British Museum blog

One Leonardo – to go

Hugo Chapman, Exhibition Curator

For the last couple of weeks we’ve been carefully installing the exhibition in the Reading Room. It’s been an exciting – if slightly nerve-wracking – time as the plans we’ve had in place for so long are finally realised.

Statue of Bacchus

Perhaps strangely for a drawings exhibition, the first work to be installed was a first-century classical marble sculpture of the Roman wine-god, Bacchus. He’s one of the star pieces in our Greece and Rome department and has just returned from a world tour of British Museum masterpieces.

The revival of classical art and learning is central to the artistic revolution that occurred in Italy in the 1400s – the French word Renaissance that we use to describe the period means rebirth and was coined by artists and scholars of the period to claim that they had revived the ancient civilisations of Greece and Rome. In truth the classical world had never disappeared, but it is true that artists began to look at ancient sculptures with a new intensity.

Marble figures like Bacchus encouraged artists to recognise the sensuality and beauty of the human body. The sculpted Bacchus presents an idealised vision of the perfect male body. Such are his charms that lipstick has had to be cleaned off him more than once – I’m hoping he will continue to cast his spell without us needing to wipe off the lip gloss.

But now we’re turning our attention to paper – so much part of our lives that we tend to take it for granted, but this exhibition transports us back to the 1400s when it was a new and precious material.

The Chinese invention of papermaking had been brought to Europe via the Islamic world. The invention of the printing press in Germany in the 1450s gave a huge impetus for papermaking, above all in Italy which was the most literate and urbanised region of Europe.

Renaissance paper was handmade from cloth fibres (not wood pulp as today) obtained from old clothes, sails and ropes.

Drawings in storage

Fortunately for us paper’s durability makes it possible for centuries-old drawings like those we’re displaying in this exhibition to travel safely. However, like the venerable voyagers they are, the Renaissance drawings from the Uffizi need time to rest after their journey from Florence. After a few days to acclimatise the Uffizi drawings will be ready to be hung on the walls of the Reading Room.

I can’t wait to see them out of their crates and on the walls.

Click on the title to leave a comment

Marble statue of Bacchus (Dionysus)
Drawings in storage, ready for display

Filed under: Exhibitions, Italian Renaissance drawings, , , , , ,

3 Responses - Comments are closed.

  1. Paul says:

    This is a great initiative (the blog) and an interesting insight into how an exhibition is put together. Look forward to reading more. Will there be more than one contributor?


  2. Naval Langa says:

    Leonardo da Vinci was like a magician. Wherever he touched, he turned that thing looking bathed in a golden glow. May it be a simple structure of weed or a curvy section of a skull, Leonardo turned that into an eternal beauty.


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These beautiful studies drawn from life are by artist Antoine Watteau, born #onthisday in 1684.
This is a rare type of drawing by Watteau, who used black chalk to strengthen the shadows and the darker lines of the stronger contours. The hands themselves are cast into relief by their shadows on the paper. The red chalks, of course, suggests the real flesh of the model in front of him, and was a favoured technique, in combination with black and white chalks, of French eighteenth-century artists. The drawing's expression lies in the position of the hand and not so much in its details. Although the hands are fully modelled there is still a stark, bare quality to them. They are economical, almost abstracted.
Antoine Watteau, Three studies of open hands. Drawing, France, about AD 1717-1718.
#art #drawing These beautiful studies drawn from life are by artist Antoine Watteau, born #onthisday in 1684. Watteau has used his favourite combination of black, red and white chalks. This technique 'à trois crayons' became widely used by French artists of the eighteenth century. With all of the chalks Watteau made stronger lines alongside thinner ones to provide texture. He then shaded in between these lines or rubbed the chalk with his fingers. Like most of Watteau's drawings from a live model, this sheet possesses a great sense of fluency, immediacy and freshness.
Antoine Watteau, Four studies of a young woman's head. Drawing, France, about AD 1716-1717.
#drawing #art Room 95 includes some of the finest Chinese ceramics in the world dating from the 3rd to the 20th centuries, from the collection of Sir Percival David. Some of the ceramics are unique creations, while others were mass-produced in batches of several hundred at a time. Technological innovations and the use of regional raw materials mean that Chinese ceramics are visually diverse.
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See these amazing ceramics alongside nearly 1,700 objects from the collection of Sir Percival David in Room 95.
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