National Portrait Gallery: History, Objectives, Stakeholders, and Sustainability

This study provides an overview of the National Portrait Gallery, including its history, objectives, stakeholders, and sustainability. It highlights the gallery's collection of portraits of famous British people and its role in promoting British identity. The study also explores the strategic objectives of the gallery, such as increasing audience reach and developing the collection. Additionally, it discusses the key stakeholders involved, including the board of directors, trustees, curators, collectors, and artists. The study concludes with an examination of the gallery's sustainability efforts and financial management.

National Portrait Gallery

Table of Contents
INTRODUCTION...........................................................................................................................3
TASK 1............................................................................................................................................3
TASK 2............................................................................................................................................6
CONCLUSION................................................................................................................................9
REFERENCES..............................................................................................................................10

INTRODUCTION
National portrait gallery in turn is considered to be as an art gallery which includes
collection of portraits of famous British people (Perry, 2018). This study will highlight on
providing a complete overview related with the history of National Portrait gallery. Furthermore,
this study also demonstrates about the complete understanding of the trends, objectives, financial
operations and sustainability project at National portrait gallery. Additionally, this report
structure will also focus on identifying the various key stake holders associated with the National
portrait gallery.
TASK 1
Overview
National portrait gallery is an art gallery which includes collection of portraits of famous
British people. It is located in London and portrays all historically important things in the gallery
(Florance, 2018). National portrait gallery tends to hold the most inclusive collection of portraits
across the world. This was the first portrait gallery in the globe when it was opened in the year
1856. The collection within the National portrait gallery mainly includes caricatures,
photographs, sculptures, drawings and paintings. One of the best known painting of the National
portrait gallery is of Chandos portrait of William Shakespeare. This is considered to be the only
national museum who tends to focus on developing British identity, impact and influence people
and also tends to focus on marking the culture and history of the country. It is considered to be as
the home of world's largest collection of portraits. The organizational structure of the National
Portrait Gallery board mainly comprise of Chief Executive Officer, Foundation manager,
directors, senior curator, registrar and directors.
History
The key three people who in turn are largely responsible for the founding of the National
Portrait Gallery mainly comprise of Philip Henry Stanhope, Thomas Babington and Thomas
Carlyle (Hwang, 2017). Philip Henry Stanhope who was the MP in 1846, in turn has proposed
the idea associated with National Portrait Gallery. In the year 1856, the House of Lords in turn
has accepted the proposal.
Strategic objective
The key objective of the National Portrait Gallery is to effectively develop, maintain,
preserve and promote the national collection of portraits. Further, it also promotes various other

work of art and focuses on engaging national audience for research, online programs, collections,
exhibitions, education, public programs, etc.
The strategic objective of the National Portrait Gallery is to extend and widen the reach
of audiences for National Portrait gallery (James, 2018). They also want to broaden the learning
activity and participation with the help of effective communication strategy. Within the period of
2017- 2022, the National Portrait Gallery will in turn develop a broad range of programmes
which includes free displays and charging exhibitions in order to make exhibition more cost
effective and sustainable. The National Portrait Gallery in turn tends to focus on effectively
increasing the diverse range of audiences from 2 million to 2.5 million by the end of the year
2025. The gallery will in turn also focus on promoting the gallery with effective marketing
strategy, display and communication programmes.
Another strategic objective associated with the National Portrait Gallery is to effectively
develop the collection and in turn tends to focus on creating wide range of opportunities linked
with commission and acquisition. There seems to be a trend of seeking opportunities to develop a
strategic action plan in order to enhance the conservation and storage (Perry, 2018).
Another strategic key objective of the National Portrait Gallery in turn is to effectively
create digital presence in order to engage, connect and inspire the audience. The National Portrait
Gallery in turn tends to focus on enhancing the knowledge of the portrait collection with the help
of digitalisation programmes.
Another major strategic objective of the National Portrait Gallery is to focus on
maximizing the various financial resources which h in turn has been available through public and
private sector support and effective management of the Gallery's resources and valuable assets.
There seems to be a trend where they focus on continuously growing there support from the
membership which in turn helps in maintaining a baseline of minimum 14000 at the time of
building work. They also tend to focus on inspiring people with the help of effective fundraising
strategy. They also tend to focus on increasing the portrait fund by effectively growing the funds
with the key target of £10 million by the year 2017-18.
By critically analysing the Employee survey of the National Portrait Gallery in the year
2017-18, the key strategic objective of the museum is to effectively improve the staff absence
rate. They in turn also tend to focus on developing policies in apprenticeship, work experience
and interns in order to attain the government apprenticeship target (Robinson, 2016). They in

turn also tend to focus on developing and increasing the diversity of the staff. The company must
in turn focus on monitoring changes within the human resource department which in turn helps
in ensuring that skilled and competent staff are recruited with the National Portrait Gallery.
Sustainability
National Portrait Gallery in turn tends to focus on developing there sustainability in terms
of physical, social and financial sustainability. They in turn are supported by government,
companies, trusts, individuals, foundations, etc. The National Portrait Gallery in turn tends to
focus on responding well to the reduced support from the government and various other sources
associated with the funding (Smith, 2017). This in turn helps in generating more income and in
turn tends to focus on establishing there gallery in a systematic and sustainable manner. National
Portrait Gallery in turn tends to focus on improving there sustainability by promoting various
opportunities for venue hire, sale at profitable range of merchandise, promoting on-site catering
offers, etc. They also focus on effectively encouraging specific and general online donation in
order to transform sustainability.
The Gallery in turn also tends to focus on making progress towards reducing the
environmental impacts who in turn aims at highlighting at taking positive action in order to
improve the sustainability (Tyler, 2019). Incremental improvements in turn has been made on an
everyday basis by reducing waste and also tends to focus on improving the Building
management system. This in turn helps in controlling the environment within its own gallery
space. They in turn also focuses on reducing there carbon footprint.
Finances
The National Portrait Gallery in turn tends to focus on earning more income from the
visitors the art gallery and from various other corporate supporters, foundations, individuals and
trusts. In the year 2008, Lerner Gift in turn was considered to be the most significant donor.
Undertaking of the outreach work and enhancing the creativity of the special displays in turn has
eventually resulted in the increase in the expenditure (Coles and Keller, 2019). The cost
pressures and economic conditions in turn were very challenging which in turn makes it highly
imperative for the gallery to reduce cost. At the end of the year financial reports are made.
During the year 2018-19, the overall cash position in turn has increased by $4.4 million. This in
turn has attributed to the growth in the revenues. Whilst acquisition, building and plant has

reduced by $1.7 million and increase in donation has led collection to $36.9 million. Liabilities
in turn were maintained at relatively lower level i.e., $3.5 million.
Corporate governance
The National Portrait Gallery in turn is considered to be one of the executive non-
departmental public body which is sponsored by the department of culture, media, sports and
digital. This gallery in turn is governed by the Board of Trustees in accordance with the Museum
and Galleries Act, 1992. The Board of trustees in turn tends to act as a body corporate who in
turn acts collectively in order to promote and safeguard the collection of the gallery (Coles and
Keller, 2019). The National Portrait Gallery in turn tends to focus on establishing there
objectives by effectively adhering to the various set of standards associated with the good
corporate practice. The board tends to delegate the administration of gallery and then to the
director who in turn is largely responsible for carrying out general functions associated with the
board (Governance, 2020). It enables board to effectively monitor the progress by attaining the
strategic objective in a cost effective and efficient manner. The corporate governance in turn
tends to focus on reviewing the of the internal audit in turn tends to take place for the gallery.
The board of trustees in turn tends to focus on developing policies altogether with the senior
gallery staff and directors in order to set the strategic direction and also adhere to the effective
corporate practice.
TASK 2
A stakeholder in turn is referred to as a person who in turn tends to have a stake within
the business. The stakeholders tend to put a vital interest in the activities of the business. They
tend to get largely influenced by the organization's objectives, actions and policies (White,
2019). A stakeholder can be both internal as well as external to the business. Stakeholder
mapping is considered to be very useful in effectively evaluating and finding the various key
stakeholders within the project. The project stakeholders in turn are largely interested in the
functioning and operations of the business. The stakeholders within the organization in turn
eventually tends to focus on promoting and enhancing the brand awareness. This in turn helps in
engaging various stakeholders by effectively gaining various enjoyable activities. The
stakeholders of the organization in turn are largely entitled to affect or are likely to be affected
by the various set of business operations.
Interest and power map of stakeholders

High (Keep Satisfied) High (Key Stakeholders)
Art dealers, Auctioneers, collectors. Board of directors, Board of trustees, donors,
artists.
Low (Minimum effort) Low (Keep informed)
Attenders, visitors. Curators
Board of directors: They are considered to be as the group of people who in turn has
been elected in order to take necessary decision related with organization. This in turn helps in
attaining goals and objectives of the organization (Loveman, 2018). They tend to largely have
the key stakeholders within the organization. The board of directors within the company in turn
tends to have high degree of interest and power within the organization. They focus on largely
managing the key activities of the organization which in turn helps in attaining higher
operational goals and objectives. One of the key issue faced by the board of directors in National
Portrait Gallery in turn is to comply with various set of policies, rules, regulations, etc.
sustainable management of the art gallery, attracting audiences and raising fund in turn is
considered to be one of the major issues faced by the directors of National Portrait Gallery.
Trustees: The board of trustees in turn are adopted and elected as a group of individuals
who in turn is largely responsible for management of the organization. They are considered to be
as the governing body who in turn seeks to ensure the best interest of the organization. The
board of trustees within the company in turn tends to have high degree of interest and power
within the organization (Robinson, 2016). They focus on largely managing the key operations of
the National portrait gallery which in turn helps in attaining higher operational future goals and
objectives of the gallery within a stipulated time frame. The key issues faced by the trustee is
mainly associated with the increasing legal proceedings and failure in identifying the threats to
the gallery is in turn is considered to be one of the major challenge for the company.
Curators: They in turn are employed by the galleries and museums in order to care and
develop a new collection. They loan works and in turn tends to focus on interpreting the
collection in order to inspire and educate public. It is very crucial for the management of the
company to keep the curators of the National Portrait Gallery completely informed. It is very

necessary for the art gallery to develop the collection every year in order to attract large number
of visitors from across the globe at the gallery.
Collectors: They are the people who tends to collect the art (Florance, 2018). It is very
crucial for the management of the company to keep the collectors satisfied and in turn meet there
expectations related with the art collection. This way it helps in engaging the interest of the
stakeholders within the National Portrait Gallery.
Art dealers: They in turn are considered to be as the truly educated professionals who in
turn are specialist in the field associated with the art business. They are in turn up to date with
the changing taste and trends related with the art world.
Auctioneers: This is the person who works within the auction house. This is considered
to be as the part of secondary art market (James, 2018). This is the person who in turn is largely
responsible for managing a particular action on certain items. Globalization and digitalization in
turn is considered to be one of the major challenge faced by the auctioneers of the National
Portrait gallery.
Donors: They are the individuals who in turn tends to donate something voluntarily for
the certain cause. They are the ones who in turn tends to focus on donating for effectively
carrying several business operations (Florance, 2018). They are considered to be the key
stakeholders which in turn helps in raising the funds and capital for the National Portrait Gallery.
Artists: They are the individuals who in turn tends to actively participate in creating or
demonstrating an art. They in turn focus on recreating the world. They are considered to be one
of the key stakeholder within the National Portrait Gallery. They in turn largely influence the
working of any art gallery. Artist is the one who actively participate in building the collection of
the art gallery. They are the one who in turn largely demonstrate the working of the organization.
One of the major challneg faced by the artist is associated with changing customer preference
and attraction of wrong taregt audience in turn impose various issue on artists.
The key stakeholders within the organization in turn tends to focus on making various
range of legal decision making rights and in turn tends to also focus on carrying out several
scheduling issues (Howgate, 2017). The stakeholders tend to focus on providing several financial
support.

CONCLUSION
From the above carried out study it has been established that, the National Portrait
Gallery tends to focus on earn more income from the visitors of the art gallery and from various
other corporate supporters, foundations, individuals and trusts. The strategic objective of the
National Portrait Gallery is to extend and widen the reach of audiences for National Portrait
gallery. Board of trustees in turn is considered to be as the governing body for National Portrait
Gallery. It has been summarized that, artists, donors, owners, government, trustees, board of
directors, curators, art dealers, auctioneers, etc. in turn are considered to be as the key
stakeholders of the National Portrait Gallery.

REFERENCES
Books and Journals
Coles, K.A. and Keller, E. eds., 2019. Routledge Companion to Women, Sex, and Gender in the
Early British Colonial World. Routledge.
Florance, C., 2018. Connecting threads:'So Fine'at the National Portrait Gallery. Art Monthly
Australia, (310), pp.32-4.
Howgate, S., 2017. Gillian Wearing and Claude Cahun: Behind the Mask, Another Mask.
Princeton University Press.
Hwang, K., 2017. Portraits of two innovative plastic surgeons in the National Portrait Gallery.
James, S.E., 2018. Lady jane grey or queen kateryn parr? National portrait gallery painting 6804:
Analysis and historical context. Cogent Arts & Humanities.5(1). p.1533368.
Loveman, K., 2018. Samuel Pepys's first portrait painter: Daniel Savile and portraiture for the
middling sort in Restoration London. Journal of the Warburg and Courtauld
Institutes, 81(1), pp.269-279.
Perry, L., 2018. The National Portrait Gallery and its constituencies, 1858–96. In Governing
Cultures (pp. 145-155). Routledge.
Robinson, J.C., 2016. Archival theatre: place and performance in early twentieth-century
London. Early Popular Visual Culture.14(1). pp.16-54.
Smith, N., 2017. The royal image and the English people. Routledge.
Tyler, P., 2019. Sky Portrait Artist of the Year 2019.
White, P.A., 2019. Differences over time in head orientation in European portrait
paintings. Laterality: Asymmetries of Body, Brain and Cognition.24(5). pp.525-537.
Online
Governance. 2020. [ONLINE]. Available through:<https://www.npg.org.uk/about/governance>