British Museum blog

The first ring of the doorbell

Hugo Chapman, Exhibition Curator

I’m writing on Thursday evening at the end of the first day of the public viewing of the exhibition. I was unusually nervous and keyed-up all day. I now realise my feelings were a bit like those I experience in that half hour before a party begins. The food and drink is all ready, but I can’t shake off a bat squeak of panic in my head that there’s been collective form of amnesia among my friends, or I told them the wrong date. Such nerves are quickly dispelled by the first ring of the doorbell. Would the Reading Room have only the warders in attendance on the opening day?

With these dark thoughts in mind it was heartening to step into the Reading Room around 11am to see it thronged with people. It was fantastic to witness the hushed concentration of the visitors as they looked intently at the drawings and at the explanatory films.

The scene made me think back to how panic-struck I had been three years ago when I was told that my proposed show was to be in the Reading Room. How could such a vast space be given the intimacy that drawings need? In the event the BM exhibition designer, Jon Ould, came up with a brilliant plan that gave the works space to be viewed without having a sense of the great void above.

Inside the exhibition

One of the thrills of the show was to see the transformation of the empty Reading Room platform to the exhibition space that Jon had designed. The discussions with Jon and other colleagues as to how the drawings should be structured and displayed mirrored many others that shaped the show’s formation. For me the collective, collaborative nature of creating an exhibition is the perfect antidote to the essentially lonely business of writing the book that preceded it.

I’ll definitely keep on returning to the show to savour the reaction of the viewer and to admire the drawings. Someone at the opening told me wistfully that they hoped that the Icelandic volcano would keep on erupting to allow the Uffizi drawings to remain. Volcanic ash or not the exhibition will, however, certainly close on 25 July so the clock is ticking…

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Image caption: Inside the exhibition

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

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  1. oliver bailey says:

    The first two drawings in the section the Purpose of Drawing were one by Pietro Perugino and the second attributed to Fra Lippi. However the second bore the signature of Pietro Perugino. Was Lippi a pupil of Perugino?

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    • The inscription ‘Pietro Perugino’ on the Filippino Lippi drawing was written by a later collector and is not a signature. Perugino and Lippi were contemporaries in Florence. Such inscriptions are often found on drawings with owners recording their ideas of who they thought had made them. Often these ideas are fanciful, reflecting the optimistic tendency of collectors to inflate the status of works in their hands, but sometimes they are to be trusted as records of an artist’s name passed down the ages. For this reason the validity of old inscriptions has to be weighed up carefully. With the Lippi I think it’s most likely a case of mistaken identity, the two artist’s drawing styles are not dissimilar and the attribution to Lippi depends on a knowledge of his related fresco in Rome. It is easy to be dismissive of the knowledge of past collectors, yet this is misguided if one takes into consideration that they relied so much on their visual memory without the illustrated catalogues and the array of images available to us now.

      As for signed drawings there are very few in the 1400s (the Pisanello ‘Three Men’ in the exhibition is one) because most drawings were never intended to be seen by outsiders. Pisanello signed his drawing because his work was made as a finished work of art in its own right, hence the need to affirm his responsibility for it.
      Hugo Chapman, exhibition curator

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The mummy case of this temple doorkeeper called Padiamenet is covered with hieroglyphic inscriptions and religious images. The inscriptions on this brilliantly painted cartonnage tell us that he was the Chief Doorkeeper of the Domain of Ra, the Chief Attendant of Ra, and also Chief Barber of the Domain of Ra and of the temple of Amun. This largest scene shows Padiamenet, dressed in a long fringed robe, adoring the god Osiris, who is grasping the royal crook and flail. Behind him stands his sister, the goddess Isis.
Gain a unique insight into the lives of eight people over a remarkable 4,000 years in our #8mummies exhibition, closing 12 July #MummyMonday
#history #mummies #BritishMuseum Peter Paul Rubens was born #onthisday in 1577.
This is a magnificent drawing in both scale and style. It is drawn in black and yellow chalk, though Rubens also used a grey wash and some white heightening in order to bring the animal to life on paper.
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Rubens used this drawing for a lioness in his painting of 'Daniel in the Lions' Den' (1613/15; National Gallery of Art, Washington, DC). The vividness of the drawing is even more remarkable given that Rubens probably based his drawing on a bronze statue of a lion and not a living animal. The strong contour line in black chalk around the animal suggests that he was studying a model. However, Rubens had the gift and genius to invest an unmoving object with both life and movement, even if the highlights give the impression of a metallic sheen.
#art #artist #Rubens #history This striking photo taken by @charlesimperialpendragon shows the colossal limestone bust of Amenhotep III in the Egyptian Sculpture Gallery (Room 4). #regram #repost

Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum A #ThrowbackThursday from our #archives!
It is early morning in 1875 in the Main Entrance Hall of The British Museum, and staff are preparing for the public. Until 1878 the Museum was open on Mondays, Wednesdays, Fridays and until midday on Saturdays. Tuesdays and Thursdays were reserved for students. The visiting hours varied with the seasons and during the summer months the Museum stayed open until 8 o'clock in the evening.
Staff stop work as the photographer Frederick York sets up his camera. Two men sit comfortably on a bench at the foot of the stairs. Another two, noticing the photographer, stop halfway down the stairs. As the long exposure needed for this early photograph has already started, their images appear faint and ghost-like. In the foreground is the Piranesi Vase which is now displayed in the Enlightenment Gallery.
#photograph #archive #throwback #tbt #BritishMuseum The @britishlibrary opened at St Pancras #onthisday in 1998!
The British Museum held library collections from 1753 until the British Library was formally established in 1973. In 1759 the first Museum Reading Room opened in Montagu House, the original home of the British Museum. However, as the Museum building developed and the number of readers increased, a series of improved reading rooms were built. Finally, in 1998 the British Library moved out of the Museum’s Bloomsbury site to its new home at St Pancras.
This engraving, from a watercolour by Thomas Hosmer Shepherd (1792–1864), shows the sixth Reading Room, designed by Sir Robert Smirke and completed in 1838. It was used until 1857 when the famous domed Round Reading Room opened.
The sixth Reading Room was in fact two connected rooms, each with an iron gallery at window height. More than 10,000 books were stored on the bookshelves. Originally space was available for 168 people seated at 24 tables. As the number of readers increased another 40 spaces were provided. In 1930 an extra floor was built at gallery height to increase storage space. The lower part of these two rooms has now been converted into the galleries of Mexico and North America (Rooms 26 and 27).
#history #BritishMuseum #books #library #archives This amazing photo of the Great Court was captured by @alexxxs 
#repost #regram 
#architecture #BritishMuseum

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