The executioner's almost mockingly nonchalant stance, the theatrically histrionic ladies-in-waiting throwing up their hands in despair, the tender arm round the shoulders of England's fleeting queen, the 17-year old Lady Jane Grey, while she, luminously lit and delicately beautiful glows with the tragedy of a martyr. I solely thank the supreme curation of this National Gallery exhibition for my being so drawn into the scene in this wholehearted, emotional way. Each exhibition room explains the composite elements of this painting and what makes it so emotionally potent: firstly why a french painter was interested in the historical past and the artistic trends that led him to such removed subjects; his fascination with England; his links with the theatre and love of the dramatic potential of scenes - through friendships with playwright friends and the growing international reputation of Shakespeare (Delaroche's painting of The Princes in the Tower is equally moving); his captivation with martyrs, suffering for a cause, unfairly lambasted, vilified and executed; his captivation with the 'sprightly coquette' Mademoiselle Anais, the woman who was his muse for Lady Jane Grey.
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By the time I reached the painting itself, there's no way it could have failed to impact on this multitude of levels (no thanks to anything i brought to the party), and it felt enormously rewarding to understand why i was fell for its beauty - that's a brilliantly curated exhibition if you ask me.
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I didn't expect to love this exhibition, but the fact that i did, and so intensely, was a glorious surprise. i can't recommend it highly enough - it's on at the National Gallery until 23 May - go.
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