Gallery when she took over from Williams in 1996.

Another Gallery was opened in Mutare in 1999 and was housed in the newly restored Kopje House which belongs to the National Museums and Monuments of Zimbabwe, with Traude Rogers as its first Director and later being replaced by Judy Mutunhu in 2000. Doreen, the current NGZ Executive Director came into office in 2004. Today the Gallery is still operating under the Ministry of Education, Sport, Arts and Culture and also has a Board which governs the operations of the Gallery. The National Gallery has therefore set itself as a center for national culture, which may inject various influences into the mainstreams of life and change the way people appreciate art and culture in their various societies. The Gallery is responsible for circulating exhibitions throughout Zimbabwe and is a focal and distributing point for art in the country.