In a time where Britain seems to be increasingly commercialised, the decision to make Turner the face of the new £20 note is a warm reminder of the fundamental value we still place on art in a world that can seem disinterested. In particular our capital, a city in which there are less and less opportunities for budding creatives, the growing threat of artistic alienation is clear. Amidst such change The National Gallery, a bedrock of British art, seems an even more vital cultural aspect of modern Britain that must be preserved. The revelation of Turner and his ‘darling’ Temeraire on our bank notes has sparked a joyful response amongst British artists and people alike, and it’s interesting to consider the implication of this decision, not only for our great artistic institutions, but for society as a whole. Is the decision to depict an artist on our currency for the first time indicative of a growing consciousness of the importance of art in an increasingly commercial and culturally void landscape?

Despite damaging cuts to the Government Grant Aid, it is important to remember that we still have a claim to being the only EU country offering free gallery entry for state run galleries. This is to our credit and makes the problem of access to great works of art far less prolific than in countries where people pay exorbitant amounts to see such works. It’s refreshing that the inclusivity of our institutions is finally being reflected in the Bank of England’s selection process, as artists and creatives have often been overlooked. Last year, the Bank of England announced their decision to reform their selection process, opening the floor to a wider range of potential candidates to appear on the notes. Over the course of the next few years Britons will see the likes of Austen and Churchill join the ranks of the literary, political and scientific greats seen as representatives of the country’s values and achievements. Out of the 595 nominations of influential artists considered by the Bank of England, Turner was finally selected as the most appropriate candidate. This doesn’t seem surprising considering his recent renaissance; from Mike Leigh’s much talked about biopic on Turner’s life to the Temeraire’s brief appearance in the Bond film Skyfall, what could be more quintessentially British? On top of this, a recent poll taken by BBC Radio 4 confirmed the Temeraire as Britain’s favorite painting.

What is clear is that Britain loves Turner, but why is he such an apt candidate to represent 21st century Britain and why is the legacy of his art still as ubiquitous as ever? Turner painted in a time of great cultural unrest as the values promoted by the industrial revolution threatened to repress British art and cultural expression. It cannot be denied that Britain is experiencing a second revolution of sorts – a postmodern cultural crisis. Turner saw his London shift from an arena of libertine freedom to a distinctly more conservative Georgian Britain. The vitality of his romantic paintings can be seen as a burning flame of passion amidst such standards. It would appear that this romantic aesthetic and the values promoted by romanticism are valued now more than ever, in a time darkened by the threat of cultural sterilisation.

These parallels remind us of the importance of our unwavering artistic institutions, and although it remains to be seen whether the introduction of Turner on our currency will make a direct difference to the number of visitors to the National Gallery and Tate Britain, it is the gesture that must be recognised. The number of people visiting these galleries increases year on year, and putting Turner on the note is a reminder of the fact that we do still value good British art. National Gallery Director Dr Gabriele Finaldi expresses his optimism at the prospect of widening their audience in a press release: “Every time you pull out a £20 note from your pocket, purse or cash machine, you will be reminded of the nation’s best-loved picture in the National Gallery and a masterpiece by one of Britain’s greatest painters” – clearly the gallery is hoping that the decision will make art a more integral feature of everyday life. Although there is still a long way to go to make our currency properly representative of Britain as a whole, the Bank of England’s acknowledgement of artists everywhere is symbolic of a conciliatory process between the arts and our capitalist society.