• Some of the most iconic images of the Royal Family can be seen in a new exhibition opening at Kensington Palace on Friday. Life Through A Royal Lens features images taken by renowned photographer Cecil Beaton, Norman Parkinson, Rankin and Annie Leibovitz as well as images taken by members of the Royal Family such as celebrated photographer Antony Armstrong-Jones – later Lord Snowdon, husband of Princess Margaret. The display includes an examination of Queen Victoria and Prince Albert’s patronage of photography during its infancy, how Beaton’s work helped create a fairytale-like image of the young Queen Elizabeth II as both a sovereign and modern mother, and how, with reference to iconic magazine photoshoots including the Duke of Cambridge’s cover of Attitude Magazine and the Duchess of Cambridge’s centenary issue of British Vogue in 2016, photography and image remain central to the public’s perception of the modern Royal Family today. Juxtaposed with these images will be select photos taken by members of the public as they captured members of the Royal Family performing their official duties. Runs until 30th October. Included in palace admission. For more, see www.hrp.org.uk/kensington-palace/whats-on/life-through-a-royal-lens/.
• A 16th century altarpiece is being reunited with the Italian chapel for which it was originally created through a new digital experience at The National Gallery. Using virtual reality headsets, visitors will be able to see Veronese’s painting, The Consecration of Saint Nicholas, in its original setting in the Church of San Benedetto al Po, near Mantua, in 1562. There is a choice of two virtual guides – National Gallery curator, Dr Rebecca Gill, who explores the painting and frescoes, or the historical figure of Abbot Asola, who commissioned the painting from Veronese and in his discussion reveals the threat facing the monastery at the time. Admission is free but a ticket is required. Virtual Veronese until 3rd April. For more, see www.nationalgallery.org.uk/exhibitions/virtual-veronese.
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