Philip Hendy

Philip Hendy was a prominent British art historian and museum director, best known for his transformative leadership of the National Gallery from 1946 to 1967. His tenure oversaw the post-war reopening of the gallery, significant acquisitions, and major architectural changes, including the controversial construction of the Sainsbury Wing. A respected scholar of Spanish painting, he also served as director of the Leeds Art Gallery and the Museum of Fine Arts, Boston.

Early life and education

Born in London, he was the son of Sir William Hendy, a noted judge. He received his education at Westminster School before matriculating at New College, Oxford, where he studied history. His early interest in art was cultivated through extensive travel in Europe, particularly in Italy and Spain, where he developed a deep appreciation for Old Master paintings. After graduating, he briefly considered a legal career but was drawn to the art world, taking a position at the Ashmolean Museum in Oxford under the guidance of its keeper, C. F. Bell.

Career at the National Gallery

Hendy joined the National Gallery in 1927 as an assistant to the director, Augustus Daniel. He quickly established himself as a meticulous cataloguer and scholar, contributing significantly to the gallery's understanding of its collection, particularly in the areas of Italian Renaissance and Spanish Baroque art. During the Second World War, he played a crucial role in the evacuation and protection of the gallery's masterpieces to secret locations in Wales, including Manod Quarry. He also served as the director of the Leeds Art Gallery from 1934 to 1945, where he revitalized its collections and exhibitions.

Directorship of the National Gallery

Appointed director in 1946, his immediate task was overseeing the gallery's reopening after the war, which he achieved with a celebrated rehang in 1946. He championed major acquisitions, securing important works such as Piero della Francesca's *The Baptism of Christ* and Uccello's *The Battle of San Romano*. He initiated a program of scientific analysis and conservation, working closely with the gallery's scientific department and restorers like Helmut Ruhemann. A significant and contentious aspect of his directorship was his advocacy for a modern extension, culminating in the design by the architects Ahrends, Burton and Koralek for the site facing Trafalgar Square; this project, later realized as the Sainsbury Wing, was a source of prolonged public and professional debate.

Later career and legacy

After retiring from the National Gallery in 1967, he served as a trustee of the Wallace Collection and the National Art Collections Fund. He was also a senior fellow at the Center for Advanced Study in the Visual Arts in Washington, D.C.. His scholarly legacy includes his authoritative catalogues of the National Gallery's collection and his seminal work, *Spanish Painting*, published in 1946. He was knighted in 1950 for his services to art. His directorship is remembered for expanding the gallery's scholarly rigor and public role, though his architectural ambitions for the building remained a point of controversy long after his tenure.

Personal life

In 1931, he married the painter Helen de Glehn, a member of the New English Art Club and sister of the artist Wilfrid de Glehn. The couple had one daughter. They lived for many years in Chelsea, moving in artistic and literary circles that included friends like the art historian Kenneth Clark and the painter Walter Sickert. An avid gardener, he spent much of his later life at his country home in Suffolk. He died in London in 1980.

Category:British art historians Category:National Gallery, London Category:1900 births Category:1980 deaths