Pubs and some 'bars' you will get in and around Greenwich and Deptford some in Deptford more 'trendy' in a rough-around-the-edges kind of way. For proper clubs, I think you're going to have to come in central, although that is relatively easy using the Jubilee line - provided it hasn't got any engineering works that day and what time you actually exit the o2 itself. Check www. Yeah just lots of pubs and bars are good hopefully some bars with possibly live music or open till late would be grand!
I looked at hotels and prem inn seems the best bet to get to O2 and going out afterwards would that be right? Yes, Deptford is next to Greenwich - Deptford is considered 'up and coming' I suppose. Both areas have pubs and low-key bars - nothing big as far as I know. Our staff may also remove posts that do not follow our posting guidelines, and we reserve the right to remove any post for any reason. Thanks for being a part of the Tripadvisor travel community!
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Watch this Topic. Browse forums All Browse by destination. London forums. All forums. Report inappropriate content. Arenas, stadiums, and fields in London. See all. Tottenham Experience. Emirates Stadium Tour and Museum. Level Contributor. Re: where is good to go out and stays near the o2 arena?? Ask a question. Rail replacement bus with contactless am Quick question about Hampton Court am airbnb's without reviews?
The oldest property owned by any college is Buittle Castle in Dumfries and Galloway, built in the 12th century and given to the Scottish nobleman John de Balliol, who, with his wife, Lady Dervorguilla, founded Balliol College, Oxford, in Though the castle was captured by Robert the Bruce in the 14th century, it later reverted to the crown and is now back in the hands of Balliol College.
The vast majority are residential houses, but they also include the freehold of a Ladbrokes betting shop. The London borough had the highest proportion of housing benefit claims by private tenants in the country, according to research by the Financial Times in Several colleges have received agricultural subsidies amounting to hundreds of thousands of pounds, according to data from the Department for Environment, Food and Rural Affairs Defra.
The farm has received the taxpayer-funded grants, intended to conserve the environment by protecting wildlife and maintaining rural landscapes, despite West Berkshire council putting forward plans in to extract , tons of gravel over an year period from the farm, located in the North Wessex Downs — an area of outstanding natural beauty.
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|O2 arena betting shops in london||Feb 05, Are Brits friendly? We remove posts that do not follow our posting guidelines, and we reserve the right to remove any post for any reason. What's your definition of 'nightlife'? This topic has been closed to new posts due to inactivity. I've been told central London is good but is it hard to get to o2 arena and back from there? Skip to main content. Several colleges have received agricultural subsidies amounting to hundreds of thousands of pounds, according to data from the Department for Environment, Food and Rural Affairs Defra.|
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|O2 arena betting shops in london||The farm has received the taxpayer-funded grants, intended to conserve the environment by protecting wildlife and maintaining rural landscapes, despite West Berkshire council putting forward plans in to extracttons of gravel over an year period from the farm, located in the North Wessex Downs — an area of outstanding natural beauty. Arenas, stadiums, and fields in London. Several colleges have received agricultural subsidies amounting to hundreds of thousands of pounds, according to data from the Department for Environment, Food and Rural Affairs Defra. Ask a question. Tottenham Experience.|
|Spread betting gambling||Hi There! North London, UK 5 June London, UK. These figures do not take into account the value of many historic college sites, which are held at depreciated cost. Llewllyn Alexander gallery presents the annual exhibition of paintings rejected by The Royal Academy Summer Exhibition, inspired by the original 'Salon Des Refuses' held in Paris in the 19th century. Ask a question. Watch this Topic.|
Founded in , it houses a collection of over 2, paintings dating from the midth century to The Gallery is an exempt charity , and a non-departmental public body of the Department for Digital, Culture, Media and Sport. In , it was ranked seventh in the world on the List of most visited art museums. Unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein in After that initial purchase the Gallery was shaped mainly by its early directors, especially Sir Charles Lock Eastlake , and by private donations, which now account for two-thirds of the collection.
It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition,  but this is no longer the case. The present building, the third to house the National Gallery, was designed by William Wilkins from to Only the facade onto Trafalgar Square remains essentially unchanged from this time, as the building has been expanded piecemeal throughout its history.
Wilkins's building was often criticised for the perceived weaknesses of its design and for its lack of space; the latter problem led to the establishment of the Tate Gallery for British art in The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe. In the British government had the opportunity to buy an art collection of international stature, when the descendants of Sir Robert Walpole put his collection up for sale.
The MP John Wilkes argued for the government to buy this "invaluable treasure" and suggested that it be housed in "a noble gallery In the dealer Noel Desenfans offered a ready-made national collection to the British government; he and his partner Sir Francis Bourgeois had assembled it for the king of Poland , before the Third Partition in abolished Polish independence. The collection opened in in Britain's first purpose-built public gallery, the Dulwich Picture Gallery.
The Scottish dealer William Buchanan and the collector Joseph Count Truchsess, both formed art collections expressly as the basis for a future national collection, but their respective offers both made in were also declined. Following the Walpole sale many artists, including James Barry and John Flaxman , had made renewed calls for the establishment of a National Gallery, arguing that a British school of painting could only flourish if it had access to the canon of European painting.
The British Institution , founded in by a group of aristocratic connoisseurs, attempted to address this situation. The members lent works to exhibitions that changed annually, while an art school was held in the summer months.
However, as the paintings that were lent were often mediocre,  some artists resented the Institution and saw it as a racket for the gentry to increase the sale prices of their Old Master paintings. In another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. The National Gallery opened to the public on 10 May , housed in Angerstein's former townhouse at No.
Angerstein's paintings were joined in by those from Beaumont's collection, and in by the Reverend William Holwell Carr 's bequest of 35 paintings. The National Gallery at Pall Mall was frequently overcrowded and hot and its diminutive size in comparison with the Louvre in Paris was a cause of national embarrassment. But Agar Ellis, by then a trustee of the Gallery, appraised the site for being "in the very gangway of London"; this was seen as necessary for the Gallery to fulfil its social purpose.
In construction began on a new building by William Wilkins on the site of the King's Mews in Charing Cross , in an area that had been transformed over the s into Trafalgar Square. The location was a significant one, between the wealthy West End and poorer areas to the east. According to the Parliamentary Commission of , "The existence of the pictures is not the end purpose of the collection, but the means only to give the people an ennobling enjoyment".
From until the Royal Academy was housed in the east wing of the building. Their conservative tastes resulted in several missed opportunities and the management of the Gallery later fell into complete disarray, with no acquisitions being made between and Many thought the position would go to the German art historian Gustav Friedrich Waagen , whom the Gallery had consulted on previous occasions about the lighting and display of the collections.
Eastlake, who was President of the Royal Academy, played an essential role in the foundation of the Arundel Society and knew most of London's leading art experts. The new director's taste was for the Northern and Early Italian Renaissance masters or "primitives", who had been neglected by the Gallery's acquisitions policy but were slowly gaining recognition from connoisseurs. He made annual tours to the continent and to Italy in particular, seeking out appropriate paintings to buy for the Gallery.
Eastlake also amassed a private art collection during this period, consisting of paintings that he knew did not interest the trustees. His ultimate aim, however, was for them to enter the National Gallery; this was duly arranged upon his death by his friend and successor as director, William Boxall , and his widow Lady Eastlake.
The Gallery's lack of space remained acute in this period. In a large bequest of British paintings was made by Robert Vernon ; there was insufficient room in the Wilkins building so they were displayed first in Vernon's town house at No. Turner was to bequeath the entire contents of his studio, excepting unfinished works, to the nation upon his death in The first 20 of these were displayed off-site in Marlborough House in The stipulation in Turner's will that two of his paintings be displayed alongside works by Claude  is still honoured in Room 15 of the Gallery, but his bequest has never been adequately displayed in its entirety; today the works are divided between Trafalgar Square and the Clore Gallery, a small purpose-built extension to Tate Britain completed in The third director, Sir Frederick William Burton , laid the foundations of the collection of 18th-century art and made several outstanding purchases from English private collections.
Works by artists born after were moved to the new gallery on Millbank , which allowed Hogarth , Turner and Constable to remain in Trafalgar Square. The agricultural crisis at the turn of the 20th century caused many aristocratic families to sell their paintings, but the British national collections were priced out of the market by American plutocrats. However, despite the crisis in aristocratic fortunes, the following decade was one of several great bequests from private collectors.
In the National Gallery on 10 March , the Rokeby Venus was damaged by Mary Richardson , a campaigner for women's suffrage , in protest against the arrest of Emmeline Pankhurst the previous day. Later that month another suffragette attacked five Bellinis , causing the Gallery to close until the start of the First World War , when the Women's Social and Political Union called for an end to violent acts drawing attention to their plight.
The initial reception of Impressionist art at the Gallery was exceptionally controversial. In , Sir Hugh Lane promised 39 paintings, including Renoir 's Umbrellas , to the National Gallery on his death, unless a suitable building could be built in Dublin. Although eagerly accepted by the director Charles Holroyd , they were received with extreme hostility by the Trustees; Lord Redesdale wrote that "I would as soon expect to hear of a Mormon service being conducted in St.
Paul's Cathedral as to see the exhibition of the works of the modern French Art-rebels in the sacred precincts of Trafalgar Square". Part of the collection is now on permanent loan to Dublin City Gallery "The Hugh Lane" and other works rotate between London and Dublin every few years. Shortly before the outbreak of World War II the paintings were evacuated to locations in Wales , including Penrhyn Castle , the university colleges of Bangor and Aberystwyth.
This idea was firmly rejected by Winston Churchill , who wrote in a telegram to the director Kenneth Clark , "bury them in caves or in cellars, but not a picture shall leave these islands". In the seclusion afforded by the paintings' new location, the Keeper and future director Martin Davies began to compile scholarly catalogues on the collection, with assistance of the Gallery's library which was also stored in the quarry.
The move to Manod confirmed the importance of storing paintings at a constant temperature and humidity, something the Gallery's conservators had long suspected but had hitherto been unable to prove. For the course of the war Myra Hess , and other musicians, such as Moura Lympany , gave daily lunch-time recitals in the empty building in Trafalgar Square, to raise public morale as every concert hall in London was closed. Yeats held from 1 January — 15 March , which was seen by 10, visitors.
The art critic Herbert Read , writing that year, called the National Gallery "a defiant outpost of culture right in the middle of a bombed and shattered metropolis". In the post-war years, acquisitions have become increasingly difficult for the National Gallery as the prices for Old Masters — and even more so for the Impressionists and Post-impressionists — have risen beyond its means.
Some of the Gallery's most significant purchases in this period would have been impossible without the major public appeals backing them, including The Virgin and Child with St. Anne and St. Simon Sainsbury and Sir Timothy Sainsbury , had made a donation that would enable the construction of the Sainsbury Wing.
The directorship of Neil MacGregor saw a major rehang at the Gallery, dispensing with the classification of paintings by national school that had been introduced by Eastlake. The new chronological hang sought to emphasise the interaction between cultures rather than fixed national characteristics, reflecting the change in art historical values since the 19th century. Since , the gallery has run a scheme that gives a studio to contemporary artists to create work based on the permanent collection.
They usually hold the position of associate artist for two years and are given an exhibition in the National Gallery at the end of their tenure. The respective remits of the National and Tate Galleries, which had long been contested by the two institutions, were more clearly defined in However, future expansion of the National Gallery may yet see the return of 20th-century paintings to its walls. In the 21st century there have been three large fundraising campaigns at the Gallery: in , to buy Raphael's Madonna of the Pinks , in , for Titian's Diana and Actaeon , and in , Titian's Diana and Callisto.
Both of these major works were sold from the collection of the Duke of Sutherland. The National Gallery is now largely priced out of the market for Old Master paintings and can only make such acquisitions with the backing of major public appeals; the departing director Charles Saumarez Smith expressed his frustration at this situation in In the National Gallery was the subject of a documentary film by Frederick Wiseman.
The film shows the gallery administration and staff at work, the conservation laboratory, guided tours and the mounting of exhibitions on Leonardo da Vinci , J. Turner and Titian in — The first suggestion for a National Gallery on Trafalgar Square came from John Nash , who envisaged it on the site of the King's Mews , while a Parthenon -like building for the Royal Academy would occupy the centre of the square. Cockerell as his co-architect. Nash's popularity was waning by this time, however, and the commission was awarded to William Wilkins , who was involved in the selection of the site and submitted some drawings at the last moment.
The site only allowed for the building to be one room deep, as a workhouse and a barracks lay immediately behind. These had to incorporate columns from the demolished Carlton House and their relative shortness result in an elevation that was deemed excessively low, and a far cry from the commanding focal point that was desired for the northern end of the Square.
The building was the object of public ridicule before it had even been completed, as a version of the design had been leaked to the Literary Gazette in Pugin , as an example of the degeneracy of the classical style. See below. The piano nobile and ground floor of Wilkins's building, before expansion. Note the passageways behind the east and west porticoes. Areas shaded in pink were used by the Royal Academy until The first significant alteration made to the building was the single, long gallery added by Sir James Pennethorne in — Ornately decorated in comparison with the rooms by Wilkins, it nonetheless worsened the cramped conditions inside the building as it was built over the original entrance hall.
In Barry's son Edward Middleton Barry proposed to replace the Wilkins building with a massive classical building with four domes. The scheme was a failure and contemporary critics denounced the exterior as "a strong plagiarism upon St Paul's Cathedral ". With the demolition of the workhouse, however, Barry was able to build the Gallery's first sequence of grand architectural spaces, from to Built to a polychrome Neo-Renaissance design, the Barry Rooms were arranged on a Greek cross -plan around a huge central octagon.
Though it compensated for the underwhelming architecture of the Wilkins building, Barry's new wing was disliked by Gallery staff, who considered its monumental aspect to be in conflict with its function as exhibition space. Also, the decorative programme of the rooms did not take their intended contents into account; the ceiling of the 15th- and 16th-century Italian gallery, for instance, was inscribed with the names of British artists of the 19th century.
Pennethorne's gallery was demolished for the next phase of building, a scheme by Sir John Taylor extending northwards of the main entrance. Its glass-domed entrance vestibule had painted ceiling decorations by the Crace family firm, who had also worked on the Barry Rooms. The Barry Rooms — , designed by E. The Staircase Hall — , designed by John Taylor , in a photograph of Later additions to the west came more steadily but maintained the coherence of the building by mirroring Barry's cross-axis plan to the east.
The use of dark marble for doorcases was also continued, giving the extensions a degree of internal consistency with the older rooms. The classical style was still in use at the National Gallery in , when a Beaux-Arts style gallery was built, funded by the art dealer and Trustee Lord Duveen.
However, it was not long before the 20th-century reaction against Victorian attitudes became manifest at the Gallery. From to the landing floors of Taylor's entrance hall were relaid with a new series of mosaics by Boris Anrep , who was friendly with the Bloomsbury Group. These mosaics can be read as a satire on 19th-century conventions for the decoration of public buildings, as typified by the Albert Memorial 's Frieze of Parnassus.
In place of Christianity's seven virtues, Anrep offered his own set of Modern Virtues , including "Humour" and "Open Mind"; the allegorical figures are again portraits of his contemporaries, including Winston Churchill, Bertrand Russell and T. In the 20th century the Gallery's late Victorian interiors fell out of fashion. In the older rooms, the original classical details were effaced by partitions, daises and suspended ceilings, the aim being to create neutral settings which did not distract from contemplation of the paintings.
But the Gallery's commitment to modernism was short-lived: by the s Victorian style was no longer considered anathema, and a restoration programme began to restore the 19th- and earlyth-century interiors to their purported original appearance.
This began with the refurbishment of the Barry Rooms in —6. From to even the North Galleries, by then considered to "lack a positive architectural character" were remodelled in a classical style, albeit a simplified one. The most important addition to the building in recent years has been the Sainsbury Wing, designed by the postmodernist architects Robert Venturi and Denise Scott Brown to house the collection of Renaissance paintings, and built in The building occupies the "Hampton's site" to the west of the main building, where a department store of the same name had stood until its destruction in the Blitz.
The Gallery had long sought expansion into this space [ citation needed ] and in a competition was held to find a suitable architect; the shortlist included a radical high-tech proposal by Richard Rogers , among others. The design that won the most votes was by the firm Ahrends, Burton and Koralek , who then modified their proposal to include a tower, similar to that of the Rogers scheme. The proposal was dropped after the Prince of Wales compared the design to a "monstrous carbuncle on the face of a much-loved and elegant friend",  The term "monstrous carbuncle", for a modern building that clashes with its surroundings, has since become commonplace.
One of the conditions of the competition was that the new wing had to include commercial offices as well as public gallery space. A closed competition was held, and the schemes produced were noticeably more restrained than in the earlier competition. In contrast with the rich ornamentation of the main building, the galleries in the Sainsbury Wing are pared-down and intimate, to suit the smaller scale of many of the paintings [ citation needed ]. The main inspirations for these rooms are Sir John Soane 's toplit galleries for the Dulwich Picture Gallery and the church interiors of Filippo Brunelleschi the stone dressing is in pietra serena , the grey stone local to Florence.
This axis is exaggerated by the use of false perspective , as the columns flanking each opening gradually diminish in size until the visitor reaches the focal point as of , an altarpiece by Cima of The Incredulity of St Thomas.
Venturi's postmodernist approach to architecture is in full evidence at the Sainsbury Wing, with its stylistic quotations from buildings as disparate as the clubhouses on Pall Mall, the Scala Regia in the Vatican, Victorian warehouses and Ancient Egyptian temples. Following the pedestrianisation of Trafalgar Square, the Gallery is currently engaged in a masterplan to convert the vacated office space on the ground floor into public space.
The plan will also fill in disused courtyards and make use of land acquired from the adjoining National Portrait Gallery in St Martin's Place, which it gave to the National Gallery in exchange for land for its extension. The main entrance was also refurbished, and reopened in September Possible future projects include a "West Wing Project" roughly symmetrical with the East Wing Project, which would provide a future ground level entrance, and the public opening of some small rooms at the far eastern end of the building acquired as part of the swap with the National Portrait Gallery.
No timetable has been announced for these additional projects. One of the most persistent criticisms of the National Gallery, apart from those who criticise inadequacies of the building, has been of its conservation policy. Glastonbury may be cancelled, but if a plan is put in place soon many other festivals could still let the music play. The Right-leaning TV network is facing a boycott before a second of footage has aired. What are liberals so afraid of? Attempting to compete with commercial radio is wrongheaded of the BBC.
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