Эта новаторская история британских художественных музеев начинается с рубежа 19 столетия. Возможно, Национальная Галерея и
Книгу представит автор, Джайлс Уотерфилд, — историк искусств, директор Royal Collection Studies, преподаватель Института Курто и других университетов, независимый куратор, писатель. В 1979-96 годах — директор Dulwich Picture Gallery. Эксперт и член попечительских советов различных художественных и музейных фондов Британии.
Куратор многочисленных выставок, в т.ч.: Soane and After (Dulwich Picture Gallery, 1987) Palaces of Art (Dulwich Picture Gallery and National Gallery of Scotland, 1991), Art Treasures of England (Royal Academy of Art, London (1998), In Celebration: the Art of the Country House (Tate Gallery, London,1998-9), Below Stairs (National Portrait Gallery, London and National Portrait Gallery, Edinburgh, 2003-4), The Artist’s Studio (Compton Verney and Sainsbury Centre, UEA, 2009–10).
Основные публикации: Soane and After: The Architecture of Dulwich Picture Gallery (1987); Rich Summer of Art: A Regency Collection seen through Victorian Eyes (1988); Palaces of Art: Art Galleries in Britain 1790–1990 (1991); The Gallery Catalogue in Nineteenth Century Britain in New Research in Museum Studies, 1994 volume (1994); Art for the People, editor and contributor (1994); Art Treasures of England, joint editor and contributor (1998); A Victorian Salon: Paintings from the Russell-Cotes Art Gallery and Museum, contributor (1998); Below Stairs: The Servant’s Portrait, joint editor and contributor (2004); Opening Doors: Learning and the Historic Environment, a report for the Attingham Trust, editor and principal contributor (2004); Realms of Memory: changing perceptions of the country house in (ed.) Michael Forsyth, Understanding historic building conservation (2007); The Artist’s Studio exhibition catalogue, editor (2009).
«It is a magisterial and astonishing overview of a series of energetic interventions that changed the cultural map of Britain: a huge book and a highly significant one… This story, so elegantly told, is unputdownable.» — Marina Vaizey, Art Quarterly
«…comprehensive and exceptionally well-researched analysis… What Giles Waterfield’s book does, quietly and non-polemically, is to rescue the zeal and enthusiasm of those who opened great civic art museums from the condescension of art history.» — Charles Saumarez Smith, Literary Review
«Admirably researched.» — Hugh Belsey, Art Newspaper
«[A] fascinating history of Britian’s first popular museums.» — Marcus Waithe, Apollo
«This is a rich, dense account of a topic not previously treated so comprehensively… Waterfield is a novelist as well as a historian, so his writing is unfailingly elegant and interweaves many piquant quotations.»— Anthony Burton, DAS Newsletter
«Righteous or self-serving then, frayed or refurbished now, their legacies remain. Disclaiming any intention to write a polemic, Waterfield manages a positive conclusion. Art for all, the people’s property, was hard-won but entered the nation’s DNA.» — David Blayney Brown, World of Interiors
«…a sophisticated work of scholarship that tells a detailed and fascinating story. As instructive and entertaining as the Victorian museums with which it is concerned, it will be an invaluable resource for many years to come.» — Susan Owens, TLS