British Museum blog

Making a new Money gallery at the British Museum

Catherine Eagleton, British Museum

Chinese Ming banknote, AD 1375

Chinese Ming banknote, AD 1375

The Money gallery at the British Museum opened 14 years ago, and was at the time a new way of displaying coins and medals. It represented a new way of thinking about the history of money, and changed the way museums around the world told this global story.

Now, a new partnership between Citi and the British Museum means we are able to redisplay the gallery, make changes to the design and content of the displays, and take advantage of new knowledge and new ideas in museology and monetary history.

We will be building on the results of an evaluation of the current Money gallery that has been done over the past few years. This gives us some clear pointers for how it can be clarified and updated, and we have already started a programme of consultation with key audiences to find out what they would like to see the new gallery containing, and what questions they have about money and its history.

Penny defaced by suffragettes, AD 1903. Crown copyright

Penny defaced by suffragettes, AD 1903. Crown copyright

The gallery will use money as a lens through which to look at the history of the world, as well as showing the different forms and functions money has taken and had around the world in the last 3,000 years or so. The challenge for me as the lead curator on the project is to work out how to edit a complex global story down so that it can be told in a single room. But here I am lucky to be able to draw on the expertise of my subject-specialist colleagues.

Gold coin of Abd al-Malik, probably made in Syria, AH 77 / AD 696-7

Gold coin of Abd al-Malik, probably made in Syria, AH 77 / AD 696-7

Throughout the coming year, members of the project team will be tracking the progress of this exciting project, here on the blog, right up to the opening in June 2012.

I’ll post something about once a month and, in between, there will be contributions from other people on how the project looks from their point of view.

We will be writing about (among other things) evaluation, object selection, text writing, design, conservation, and the tricky business of how you remove thousands of small objects from display and keep track of where they all are while the gallery works are in progress in the first few months of 2012.

The Money Gallery project is supported by Citi and opens in June 2012.

Filed under: Collection, Money Gallery, , , , ,

2 Responses - Comments are closed.

  1. RichardE says:

    I really like your idea of looking at history through money.

    Like

  2. Glyn says:

    I like this idea – will keep track of what is happening

    Like

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Odilon Redon was born #onthisday in 1840. This is one of Redon's (1840-1916) most famous coloured pastels, and was first shown in the gallery of Durand-Ruel - the favoured dealer of the Impressionists - in 1894. There it was seen by Tatiana Tolstoy, the daughter of the great Russian novelist Leo Tolstoy, who noted in her diary: 'One of them whose name I could not make out-something like Redon-had painted a face in blue profile. On the whole face there is only this blue tone, with white-of-lead.' Tolstoy quoted this in his diatribe against contemporary art, 'What is Art?', first published in 1898, as irrefutable evidence of the degenerancy of modern art.

One of many studies of female profiles in Redon's work, La Cellule d'Or ('The Golden Cell') suggests introspection, its golden glow embodying the power of thought. The intense colour and strict composition recall the portraits of the early Florentine Renaissance. Here however, the feeling dominates over objective representation; the blue and gold halo are the traditional colours of the Virgin Mary, but no further religious message intrudes.

The drawing is made on paper in oil paint over a white ground, which gives the colour its luminous intensity.
#art #history #drawing #artist Construction of St Peter’s Basilica began #onthisday in 1506. It was completed 120 years later. This print by Giuseppe Vasi was made in 1774
#print #art #history #Rome #Italy Happy 134th birthday @natural_history_museum! Here’s the British Museum before the natural history collection moved to South Kensington
#giraffe #history #BritishMuseum #museum Most Greek sculpture that survives from antiquity is carved from white marble, of which the Mediterranean has many natural sources. A relationship has often been assumed between the pure white of freshly cut marble and the idealism of Greek art. In fact, the opposite is true. Colour was intrinsic to ancient ideas of beauty. For centuries this has been a subject of fascination and controversy. The great Italian Renaissance sculptor Michelangelo revived the Greek idea of the human body but denied the use of colour. This was partly due to negative associations with the painted saints of the medieval period. During the European Enlightenment of the 1750s onwards, and increasingly into our own time, the preferred aesthetic was a truth to materials. Painting and gilding were seen as unnecessary and undesirable.

Sculpture in antiquity was often adorned not only with colour but also with different materials. The Greek marble statue of an archer reconstructed here was drilled and fitted with metal attachments. The figure originally held a bronze bow and arrow and a quiver was fixed to his left hip by a metal dowel. Individual locks of hair were made of lead. The colourful design of the man’s knitted all-in-one garment, often worn by peoples from the east, is clearly seen weathered into the marble surface under controlled lighting.

You can see this wonderful object in our exhibition #DefiningBeauty, until 5 July 2015.
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Plaster cast of archer with reconstructed paint, based on a Greek original of about 490–480 BC, from the Temple of Aphaia at Aigina. Staatliche Antikensammlung und Glyptothek, Munich. Uta Uta Tjangala's masterpiece Yumari is a highlight of‪ #IndigenousAustralia, opening a week today
#exhibition #art #history #BritishMuseum #Australia #museum Hans Sloane's collection also ended up as the basis of the @natural_history_museum and the @britishlibrary!
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In 1997, the library departments left the Museum to be re-housed at the new British Library in St Pancras.
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