Siena is a city in Tuscany, Italy. It is the capital of the province of Siena; the historic centre of Siena has been declared by UNESCO a World Heritage Site. It is one of the nation's most visited tourist attractions, with over 163,000 international arrivals in 2008. Siena is famous for its cuisine, museums, medieval cityscape and the Palio, a horse race held twice a year. Siena, like other Tuscan hill towns, was first settled in the time of the Etruscans when it was inhabited by a tribe called the Saina; the Etruscans were a tribe of advanced people who changed the face of central Italy through their use of irrigation to reclaim unfarmable land, their custom of building their settlements in well-defended hill forts. A Roman town called; some archaeologists assert that Siena was controlled for a period by a Gaulish tribe called the Senones. According to local legend, Siena was founded by Senius and Aschius, two sons of Remus and thus nephews of Romulus, after whom Rome was named. After their father's murder by Romulus, they fled Rome, taking with them the statue of the she-wolf suckling the infants, thus appropriating that symbol for the town.
Additionally they rode white and black horses, giving rise to the Balzana, or coat of arms of Siena with a white band atop a dark band. Some claim the name. Other etymologies derive the name from the Etruscan family name Saina, the Roman family name Saenii, or the Latin word senex "old" or its derived form seneo "to be old". Siena did not prosper under Roman rule, it lacked opportunities for trade. Its insular status meant that Christianity did not penetrate until the 4th century AD, it was not until the Lombards invaded Siena and the surrounding territory that it knew prosperity. After the Lombard occupation, the old Roman roads of Via Aurelia and the Via Cassia passed through areas exposed to Byzantine raids, so the Lombards rerouted much of their trade between the Lombards' northern possessions and Rome along a more secure road through Siena. Siena prospered as a trading post, the constant streams of pilgrims passing to and from Rome provided a valuable source of income in the centuries to come.
The oldest aristocratic families in Siena date their line to the Lombards' surrender in 774 to Charlemagne. At this point, the city was inundated with a swarm of Frankish overseers who married into the existing Sienese nobility and left a legacy that can be seen in the abbeys they founded throughout Sienese territory. Feudal power waned, by the death of Countess Matilda in 1115 the border territory of the March of Tuscany, under the control of her family, the Canossa, broke up into several autonomous regions; this resulted in the creation of the Republic of Siena. The Republic existed for over four hundred years, from the 12th century until the year 1555. During the golden age of Siena before the Black Death in 1348, the city was home to 50,000 people. In the Italian War of 1551–59, the republic was defeated by the rival Duchy of Florence in alliance with the Spanish crown. After 18 months of resistance, Siena surrendered to Spain on 17 April 1555, marking the end of the republic; the new Spanish King Felipe II, owing huge sums to the Medici, ceded it to the Grand Duchy of Tuscany, to which it belonged until the unification of Italy in the 19th century.
A Republican government of 700 Sienese families in Montalcino resisted until 1559. Siena is located in the central part of Tuscany, in the middle of a vast hilly landscape between the Arbia river valley, the Merse valley, the Elsa valley, the Chianti hills, the Montagnola Senese and the Crete Senesi; the city lies at 322 m above sea level. Siena has a typical inland Mediterranean climate. Average rainfall is 750 mm, with the minimum in July. July is the hottest month, with an average temperature of 22.2 °C, January the coldest. The Siena Cathedral, begun in the 12th century, is a masterpiece of Italian Romanesque-Gothic architecture, its main façade was completed in 1380. The original plan called for an ambitiously massive basilica, the largest in the world, with, as was customary, an east-west nave. However, the scarcity of funds, in part due to war and plague, truncated the project, the Sienese created a subdued version from the original plan's north-south transept; the east wall of the abandoned original folly of a nave still stands.
The Siena Cathedral Pulpit is an octagonal 13th-century masterpiece sculpted by Nicola Pisano with lion pedestals and biblical bas-relief panels. The inlaid marble mosaic floor of the cathedral and labored on by many artists, is among the most elaborate in Italy; the Sacristy and Piccolomini library have well preserved Renaissance frescos by Ghirlandaio and Pinturicchio respectively. Other sculptors active in the church and in the subterranean baptistry are Donatello, Lorenzo Ghiberti, Jacopo della Quercia and others; the Museo dell'Opera del Duomo contains Duccio's famous Maestà and various other works by Sienese masters. More Sienese paintings are to be found in the Pinacoteca, e.g. 13th-century works by Dietisalvi di Speme. The Piazza del Campo, the shell-shaped town square, unfurls before the Palazzo Pubblico with its tall Torre del Mangia; this is part of the site for the Palio horse race. The Palazzo Pubblico, itself a great wor
History painting is a genre in painting defined by its subject matter rather than artistic style. History paintings depict a moment in a narrative story, rather than a specific and static subject, as in a portrait; the term is derived from the wider senses of the word historia in Latin and Italian, meaning "story" or "narrative", means "story painting". Most history paintings are not of scenes from history paintings from before about 1850. In modern English, historical painting is sometimes used to describe the painting of scenes from history in its narrower sense for 19th-century art, excluding religious and allegorical subjects, which are included in the broader term history painting, before the 19th century were the most common subjects for history paintings. History paintings always contain a number of figures a large number, show some type of action, a moment in a narrative; the genre includes depictions of moments in religious narratives, above all the Life of Christ, as well as narrative scenes from mythology, allegorical scenes.
These groups were for long the most painted. The term covers large paintings in oil on canvas or fresco produced between the Renaissance and the late 19th century, after which the term is not used for the many works that still meet the basic definition. History painting may be used interchangeably with historical painting, was so used before the 20th century. Where a distinction is made "historical painting" is the painting of scenes from secular history, whether specific episodes or generalized scenes. In the 19th century historical painting in this sense became a distinct genre. In phrases such as "historical painting materials", "historical" means in use before about 1900, or some earlier date. History paintings were traditionally regarded as the highest form of Western painting, occupying the most prestigious place in the hierarchy of genres, considered the equivalent to the epic in literature. In his De Pictura of 1436, Leon Battista Alberti had argued that multi-figure history painting was the noblest form of art, as being the most difficult, which required mastery of all the others, because it was a visual form of history, because it had the greatest potential to move the viewer.
He placed emphasis on the ability to depict the interactions between the figures by gesture and expression. This view remained general until the 19th century, when artistic movements began to struggle against the establishment institutions of academic art, which continued to adhere to it. At the same time there was from the latter part of the 18th century an increased interest in depicting in the form of history painting moments of drama from recent or contemporary history, which had long been confined to battle-scenes and scenes of formal surrenders and the like. Scenes from ancient history had been popular in the early Renaissance, once again became common in the Baroque and Rococo periods, still more so with the rise of Neoclassicism. In some 19th or 20th century contexts, the term may refer to paintings of scenes from secular history, rather than those from religious narratives, literature or mythology; the term is not used in art history in speaking of medieval painting, although the Western tradition was developing in large altarpieces, fresco cycles, other works, as well as miniatures in illuminated manuscripts.
It comes to the fore in Italian Renaissance painting, where a series of ambitious works were produced, many still religious, but several in Florence, which did feature near-contemporary historical scenes such as the set of three huge canvases on The Battle of San Romano by Paolo Uccello, the abortive Battle of Cascina by Michelangelo and the Battle of Anghiari by Leonardo da Vinci, neither of which were completed. Scenes from ancient history and mythology were popular. Writers such as Alberti and the following century Giorgio Vasari in his Lives of the Artists, followed public and artistic opinion in judging the best painters above all on their production of large works of history painting. Artists continued for centuries to strive to make their reputation by producing such works neglecting genres to which their talents were better suited. There was some objection to the term, as many writers preferred terms such as "poetic painting", or wanted to make a distinction between the "true" istoria, covering history including biblical and religious scenes, the fabula, covering pagan myth and scenes from fiction, which could not be regarded as true.
The large works of Raphael were long considered, with those of Michelangelo, as the finest models for the genre. In the Raphael Rooms in the Vatican Palace and historical scenes are mixed together, the Raphael Cartoons show scenes from the Gospels, all in the Grand Manner that from the High Renaissance became associated with, expected in, history painting. In the Late Renaissance and Baroque the painting of actual history tended to degenerate into panoramic battle-scenes with the victorious monarch or general perched on a horse accompanied with his retinue, or formal scenes of ceremonies, although some artists managed to make a masterpiece from such unpromising material, as Velázquez did with his The Surrender of Breda. An influential formulation of the hierarchy of genres, confirming the history painting at the top, was made in 1667 by André Félibien, a historiographer
National Gallery of Denmark
The National Gallery of Denmark is the Danish national gallery, located in the centre of Copenhagen. The museum collects, maintains and handles Danish and foreign art dating from the 14th century to the present day; the museum's collections constitute 9,000 paintings and sculptures 240,000 works of art on paper as well as more than 2,600 plaster casts of figures from ancient times, the middle-ages and the Renaissance. Most of the older objects come from the Danish royal collection. 40,000 pieces from the collections are expected to be made available online by 2020. The display of European Art 1300–1800 is a comprehensive collection of art over the 500-year period, featuring works by Mantegna, Titian and Rembrandt; the art is spread over thirteen rooms, is the oldest art collection in Denmark, with a particular emphasis on Danish, Flemish, French and German pieces. Danish and Nordic Art 1750-1900 charts Scandinavian art from the beginnings of Danish painting through the ‘Golden Age’ to the birth of Modernism.
It displays over 400 works through 24 galleries. It features work by Abildgaard, Eckersberg, Købke and Hammershøi. SMK gained its modern French art collection in 1928 when it was donated by the late collector Johannes Rump; this collection features some of the museum’s most famous pieces from artists such as Matisse, Picasso and Braque. The collection was first offered to the SMK by Rump in 1923, but was rejected by the director Karl Madsen, as he did not believe it to be of a high enough quality. Housed in the museum’s 1993 extension, this 20th and 21st century collection is predominantly focused on the most important examples of modern Danish art. A long corridor of paintings looking onto Østre Anlæg park works as a chronological overview of the work from this period, whilst the smaller galleries focus on specific artists or movements; the Royal Collection of Graphic Art contains more than 240,000 works: copperprints, etchings, lithographic works and other kinds of art on paper, dating from the 15th century to the present day.
The beginnings of this collection were made around the time of Christian II. In his diary from 1521 the German painter Albrecht Dürer says he has given the King "the best pieces of all my prints". In 1843 the various works, which had so far been the king's private collection, were displayed to the public, it was moved into the Statens Museum for Kunst when the first building was completed in 1896, along with The Royal Collection of Paintings and The Royal Cast Collection. Although the papers contain a great number of foreign works, Danish art constitutes the main part of the collection; this collection is open to the public through the Print Room, access to which must be booked in advance of arrival. The Royal Cast Collection is held at the West India Warehouse, Toldbodgade 40, between The Little Mermaid and Nyhavn in Copenhagen, it consists of over 2,000 naked plaster casts of statues and reliefs from collections, temples and public places throughout the world, from antiquity to the Renaissance.
The Royal Cast Collection is only open for special events. The art was first put on display in 1895 with the intention of edifying visitors about the progression of representations of the human form over time in parallel with growing social and aesthetic awareness in the Western world. At the start of the Second World War the art of antiquity became unfashionable, associated with an archaic artistic tradition. In 1966, as abstract art became more popular, the Royal Cast Collection was removed to a barn outside Copenhagen for storage and only revived in 1984 when it was removed to the West India Warehouse; the collections of the Danish National Gallery originate in the Art Chamber of the Danish monarchs. When the German Gerhard Morell became Keeper of Frederick V's Art Chamber about 1750, he suggested that the king create a separate collection of paintings. To ensure that the collection was not inferior to those of other European royal houses and local counts, the king made large-scale purchases of Italian and German paintings.
The collection became well provided with Flemish and Dutch art. The most important purchase during Morell's term as keeper was Christ as the Suffering Redeemer by Andrea Mantegna.'Det Kongelige Billedgalleri' was housed in Christiansborg Palace until 1884 when the castle burnt down. It was not until the opening of the museum in 1896. Since a great variety of purchases have been made. During the 19th century the works were exclusively by Danish artists, for this reason the Museum has an unrivalled collection of paintings from the so-called Danish Golden Age; that the country was able to produce pictures of high artistic quality was something new, a consequence of the establishment of the Royal Danish Academy of Fine Arts in 1754. More the collection has been influenced by generous donations and long-term loans. In 1928 Johannes Rump's large collection of early French Modernist paintings was donated to the Museum; this was followed by purchases of paintings and sculpture in the French tradition.
The original museum building was designed by Vilhelm Dahlerup and G. E. W. Møller and built 1889–1896 in a Historicist Italian Renaissance revival style. Towards the back of the museum is a large modern extension designed by the architects Anna Maria Indrio and Mads Møller from Arkitektfirmaet C. F. Møller; the extension was erected in 1998 to house the extensive modern art collection. The two buildings are connected by a glass panelled'Street of Sculptures
Rome is the capital city and a special comune of Italy. Rome serves as the capital of the Lazio region. With 2,872,800 residents in 1,285 km2, it is the country's most populated comune, it is the fourth most populous city in the European Union by population within city limits. It is the centre of the Metropolitan City of Rome, which has a population of 4,355,725 residents, thus making it the most populous metropolitan city in Italy. Rome is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber; the Vatican City is an independent country inside the city boundaries of Rome, the only existing example of a country within a city: for this reason Rome has been defined as capital of two states. Rome's history spans 28 centuries. While Roman mythology dates the founding of Rome at around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe; the city's early population originated from a mix of Latins and Sabines.
The city successively became the capital of the Roman Kingdom, the Roman Republic and the Roman Empire, is regarded by some as the first metropolis. It was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, the expression was taken up by Ovid and Livy. Rome is called the "Caput Mundi". After the fall of the Western Empire, which marked the beginning of the Middle Ages, Rome fell under the political control of the Papacy, in the 8th century it became the capital of the Papal States, which lasted until 1870. Beginning with the Renaissance all the popes since Nicholas V pursued over four hundred years a coherent architectural and urban programme aimed at making the city the artistic and cultural centre of the world. In this way, Rome became first one of the major centres of the Italian Renaissance, the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters and architects made Rome the centre of their activity, creating masterpieces throughout the city.
In 1871, Rome became the capital of the Kingdom of Italy, which, in 1946, became the Italian Republic. Rome has the status of a global city. In 2016, Rome ranked as the 14th-most-visited city in the world, 3rd most visited in the European Union, the most popular tourist attraction in Italy, its historic centre is listed by UNESCO as a World Heritage Site. The famous Vatican Museums are among the world's most visited museums while the Colosseum was the most popular tourist attraction in world with 7.4 million visitors in 2018. Host city for the 1960 Summer Olympics, Rome is the seat of several specialized agencies of the United Nations, such as the Food and Agriculture Organization, the World Food Programme and the International Fund for Agricultural Development; the city hosts the Secretariat of the Parliamentary Assembly of the Union for the Mediterranean as well as the headquarters of many international business companies such as Eni, Enel, TIM, Leonardo S.p. A. and national and international banks such as Unicredit and BNL.
Its business district, called EUR, is the base of many companies involved in the oil industry, the pharmaceutical industry, financial services. Rome is an important fashion and design centre thanks to renowned international brands centered in the city. Rome's Cinecittà Studios have been the set of many Academy Award–winning movies. According to the founding myth of the city by the Ancient Romans themselves, the long-held tradition of the origin of the name Roma is believed to have come from the city's founder and first king, Romulus. However, it is a possibility that the name Romulus was derived from Rome itself; as early as the 4th century, there have been alternative theories proposed on the origin of the name Roma. Several hypotheses have been advanced focusing on its linguistic roots which however remain uncertain: from Rumon or Rumen, archaic name of the Tiber, which in turn has the same root as the Greek verb ῥέω and the Latin verb ruo, which both mean "flow". There is archaeological evidence of human occupation of the Rome area from 14,000 years ago, but the dense layer of much younger debris obscures Palaeolithic and Neolithic sites.
Evidence of stone tools and stone weapons attest to about 10,000 years of human presence. Several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the bronze age and the beginning of the Iron age, each hill between the sea and the Capitol was topped by a village. However, none of them had yet an urban quality. Nowadays, there is a wide consensus that the city developed through the aggregation of several villages around the largest one, placed above the Palatine; this aggregation was facilitated by the increase of agricultural productivity above the subsistence level, which allowed the establishment of secondary and tertiary activities. These in turn boosted the development of trade with the Greek colonies of southern Italy; these developments, which according to archaeological ev
Christian VII of Denmark
Christian VII was a monarch of the House of Oldenburg, King of Denmark–Norway and Duke of Schleswig and Holstein from 1766 until his death. For his motto he chose: "Gloria ex amore patriae". Christian VII's reign was marked by mental illness and for most of his reign Christian was only nominally king, his half-brother Frederick was designated as regent of Denmark in 1772. From 1784 until Christian VII's death in 1808, Christian's son Frederick VI, acted as unofficial regent. Christian was his first wife Louise of Great Britain, he was born in the Queen's Bedchamber at the royal residence in Copenhagen. He was baptized a few hours the same day, his godparents were King Frederick V, Queen Dowager Sophie Magdalene, Princess Louise and Princess Charlotte Amalie. A former heir to the throne named Christian, had died in infancy in 1747. Christoph Willibald Gluck conductor of the royal opera troupe, composed the opera La Contesa dei Numi, in which the Olympian Gods gather at the banks of the Great Belt and discuss who in particular should protect the new prince.
His mother Queen Louise died two years after his birth. The following year his father married Juliane Marie of Brunswick-Wolfenbüttel. Early historians state that he had a winning personality and considerable talent, but that he was poorly educated and systematically terrorized by a brutal tutor, Christian Ditlev Frederik Reventlow, the Count of Reventlow, he seems to have been intelligent and had periods of clarity, but suffered from severe emotional problems schizophrenia, as argued by Doctor Viggo Christiansen in Christian VII's mental illness. After a long period of infirmity, Frederick V died 14 January 1766, just 42 years old; the same day, Christian was proclaimed king from the balcony of Christiansborg Palace, weeks before his 17th birthday. Christian's reign was marked by mental illness which affected government decisions, for most of his reign Christian was only nominally king, his court physicians were worried by his frequent masturbation. His royal advisers changed depending on. In the late 1760s, he came under the influence of his personal physician Johann Friedrich Struensee, who rose in power.
From 1770 to 1772, Struensee was de facto regent of the country, introduced progressive reforms signed into law by Christian VII. Struensee was deposed by a coup in 1772 after which the country was ruled by Christian's stepmother, Juliane Marie of Brunswick-Wolfenbüttel, his half-brother Frederick and the Danish politician Ove Høegh-Guldberg; the young King was betrothed to his fifteen-year-old cousin Princess Caroline Matilda, sister of George III of the United Kingdom, anxious about the marriage but not aware that the bridegroom was mentally ill. The dynastic marriage took place at Christiansborg Palace on 8 November 1766. After his marriage, he abandoned himself to the worst excesses sexual promiscuity. In 1767, he entered into a relationship with the courtesan Støvlet-Cathrine, he sank into a condition of mental stupor. Symptoms during this time included paranoia, self-mutilation, hallucinations; the progressive and radical thinker Johann Friedrich Struensee, Christian's personal physician, became his advisor and rose in power in the late 1760s to de facto regent of the country, where he introduced widespread progressive reforms.
Struensee was a protégé of an Enlightenment circle of aristocrats, rejected by the court in Copenhagen. He was a skilled doctor, having somewhat restored the king's health while visiting the Schleswig-Holstein area, he gained the king's affection, he was retained as travelling physician on 5 April 1768, accompanied the entourage on the King’s foreign tour to Paris and London via Hannover from 6 May 1768 to 12 January 1769. He was given the title of State Councilor on 12 May 1768 a week after leaving Altona; the neglected and lonely Caroline Matilda entered into an affair with Struensee. In 1772, the king's marriage with Caroline Matilda was dissolved by divorce. Christian's marriage with Caroline Matilda produced two children: the future King Frederick VI and Princess Louise Auguste. However, it is believed that Louise was the daughter of Struensee—portrait comparisons tend to support this hypothesis. Struensee, who had enacted many modernising and emancipating reforms, was arrested and executed the same year.
Christian signed Struensee's arrest and execution warrant under pressure from his stepmother, Queen Juliane Marie, who had led the movement to have the marriage ended. Caroline Matilda, retaining her title but not her children left Denmark, passed her remaining days in exile at Celle Castle in her brother's German territory, the Electorate of Hanover, she died there of scarlet fever on 10 May 1775, at the age of 23. Christian was only nominally king from 1772 onward. Between 1772 and 1784, Denmark was ruled by his stepmother, the Queen Dowager Juliane Marie, his half-brother Frederick, the Danish politician Ove Høegh-Guldberg. From 1784, his son Frederick VI ruled permanently as prince regent; this regency was marked by liberal and agricultural reforms, but by the beginning of the disasters of the Napoleonic Wars. Christian died at age 59 of a stroke on 13 March 1808 in Schleswig. Although there were rumors that the stroke was caused by fright at the sight of Spanish auxiliary troops, which he took to be hostile, Ul
Theodor Esbern Philipsen was a Danish painter of Jewish ancestry. He did small figures in wax and clay, he was learned to draw at an early age. At first, however, he was interested in animals, so he went to study agriculture at his uncle's estate near Slangerup. In the 1860s, one of his brothers introduced him to the painter, Hans Smidth, which made him decide to become an artist, he began his studies at the Royal Danish Academy of Fine Arts with Carl Bøgh and came under the influence of Frederik Vermehren. He was familiar with the animal portraits of Johan Thomas Lundbye and the 17th-century painter Paulus Potter. In 1873, he was awarded the Neuhausenske Prize for his painting of horses swimming. In the 1880s, he began to show some elements of Impressionism. At the age of thirty-five, concerned that his images were not realistic enough, he went to Paris to study with Léon Bonnat. There, he practiced intensive croquis drawing, he obtained knowledge of the radical trends in French art through his friend, Rémy Cogghe, with whom he spent some time in Spain and Italy.
This all came together in a distinctive style. His favorite places for painting were Amager. In the winter of 1884-1885, Paul Gauguin made a visit to Copenhagen. Philipsen approached him for some advice and was shown how to use small brushes with quick, firm strokes, they remained friends for life. In 1890, he received the Eckersberg Medal. Around 1905, he began to suffer from an eye disease. In 1915, he was awarded the Thorvaldsen Medal, he is credited with establishing Impressionism as an important aspect of Danish painting. Karl Madsen, Maleren Theodor Philipsen, Kunstforeningen, 1912. Complete text @ the Internet Archive Finn Terman Frederiksen, Philipsen og Fynboerne, Randers Kunstmuseum, 2001 ISBN 87-88075-41-9 Thomas Lederballe, Philipsen og impressionismen, Ordrupgaard, 2001 ISBN 87-88692-26-4 Theodor Philipsen @ "A Mirror of Nature", travelling exhibition "Theodor Philipsen og Kastrup" @ Kastrupgårdsamlingen
The Saatchi Gallery is a London gallery for contemporary art, opened by Charles Saatchi in 1985 in order to exhibit his collection to the public. It has occupied different premises, first in North London the South Bank by the River Thames, in Chelsea, its current location. Saatchi's collection—and hence the gallery's shows—has had distinct phases, starting with US artists and minimalism, moving to the Damien Hirst-led Young British Artists, followed by shows purely of painting, returning to contemporary art from America in USA Today at the Royal Academy in London. A 2008 exhibition of contemporary Chinese art formed the inaugural exhibition in the new venue for the gallery at the Duke of York's HQ; the gallery has been an influence on art in Britain since its opening. It has had a history of media controversy, which it has courted, has earned extremes of critical reaction. Many artists shown at the gallery are unknown not only to the general public but to the commercial art world. In 2010, it was announced that the gallery would be given to the British public, becoming the Museum of Contemporary Art for London.
The Saatchi Gallery opened in 1985 in Boundary Road, St John's Wood, London in a disused paint factory of 30,000 square feet. The first exhibition was held March—October 1985 featured many works by American minimalist Donald Judd, American abstract painters Brice Marden and Cy Twombly, American pop artist Andy Warhol; this was the first U. K. exhibition for Twombly and Marden. These were followed throughout December 1985 – July 1986 by an exhibition of works by American sculptor John Chamberlain, American minimalists Dan Flavin, Sol LeWitt, Robert Ryman, Frank Stella, Carl Andre. During September 1986 – July 1987, the gallery exhibited German artist Anselm Kiefer and American minimalist sculptor Richard Serra; the exhibited Serra sculptures were so large that the caretaker's flat adjoining the gallery was demolished to make room for them. From September 1987 – January 1988, the Saatchi Gallery mounted two exhibitions entitled New York Art Now, featuring Jeff Koons, Robert Gober, Peter Halley, Haim Steinbach, Philip Taaffe, Caroll Dunham.
This exhibition introduced these artists to the U. K. for the first time. The blend of minimalism and pop art influenced many young artists who would form the Young British Artists group. April – October 1988 featured exhibited works by American figurative painter Leon Golub, German painter and photographer Sigmar Polke, American Abstract Expressionist painter Philip Guston. During November 1988 – April 1989 a group show featured contemporary American artists, most prominently Eric Fischl. From April – October, the gallery hosted exhibitions of American minimalist Robert Mangold and American conceptual artist Bruce Nauman. From November 1989 – February 1990, a series of exhibitions featured School of London artists including Lucian Freud, Frank Auerbach, Leon Kossoff and Howard Hodgkin. During January – July 1991, the gallery exhibited the work of American pop artist Richard Artschwager, American photographer Cindy Sherman, British installation artist Richard Wilson. Wilson's piece 20:50, a room filled with oil, became a permanent installation at the Saatchi Gallery's Boundary Road venue.
September 1991 – February 1992 featured a group show, including American photographer Andres Serrano. In an abrupt move, Saatchi sold much of his collection of US art, invested in a new generation of British artists, exhibiting them in shows with the title Young British Artists; the core of the artists had been brought together by Damien Hirst in 1988 in a seminal show called Freeze. Saatchi augmented this with his own choice of purchases from art colleges and "alternative" artist-run spaces in London, his first showing of the YBAs was in 1992, where the star exhibit was a Hirst vitrine containing a shark in formaldehyde and entitled The Physical Impossibility of Death in the Mind of Someone Living. This was funded by Saatchi, it has become the iconic work of 1990s British art, the symbol of Britart worldwide. More Saatchi said, "It's not that Freeze, the 1988 exhibition that Damien Hirst organised with this fellow Goldsmiths College students, was good. Much of the art was so-so and Hirst himself hadn't made anything much just a cluster of small colourful cardboard boxes placed high on a wall.
What stood out was the hopeful swagger of it all." Saatchi's promotion of these artists dominated local art throughout the nineties and brought them to worldwide notice. Among the artists in the series of shows were Jenny Saville, Sarah Lucas, Gavin Turk and Dinos Chapman and Rachel Whiteread. Sensation opened in September at the Royal Academy to much controversy and showed 110 works by 42 artists from the Saatchi collection. In 1999 Sensation toured to the Nationalgalerie at the Hamburger Bahnhof in Berlin in the autumn, to the Brooklyn Museum of Art, New York, creating unprecedented political and media controversy and becoming a touchstone for debate about the "morality" of contemporary art. Meanwhile, other shows with different themes were held in the gallery itself. In 1998, Saatchi launched a two part exhibition entitled Neurotic Realism. Though attacked by critics, the exhibition included many future international stars including. In 2000 Ant Noises in two parts, tried surer ground with work by Damien Hirst, Sarah Lucas, Jenny Saville, Rachel Whiteread, the Chapmans, Gavin Turk