British Museum blog

What is the city but the people?


Neil MacGregor, Director of the British Museum

In 2012, as the world’s gaze turns on London in this Olympic year, the British Museum will be exploring this capital city from a slightly different viewpoint – by trying to get inside the heads of the people who lived here over 400 years ago.

In Shakespeare’s Restless World, a series starting on BBC Radio 4 next week, we will explore the stories of 20 objects – some grand, some everyday things – that help us imagine what the world looked like to the groundlings inside the Globe theatre around 1600.

I’ll be talking to Shakespeare scholars, historians and experts on the fascinating issues these 20 objects raise – everything from exploration and discovery abroad to entertainment, monarchy and even the deadly threat of plague closer to home.

Detail of London ('The Long View'), Wencelaus Hollar, 1647, showing the Globe Theatre.

Detail of London ('The Long View'), Wencelaus Hollar, 1647, showing the Globe Theatre.

As well as objects from the British Museum, many are from collections across the UK. I have been travelling across Britain to get a closer look at what these objects, such as a fork found on the site of the Rose Theatre, a book of royal murder plots, and sunken treasure from Morocco, can reveal to us about daily life, national politics and global economics at the turn of the 16th century.

Throughout the series there is something else that allows us to picture these turbulent times so vividly: the works of William Shakespeare himself. In the programmes, we delve into his plots and characters, his speeches and soliloquies, to seek glimpses of the uncertain times in which he lived.

Later in the year, the British Museum will open its doors to Shakespeare: staging the world, bringing together a vast and eclectic array of Elizabethan and Jacobean objects, including the 20 featured in the radio series. This exhibition will provide a unique insight into the emerging role of London as a world city four hundred years ago, interpreted through the innovative perspective of Shakespeare’s plays. Featured alongside these objects will be digital media and performance created in collaboration with the Royal Shakespeare Company, and soon you will be able to follow the work that’s going on behind the scenes here on this blog.

From next week on the blog, to coincide with the series broadcast on BBC Radio 4, we will be featuring contributions from some of the many people I’ve spoken to in the making of Shakespeare’s Restless World.

Shakespeare’s Restless World is broadcast on BBC Radio 4
from 16 April to 11 May, at 13.45 and 19.45 on weekdays.

Shakespeare: staging the world opens at the British Museum on 19 July 2012.
Supported by BP
In collaboration with the Royal Shakespeare Company
Part of the World Shakespeare Festival and London 2012 Festival

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Discover some of the amazing wearable treasures in our new #Waddesdon gallery on @Pinterest at pinterest.com/britishmuseum
The Grenville Jewel. Dating from about 1635–1640, this superb locket contains a portrait by David Des Granges of Sir Bevil Grenville, a Cornish Royalist General who died during the English Civil War in 1643. The case is a bravura demonstration of enamelling on gold. Minute pansies, marguerites and green leaves stand out against a black background. A large square sapphire adorns the centre, surrounded by rubies, opals and diamonds. A pendant pearl in an enamelled setting completes the piece.
Gold enamelled pendant jewel with a ruby-studded parrot. The top of the base is enamelled with shields and flowers. Two pendant pearls complete the jewel. The parrot itself may have 16th-century Spanish origins, but the rest of the jewel is largely a 19th-century construction by the French jeweller Alfred André (1839–1919). A similar parrot pendant is in the Museo Arqueológico Nacional, Madrid, where the bird is also modelled in the round and white enamel used to highlight the eyes. Here's another great photo from our instagramer event, a #tired_portrait in the Great Court by @zoecaldwell.
Check out #emptyBM to see all their amazing photos! US artist John Sloan was born #onthisday in 1871. 
John Sloan, painter, printmaker and teacher, first took up etching as a self-taught adolescent.  Moving to New York in 1904, he became part of a group of eight artists, better known as “The Ashcan School”, who focused on creating images of urban realism. Between 1891 and 1940 Sloan produced some 300 etchings. He was also one of the first chroniclers of the American scene and wrote about printmaking and the etching technique.
This etching comes from the series of 10 prints entitled 'New York City Life', recording the lives of the ordinary inhabitants in less affluent areas of Manhattan. The prints had a mixed reception at the time and a number were rejected from an exhibition of the American Watercolor Society as ‘vulgar’ and ‘indecent’. #August is named after the Roman emperor Augustus. Before 8 BC the Romans called it Sextilis! 
This head once formed part of a statue of the emperor Augustus (ruled 27 BC – AD 14). In 31 BC he defeated Mark Antony and Cleopatra at the battle of Actium and took possession of Egypt, which became a Roman province. The writer Strabo tells us that statues of Augustus were erected in Egyptian towns near the first cataract of the Nile at Aswan and that an invading Kushite army looted many of them in 25 BC.
Although Roman counter-attackers reclaimed many of the statues, they did not reach Meroë, where this head was buried beneath the steps of a native temple dedicated to Victory. It seems likely that the head, having been cut from its statue, was placed there deliberately so as to be permanently below the feet of its Meroitic captors.
The head of Augustus appears larger than life, with perfect proportions based upon Classical Greek notions of ideal human form. His calm distant gaze, emphasised with inset eyes of glass and stone, give him an air of quiet, assured strength. Coins and statues were the main media for propagating the image of the Roman emperor. This statue, like many others throughout the Empire, was made as a continuous reminder of the all-embracing power of Rome and its emperor. English sculptor Henry Moore was born #onthisday in 1898.
Drawing played a major role in Henry Moore's work throughout his career. He used it to generate and develop ideas for sculpture, and to create independent works in their own right.
During the 1930s the range and variety of his drawing expanded considerably, starting with the 'Transformation Drawings' in which he explored the metamorphosis of natural, organic shapes into human forms. At the end of the decade he began to focus on the relationship between internal and external forms, his first sculpture of this nature being 'Helmet' (Tate Collections) of 1939.
This drawing titled ‘Two Women: Drawing for sculpture combining wood and metal’ was based on a pencil study entitled ‘Ideas for Lead Sculpture’. It reflects his awareness of surrealism and psychoanalytical theory as well his abiding interest in ethnographic material and non-European sculpture; the particular reference in this context is to a malangan figure (malangan is a funeral ritual cycle) from New Ireland province in Papua New Guinea, which had attracted his interest in the British Museum. 
Henry Moore, Two Women: Drawing for sculpture combining wood and metal. England, 1939. Here's another fabulous view of the Great Court captured by @whatinasees at our instagramer event #regram #repost
Check out all of the photos at #emptyBM
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