First shown at the Wallace Collection in London, the latest exhibition in the National Gallery of Scotland promises a selection of French drawing but delivers so much more.

On entering the exhibition space there is an immediate change in atmosphere: the lights are lower to protect the fragile material and the works are hung on a rich velvet background which is nicely complimented by the decorative furnishings lining the walls. The effect is opulent, and pulls you in to examine the drawings in detail, as the majority of the works are intricate and delicate.

The downside to this intimacy is some overcrowding at busy times of day. Still, the exhibition itself is a good size, and, if you can reach them, the addition of short descriptions attached to each piece provide interesting fragments of information. This is particularly valuable for some of the lesser-known artists.

There is a very impressive range of works displayed across three rooms, representing a vast cross-section of different styles. Landscapes, portraits and genre scenes are interspersed with interesting studies and the occasional sculptural piece.

The layout is incredibly thoughtful, showing off the many possibilities of what may be considered a more limited medium. One particularly nice sequence consists of a tavern scene by Wille hung next to a sketch of a couple by Gros. Wille builds up the tension on his mens’ faces with thousands of tiny strokes, but Gros’ sketch conveys a similar amount of emotion with just a few sweeping lines.

As you move into the final room there are more intriguing explorations of the medium, most noticeably Seurat’s striking study of a young nude and Rougin’s sedate yet powerful “A Jewish Lady from Algiers”.

The exhibition is wonderfully organised and fascinating to explore. It provides a great introduction to French art, displaying a wide range of different works in a really decadent environment.

4 stars.

Originally published on March 8th, 2011