In a landmark exhibition that seeks to shatter long-held myths, the National Library of Wales is proudly showcasing the immense depth and diversity of the nation’s artistic heritage. “No Welsh Art,” a groundbreaking display featuring over 250 works from both celebrated and little-known Welsh artists, aims to firmly rebut a controversial claim made nearly 75 years ago that dismissed the very existence of a distinctive Welsh art tradition.
The infamous declaration, uttered in 1950 by Llewelyn Wyn Griffith, then chair of the Welsh committee of the Arts Council of Great Britain, reflected a pervasive attitude at the time that Wales lacked a noteworthy art scene of its own. However, art historian and curator Peter Lord, who has spent decades passionately collecting Welsh art, believes this notion was not only “absurd” but also had a lingering negative impact on the perception of Welsh art that persists to this day.
A Visionary Collection Takes Shape
Lord began amassing his visionary collection in the 1980s, driven by a desire to assemble works that collectively told the story of Wales rather than adhering to narrow definitions of “high art.” His goal was to address a glaring gap – the absence of a national gallery with a cohesive narrative of Welsh art history, a void that sets Wales apart from most European nations, even those much smaller in size.
For the “No Welsh Art” exhibition, which runs until September 2025, Lord has carefully curated 150 pieces from his own collection, complemented by another 100 gems from the National Library’s own holdings. The result is a stunning visual tapestry that weaves together works from revered figures like Gwen John and Kyffin Williams with captivating pieces by lesser-known and amateur artists, each contributing a unique thread to the rich narrative of Welsh art.
Confronting Stereotypes and Celebrating Resilience
The exhibition fearlessly confronts the painful history of racist stereotypes endured by the Welsh people, as seen in caricatures depicting them as impoverished and backward. Yet it also highlights instances of resilience and cultural pride, such as the vibrant pub sign painted around 1835 for the Hanner-y-Ffordd Inn, which defiantly adopts and celebrates the offensive goat-riding imagery.
“This picture sums up to me what the whole exhibition seeks to do, which is to ask questions about ourselves, about our relationship with other nations and where we go in the future.”
– Peter Lord, curator of “No Welsh Art”
Unearthing Hidden Treasures
Among the exhibition’s many revelations are rarely seen masterpieces like the 1732 self-portrait by Edward Owen, an Anglesey artist whose work disappeared after being displayed in 1927, only to resurface recently when an American art dealer noticed a Welsh placename inscription on the back. Other powerful paintings capture the hardships and social unrest of 20th-century Wales, such as Archie Rhys Griffiths’ evocative depiction of women scavenging coal scraps amid the Great Depression.
A Clarion Call for a Permanent Home
While “No Welsh Art” serves as a triumphant rebuttal to past dismissals of Welsh artistic achievement, it also amplifies calls for the establishment of a permanent national gallery dedicated to showcasing the nation’s rich visual art heritage. Supporters argue that without such an institution, Welsh art risks remaining an “unseen treasure,” depriving both Welsh citizens and the world at large of the opportunity to fully appreciate and engage with this vital cultural legacy.
As the National Library of Wales welcomes visitors to this groundbreaking exhibition, it invites them not only to marvel at the extraordinary breadth of talent on display but also to reflect on the urgent need for a lasting home where the story of Welsh art can continue to be told, celebrated, and shared with generations to come.
