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

Filed under: Shakespeare's Restless World, What's on, , ,

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These beautiful studies drawn from life are by artist Antoine Watteau, born #onthisday in 1684.
The drawing was intended for figures in one of Watteau's many scenes where men and women feast in the countryside, talking, flirting and making music. The costume is the main focus of Watteau's studies. The woman is seated on the ground so that her elaborate dress spreads out around her. This provides the artist with an excuse to study the movement of the drapery according to the different positions of her body. The play of light and shade, especially the strong shadows which the model casts, sets off the figure very clearly. Watteau, with red chalk alone, has studied the fall of light from the upper left on the complex drapery patterns. The drawing is remarkably detailed and controlled.
Antoine Watteau, Five studies of a seated woman seen from behind. Drawing, France, about AD 1712-15.
#drawing #art 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.
Porcelain was first produced in China around AD 600. The skilful transformation of ordinary clay into beautiful objects has captivated the imagination of people throughout history and across the globe. Chinese ceramics, by far the most advanced in the world, were made for the imperial court, the domestic market, or for export.
#China #ceramics These white wares date from the late Ming to Republic period (1600–1949). Potters in the late Ming, Qing and Republican periods made copies of Ding wares at Jingdezhen in Jiangxi province, Zhangzhou in Fujian province and in other southern kilns. Potters at Zhangzhou under-fired the clay, which resulted in a ‘rice-coloured’ body. They then covered the ceramics either with a white slip and thin clear glaze or with an opaque white glaze.
See these amazing ceramics alongside nearly 1,700 objects from the collection of Sir Percival David in Room 95.
#ceramics #China Collector of Chinese ceramics Sir Percival David died #onthisday in 1964. He built the finest private collection of Chinese ceramics in the world. His passion for China inspired him to learn Chinese well enough to translate 14th-century art texts and to give money towards establishing the first public display of Chinese ceramics at the Palace Museum in Beijing. He was determined to use his own collection to inform and inspire people and to keep it on public view in its entirety. His collection is on long-term loan to the British Museum and has been on display in Room 95 since 2009.
Explore nearly 1,700 objects from Sir Percival David’s incredible collection in Room 95, including some of the finest Chinese ceramics in the world, dating from the 3rd to the 20th centuries.
#China #ceramics

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