@tate

Introducing! 🌍 Hyundai Tate Research Centre: Transnational 🌏 👁️‍🗨️ How can we challenge our own perspectives? 💞 How do we think about relationships with art across the world? 📜 How can we reframe art histories? Transnational is a way of thinking about the world. It's a way of understanding, researching and curating that encourages the idea that art, artists and art histories are connected beyond their countries of origin. The word ‘transnational’ inspires us to challenge and rethink prominent and dominant art histories by highlighting exchanges and flow of art, artists and ideas around the world. 💭🎨 The Centre's research is all about redefining Tate’s existing collection of art and offering new perspectives on art histories. The research will support us in growing Tate's collections and creating exhibitions, displays and events that challenge current ideas and expand connections among artists and people, past and present. Click the link in our bio to learn more about the Centre’s engagement with our collection, exhibition, and events programme, and how research is integrated into the workings of the museum. 🏭 Research supported by Hyundai Tate Research Centre: Transnational in partnership with @Hyundai.Artlab

☁️⛰️ ​In 1962 and at just 15 years old, aspiring artist Winston Branch moved to London from Castries, St Lucia. ‘My parents saw I had an aptitude for art and wanted to give me the best opportunity’, he recalls. Branch's artwork is heavily influenced by the Caribbean environment, pairing bold and vibrant colours with a cool, abstract style, suggestive of seascapes and mountain peaks. He uses paint like a symbol, an illustration of spirit. Now in his mid-70s, Branch still paints every day. 💙 ​ Tate acquired 'Zachary II 1982' in 2018, describing the artist's style as 'painterly abstraction, inspired by nature.' See the colours up close in Tate Britain's free display: Sixty Years: The Unfinished Conversation. ​#WindrushDay ​#WinstonBranch

Today, 74 years since the ship HMT Empire #Windrush arrived in London, we're celebrating the #WindrushGeneration, and their invaluable contributions to British culture. This photograph was captured by Ronald "Charlie" Phillips (born 1944), also known by the nickname "Smokey". Phillips moved to London from Jamaica in 1956, aged 11, and joined his parents in Notting Hill—the first port of call for many Caribbean immigrants in the immediate post-war period. Kodak in hand, Phillips started to document his life and local community, capturing the richness and complexity of the landscape. He says he wanted to show people in Jamaica what life was like in England. This was an era marked by violent racist assaults on the African-Caribbean community, and Phillips documented the 1958 Notting Hill “race riots” and the Black experience in London at this time. But his work also captures Black and white Londoners socialising together, laughing, drinking, partying. One of his best-known photographs, 'Notting Hill Couple', has come to symbolise that spirit. The sitters, Anita Santiago and Osmond (Gus) Philip, look into the camera with serious expressions—hopeful, innocent, defiant. 📷 @CharlieRootsFoto, 'Notting Hill Couple', taken at a house party in London, 1967. 📽️ Click the link in our bio to watch 'Charlie Phillips: Becoming an Artist' a film for #TateKids (and adults), voiced by the artist.

Happy #SummerSolstice! How will you spend your extra hours of sun? ☀️ ​ ​John Singer Sargent admired the way that Claude Monet spent his summer evenings outdoors, painting - en plein air (the French term for completing entire paintings outdoors) 🍃. Sargent often copied this approach in his own work. in 1885 he made a painting of Monet at work, capturing his methods as well as the patience of his wife, then Alice Hoschedé, who sits behind him while he paints. ​ Although artists have long painted outdoors to create preparatory sketches or studies, before the 19th century finished paintings wouldn't have been made entirely outside. This is because previously, painters made their own paints by grinding and mixing dry pigment powders with linseed oil, a much more laborious and messy process. 🎨🐾 The popularity of painting en plein air increased in the 1870s with the introduction of paints in tubes (like modern toothpaste tubes). ​ ​John Singer Sargent, Claude Monet Painting by the Edge of a Wood 1885. 🌳

Drop in to next week's #TateLates as we celebrate LGBTQIA+ artists and creative communities. 💜 Enjoy art, music, workshops, films, chats, craft beer and wood-fired pizzas in the sun. Full programme below... click the link in our bio for more details. 🔗 ​ 🎛️ 6–9.30pm: DJ Sets from @QueerBruk & @TheRimmers13 in the #TurbineHall ​ 🎨 ​Exhibitions! 🎨 Explore #SurrealismBeyondBorders or #LubainaHimid after hours by booking your ticket today - Members drop in. ​ 🍻 ​6–9.30pm: #TapTakeover with @QueerBrewing in the Terrace Bar Join us for the launch of new beer 'All of Us or None of Us', a collaboration between @TateEats, Queer Brewing & @DropProjectTap. Meet Queer Brewing’s founder @LilyWaite_ and be the first to try the new brew. ✂️ 6–9.30pm: Pronoun Badges workshop with Anshika Khullar @Aorists on Level 2. Colour and create a takeaway badge to share your pronouns, inspired by Khullar’s bold and vibrant work. ​ ​📽️ Digital Display from @LdnLGBTQCentre on Level 4 Celebrating London’s diverse LGBTQ+ creatives curated by the London LGBTQ+ Community Centre, a safe, intergenerational and intersectional community centre and café for London’s queer community. 🎸 6–9.30pm: Music from Debbie Smith in the Terrace Bar Catch a DJ set from guitarist Debbie Smith, programmed by the Rebel Dykes team. Rebel Dykes is a rabble-rousing documentary set in 1980s post-punk London with Smith as a central character. Hear more from the team at their talk on Level 6 at 8pm. 🗣️ 💕 Talks: Art Chats – The L Word on Level 6 Join us for a series of art chats exploring the work of Lesbian artists and creatives. 📽️ Tate Film Screenings on Level 4 Relax and enjoy short films featuring artists from Tate’s collection. ​ 🍕 Enjoy craft beer and delicious wood-fired pizzas at our riverside terrace pop-up.

Today is #WorldRefugeeDay 🌍 and we are celebrating refugees — their courage, strength, and all that they bring to the world. Our gallery walls speak volumes about refugees’ creative contributions to our lives, and we're shining a light on artists who fled conflict or persecution – and who we're immensely thankful for today. Marie-Louise Von Motesiczky and her mother, who were Jewish, were forced to flee their home in Vienna when the Nazis took over in 1938. Just like many refugees today, Von Motesiczky had to leave with no notice or time to pack – she threw some things in a bag and headed for safety in Holland. Arriving in Amsterdam, they checked in to a small hotel. Whilst staying there she painted 'Still Life with Sheep', having posed a selection of objects on an ironing board. The sheep ornaments were among the few possessions she brought with her to Holland, and reminded her of home. She later recalled her motivation ‘to paint something beautiful...to paint and to dream’. 🐑 Marie-Louise Von Motesiczky, Still Life with Sheep 1938, on free display at Tate Modern.

🎨 Today on #WorldRefugeeDay we're celebrating refugees, and shining a light on artists who fled conflict or persecution – and went on to become trailblazers. Sudanese artist Ibrahim El-Salahi worked in Sudan’s Ministry of Culture. In September 1975, he was arrested and imprisoned for six months, falsely accused of plotting against the government of the military dictator Gaafar Nimeiry. After his release he was forced to leave Sudan. He moved to Qatar, and eventually to Britain. ⠀⠀⠀⠀⠀⠀⠀ 'Today we seem to drift endlessly, driven by impulses and whims, within unstable circumstances that constantly change’, he reflected. ‘I see no glimpse of hope in this ordeal but to return to the centre of authenticity within each one of us, artist or not, each according to his or her potentials and capabilities. Only by persistently following that course can we gradually steer humanity, against all odds, back to its original freshness and youth.’ Ibrahim El-Salahi is widely considered as one of the pioneers of modern art in Africa. He is known for work that combines elements of Arabic calligraphy and African ornament and sculpture. By the early 1960s, when this work was was made, he was painting with sombre tones (black, white, grey, yellow ochre, burnt sienna and deep red) to reflect the colours of the Sudanese landscape. Ibrahim El-Salahi, Reborn Sounds of Childhood Dreams I 1961–5, on free display at Tate Modern.

Today is #WorldRefugeeDay 🌍 and we are honouring and celebrating refugees — their courage, strength, and all that they bring to the world. The gallery walls speak volumes about refugees’ creative contributions to our lives. Today we're shining a light on artists who fled conflict or persecution – and went on to become trailblazers. 🔥 Dutch-born #PietMondrian moved from Paris to London in September 1938. To avert Hitler’s threats of war, the British and French Prime Ministers agreed that part of Czechoslovakia could become German territory. For many in Europe, this was a warning sign of the horrors to come. Mondrian’s paintings had been mocked in the Nazis’ anti-modernist Degenerate Art exhibition in 1937. ‘One no longer breathes easily...’, Mondrian remarked. Two years later, seeking to escape the German bombing of London, Mondrian prepared to leave for New York. ​ ​🟥🟨🟦 Mondrian is regarded as one of the great artists of the 20th century, known for his abstract style focused around primary colours and vertical and horizontal lines. He was in his sixties when he created 'Composition with Yellow, Blue and Red'. He aimed for his work to embody balance and harmony. #PietMondrian, Composition with Yellow, Blue and Red 1937–42, on free display at @TateLiverpool.

Pierre Bonnard had a fondness for expressing life's simple pleasures, like morning sun pouring through a window. Mostly painting from memory, the colour combinations would sometimes signal the distance or emotion of a particular time. Bonnard would often make quick preparatory sketches before starting in paint, to remind himself of the scene. Swipe left to see this composition in progress. ✏️ ​ In the final painting we see Bonnard's partner Marthe de Méligny and the couple's cat, patiently waiting for milk. 🥛 The painting is called The Bowl of Milk (originally Le Bol de lait), and an old label on the back gives the further title 'Fillette en rose' (Girl in pink). 🌸 Find the painting on free display in Tate Modern's 'In The Studio', on Level 2 of Natalie Bell Building.

Today is #FathersDay in the UK, an opportunity to celebrate every kind of father. 💙  ​​A dad can be many things... ​ ​​ 🌊 A teacher (Michael Andrews, Melanie and Me Swimming 1978-9)  📷​ A playmate (Akram Zaatari, Lebanon, 1970s. Hashem el Madani)  ​❤️ A shoulder to lean on (Akram Zaatari, A man from Ghazieh and his daughter. Lebanon, late 1950s. Hashem el Madani 2007)  ​👔 An exemplary dresser (Vanessa Winship, Father and son, Richmond, Virginia) ​ 🐈 A cat dad (Felicitas Vogler, Photograph of Ben Nicholson and his cat, Tommy 1968)  👖 A practical dad ​(Chris Killip, Ned Christian, his son John and daughter Brenda, Ballaconnell Farm, Rushen)  ​☕ A friend to drink tea with (Antonio Mancini, Portrait of the Artist’s Father c.1903–4) ​ 🖌️ The best of memories (Maggi Hambling, Father, Late December 1997) ​ ​ Thanks dads. 💙

Walter Sickert’s paintings are world-famous, but did you know he initially wanted to be a performer? 🎭 Before taking up a career as a painter, Sickert’s focus was becoming an actor, having been described as ‘stage-struck’ from an early age. He appeared in a number of productions from Henry VII and The Lady of Lyons to Othello and A Midsummer Night’s Dream. When he decided to become an artist, he continued to be fascinated with all things theatre, as is obvious in many of his paintings and drawings. 🖌️ See the artist’s major retrospective at #TateBritain until 18 September 2022. Book your tickets today. 🎟️ Members visit free, again and again - no need to book!  ​ ​#WalterSickert: 🖼️ ​The Trapeze 1920, Fitzwilliam Museum Cambridge 🖼️ Brighton Pierrots 1915, Tate, Purchased with support from Art Fund & Friends of Tate 1996 🖼️ ​Théâtre de Montmartre c.1906, King's College Cambridge

Welsh painter Augustus John (1878–1961) loved to paint radiant landscapes in the open air. Inspired by his friend and fellow artist James Dickson Innes, he used short, expressive brushstrokes and a pallete of bright, brilliant colour. For many years this picture was known as ‘The Blue Pool’ but was retitled to reflect the name of the little lake in North Wales, where John painted most of his Welsh landscapes. Augustus John, Llyn Treweryn 1911–12. ☀️☁️