Modernist Marxists skew the Lowry exhibition

There has been much positive comment about the rehang of the Tate’s permanent collection, which sees a welcome return to the great tradition of the chronological hang and thus gives the visitor a chance to see the development of British art from 1545 to today. At last we are permitted a rest from themed displays and given a proper educational arrangement that maps out our artistic heritage — at least in part. (Most of the larger movements are covered.) This is not a conservative stratagem: there is still plenty of room for discussion and controversy in the various inclusions and omissions (particularly noticeable when we reach the 20th century). But now there is finally on permanent display a backbone or schema on which to build a knowledge and understanding of the nation’s art. We have been in sore need of it, and praise must go to Penelope Curtis, the new director of Tate Britain, for seeing through such a radical re-organisation.