British Museum blog

Designing beauty

Caroline Ingham, Senior Designer: Exhibitions, British Museum

Doryphoros

Detail of a Bronze reconstruction of around 1920 by George Römer of the Doryphoros or ‘spear-bearer’ by Polykleitos, made around 440–430 BC. H 212 cm. Ludwig-Maximilians-Universität, Munich

Defining beauty: the body in ancient Greek art is the first major temporary exhibition of sculpture at the British Museum since Hadrian: Empire & Conflict in 2008. It is also the first sculpture show in the new Sainsbury Exhibitions Gallery (Room 30). For the Museum’s Exhibitions team this is the culmination of over a year of intensive work with the exhibition’s designers, Caruso St John architects and Matt Bigg, Surface 3 graphics.

Doryphoros, Diskobolos, Ilissos2

Sculptures on display in the exhibition, from left to right: Bronze reconstruction of around 1920 by George Römer of the Doryphoros or ‘spear-bearer’ by Polykleitos, made around 440–430 BC. H 212 cm. Ludwig-Maximilians-Universität, Munich. Marble statue of the Diskobolos or ‘discus-thrower’. Roman copy from 2nd century AD of a bronze original of the 5th century BC, from Hadrian’s Villa in Tivoli, Italy. H 169 cm, W 105 cm. British Museum, London 1805,0703.43 Ilissos, marble statue of the river god, from the west pediment of the Parthenon in Athens. Greek, about 438–432 BC. H 81.28 cm, D 56 cm. British Museum, London 1816,0610.99

The exhibition presents some of the most beautiful and best-loved classical sculpture in the Museum’s collection. It includes some key pieces that have been temporarily removed from the permanent galleries to be juxtaposed for the very first and perhaps the only time, with loans of similar international significance. The movement of such important sculptures from the permanent day-lit galleries, into the controlled lighting environment of the Sainsbury Exhibitions Gallery presented the Exhibitions team with a unique opportunity to experiment with their display.

Through the design brief we challenged the designers to explore how they could present the objects differently, using dramatic lighting and by experimenting with display heights. We encouraged them to exploit the scale of the Sainsbury Exhibitions Gallery, in particular the 6-metre height and the very flexible lighting system, to encourage visitors to engage with these very familiar objects in a new way and at a deeper level.

Testing fabric colours

Testing fabric colours
Marble statue of a Nereid, from the Nereid monument, Lycian, about 390–380 BC, from Xanthos (modern Günük), south-western Turkey. H 137 cm. British Museum, London 1848,1020.81

It took many months to develop the design scheme. This included trying colours and fabrics against the objects, working up scale drawings of each object group, building a scale model and mocking up full-size elements of the design. We used our new purpose-built mock-up room, adjacent to the new gallery, which has the exact ceiling and floor specification of the gallery itself, to test the plinth heights and lighting.

The result is a scheme that transforms the way we see familiar objects in the collection. The designers have achieved this through the use of colour, lighting and displaying the sculpture at height. Many of the sculptures are lifted to 1.5 metres (approximately shoulder height) and our relationship to them is immediately transformed. The objects are lit from the ceiling track and not the space around them. This privileges them and makes them visible on key vistas – for instance, the Amazon can be seen at the west end of the gallery at a distance of 20 metres or more.

Dionysos

Sculptures on display in the exhibition Foreground: Marble statue of Dionysos from the east pediment of the Parthenon. Greek, about 438–432 BC, from the Acropolis, Athens. L 174 cm, H 127 cm. British Museum, London 1816,0610.93 Background: Belvedere Torso, 1st century BC. Marble copy after a Greek bronze, probably of the early 2nd century BC. H (including base) 156.5 cm, W 87.5 cm. Vatican Museums, Vatican City

The exhibition may not offer the definitive answer to the successful display of sculpture in all circumstances, but what it has done is given us a wonderful opportunity to display these sculptures for a short period, in a new and thought-provoking way.

Defining beauty: the body in ancient Greek art is on display from 26 March to 5 July 2015.

Sponsored by Julius Baer
Additional support
In memory of Melvin R Seiden
Mrs Jayne Wrightsman, OBE

Filed under: Defining beauty: the body in ancient Greek art, Exhibitions, , , , , , , , ,

Conserving Dürer’s Triumphal Arch: a moving experience

Joanna Kosek, conservator, British Museum

Dürer's paper triumph: the arch of the Emperor Maximillian

The display of Albrecht Dürer’s (1471–1528) monumental Triumphal Arch in the Asahi Shimbun Display in Room 3 in autumn 2014 was a great success. The enormous print, produced at the height of Dürer’s career to glorify the reign of the Holy Roman Emperor Maximilian I (r. 1486–1519), appeared appropriately majestic in the softly lit room and attracted over 70,000 visitors in three months. Originally designed to be pasted on the walls of princely castles, the impression at the British Museum was never used as originally intended, and is one of only a handful to have survived. In the Museum the print, which measures four metres by three metres, had been lined onto a textile backing and had long been displayed in a massive frame by the Gallery Café. After the Room 3 show it was time to take the print down to inspect, conserve and store it in darkness to help preserve it.

Dismantling the exhibition started with detaching the glazing which consisted of three four-metre-high pieces of laminated glass that had been painstakingly installed back in September by expert glass handlers.

Now we watched the delicate operation of lifting the heavy glass in the reverse order of installation and, yet again, held our breath when giant suckers manoeuvred the heavy green-tinted glass panes, one by one, to expose the beautiful cream-coloured early 16th-century paper.

Detaching the glazing from the print.

Detaching the glazing from the print.

In the meantime, in preparation for taking the print down, we had constructed a huge half-metre-diameter tube in the Museum’s state-of-the-art Paper Conservation Studio. This ‘quicker-by-tube’ production needed to be sturdy but light. As nothing like this was commercially available, the team of conservation mounters made their own using transparent plastic sheeting filled in with foam padding and cardboard rings to prevent collapse, which could damage the print. There was a lot of laughter as two of the team plunged inside the roll to fix the padding! No effort was spared to make the roll perfect for the job.

The specially made tube being carried to Room 3 via the Great Court.

The specially made tube being carried to Room 3 via the Great Court.

The day of the great descent arrived on 17 November. Equipped with two scaffolding towers and supported by heavy object handlers and curators, and filmed by the Museum’s Broadcast team, we first attached the top edge of the vast print to a four-metre-long rod using heavy linen tape.

Attaching top edge of the print to a rod and taking the print down.

Attaching top edge of the print to a rod and taking the print down.

We could then slowly lower the rod plus print down through three successive platforms from person to person and from hand to hand. The print itself was also supported on a huge sheet of plastic with its sides and bottom held taught. Soon Dürer’s masterpiece was safely supported on the floor, and the moving of this flat paper giant did not seem such a difficult challenge now…

Inspecting and rolling the print up for transport.

Inspecting and rolling the print up for transport.

With so many helpful hands to roll it safely, in no time the print was taken onto its grand ascent to our Paper Conservation Studio in the World Conservation and Exhibitions Centre. As we had already rehearsed the route carrying the empty roll, we had no surprises, although that did not apply to crowds of bewildered visitors.

The print being taken through the Great Court to the World Conservation and Exhibitions Centre.

The print being taken through the Great Court to the World Conservation and Exhibitions Centre.

At last the arch was unrolled on the large tables in the Studio and while admiring it and planning what should come next we posed for picture as a memento.

The print laid out in the WCEC Paper Conservation Studio.

The print laid out in the WCEC Paper Conservation Studio.

The conservation of Dürer’s Triumphal Arch has been made possible by the generous support of Howard and Roberta Ahmanson.

You can see an interactive zoomable image of the print here.

Filed under: Conservation, Dürer’s Triumphal Arch, , , , , , , ,

The shock of the nude

Ian Jenkins, Exhibition Curator, British Museum

I’m currently working on the Museum’s major exhibition Defining beauty: the body in ancient Greek art, which opens 26 March 2015. When you see the sculptures on display, you might be forgiven for thinking that the standard dress for men, in ancient Athens especially, was a state of undress. The Greeks, if their art is anything to go by, spent a lot of time starkers.

Although we must separate art from life, nevertheless, they enjoyed many more occasions for nudity than any other European civilisation before or since. The reason why they performed athletics in the nude was said to be because, in the early Olympic Games, a runner lost his knickers and as a result also lost the race. That story may be true or not but either way, it doesn’t explain the true nature of Greek athletic nudity as an expression of social, moral and political values.

The Westmacott Athlete

The Westmacott Athlete. Roman marble copy of a Greek bronze original, 1st century AD. 1857,0807.1

The circumstances in which men and boys appeared naked were dictated by an exclusive attachment to certain values held by an elite ‘club’ of male citizens. To be naked was not the same as to be nude. The first befits manual workers or those engaged in lewd behaviour. Nudity by contrast was the uniform of the righteous. When a young man in ancient Athens exposed his athletic body to his peers, he was not asserting his sexuality, rather, he was demonstrating his qualification to compete in athletics and at the same time to be worthy of putting on a second skin of bronze and defending his city on the battlefield. Such young men were called Kaloi and Agathoi, that is to say, the beautiful and the good. Death in battle was the Kalos Thanatos or the beautiful death.

There is an interesting anecdote recorded in the life of the 5th-century BC philosopher Socrates, when he meets a fellow citizen Epigenes by chance. Socrates remarked tactlessly that his friend was looking rather chubby, which was rich coming from Socrates who, although he was a brave soldier, was notoriously pug-faced and pot-bellied. Epigenes told Socrates it wasn’t his business. He was now not in the army and, as a private citizen, he didn’t have to go to the gymn. Socrates replies that Epigenes owed it to his city and himself to be as fit and beautiful as possible. It was, said Socrates, the moral duty of every citizen to maintain himself in readiness in case called upon to defend his city. And besides, Epigenes was obliged to keep himself as pretty as he could be, while he was still young. The Greek body beautiful was a moral condition and one to which only the Greeks among the peoples of the ancient world were attached. Neither the Egyptians, nor the Assyrians, Persians or the Cypriots cultivated in art and in life ideal nudity.

Bronze statuette of a veiled and masked dancer

Bronze statuette of a veiled and masked dancer. Hellenistic, 3rd–2nd century BC. Metropolitan Museum of Art, New York. 1972.118.95

The ideal Greek male body, then, is at the very heart of the Greek experience. Female nudity was much rarer than male nudity and the wives of well-to-do citizens were expected to stay indoors preserving their reputations with their pale complexions. Sculptors become increasingly skilled at showing the body beneath thin tissues of drapery and to judge from such objects as terracotta figurines and white marble sculpture, women were adept at flaunting their figures using drapery as a means of exaggerating their shape and so drawing attention to the body beneath. Aphrodite, goddess of love, is alone among the female Olympian gods in being represented naked. Hers is an ambiguous presence, however, for crouching or standing at her bath she appears to lure us in to erotic pleasure, only then to punish us for having the presumption to gaze upon her divine beauty.

Marble statue of a naked Aphrodite crouching at her bath

Marble statue of a naked Aphrodite crouching at her bath, also known as Lely’s Venus. Roman copy of a Greek original, 2nd century AD. Royal Collection Trust/Her Majesty Queen Elizabeth II 2015. 1963.1029.1

To conclude, the Greek body is a pictorial sign through which the Greek experience is communicated. Nudity in ancient Greece was all part of an obligation to promote moral values that were amplified and endorsed through the culture of athletics and military training.

Defining beauty: the body in ancient Greek art opens 26 March 2015.
Sponsored by Julius Baer
Additional support
In memory of Melvin R Seiden
Mrs Jayne Wrightsman, OBE

Filed under: Defining beauty: the body in ancient Greek art, Exhibitions, , , , , , ,

The many faces of Napoleon: ‘Little Boney’ or Napoleon le Grand?

Sheila O’Connell, Curator: British Prints, British Museum

On a Tuesday at the end of January, we unpacked the marvellous large bronze head of Napoleon Bonaparte made by Antonio Canova for Lord and Lady Holland in 1818. It currently sits in pride of place at the beginning of the exhibition Bonaparte and the British: prints and propaganda in the age of Napoleon, on display in Room 90 until 16 August 2015. The Hollands set up the Canova head in the garden of Holland House in Kensington after the former emperor had been exiled to St Helena. In so doing, they signalled they demonstrated their admiration for the man who had influenced the course of European history for 20 years.

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Antonio Canova (1757–1822), bust of Napoleon. Bronze, 1817–1818. Private collection.

Most of our exhibition consists of satirical caricatures showing Napoleon in a far from flattering light. These started to appear in 1797, once the young general became internationally known after his military successes in Italy. At first, when his face was still unfamiliar, he was portrayed as a wild moustachioed bandit humiliating the Pope and driving out the Austrian imperial forces. Then in Egypt in 1798, he met his first defeat at the hands of the British when Horatio Nelson destroyed most of the French fleet at the Battle of the Nile. Napoleon, an intellectual as well as a brilliant soldier, had taken more than a hundred scholars with him to study the little-known country. The ancient objects that these scholars acquired included the Rosetta Stone, which came to the British Museum along with other treasures in 1802.

In 1799, Napoleon became First Consul of France and the following year he led his army across the St Bernard Pass to drive the Austrians out of Italy again. Peace treaties were signed with the continental European powers and eventually in 1802 between Britain and France. After nearly a decade of war, Britons flocked to Paris. James Gillray’s portrayal of the meeting of a fat Britannia and a sly Frenchman reflects the lack of trust between the two countries that would lead to an outbreak of war before long.

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James Gillray (1756–1815), The First Kiss this Ten Years! Hand-coloured etching and aquatint. Published by Hannah Humphrey, 1803. 1868,0808.7071

From 1797, Gillray had been receiving regular payments from the government to ensure that his talents were used to support official policy. His most lasting contribution to the denigration of Napoleon was his invention in 1802 of ‘Little Boney’, an aggressive bully of tiny stature. It was at that time that Britain’s fear of French invasion became focused on Napoleon who was in fact about 1.67m tall (5 foot 6 inches). It is thanks to Gillray and his caricaturist colleagues that history remembers Napoleon as a tiny man with huge ambitions.

As well as looking at Napoleon’s career through the eyes of caricaturists, the exhibition shows examples of portraits made for his admirers and expensive prints made to record the famous battles of the war. The cheaper end of the market was also targeted by the print publishers. The triumph of Nelson at Trafalgar in 1805 was followed by the publication of a huge number of prints mourning the great admiral’s death. These include mass-produced prints aimed at the sailors who hero-worshipped Nelson.

Napoleon’s great victory at Austerlitz, shortly after Trafalgar, received less attention in Britain. At this point in the exhibition we show examples of Napoleon’s own print campaign against the British. He ordered French printmakers to show John Bull, the archetypal Englishman, handing bags of gold to the Austrian emperor to fund his army. In another pair of French satirical prints, William Pitt, the British prime minister, is shown dreaming of victory and waking to defeat.

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Anonymous, François II partant pour la guerre (Emperor Francis II leaving for war). Hand-coloured etching and aquatint. Published by Aaron Martinet, 1805. 1868,0808.6905

In 1807, as Napoleon’s army entered Spain, Britain rallied to the cause of the Spanish guerrillas as they tried to defend their country. Caricatures by Gillray and Thomas Rowlandson were copied in Spain to encourage the resistance that continued for years. The next profusion of British satirical prints came with Napoleon’s retreat from Moscow in the winter of 1812. By then, Gillray had suffered from a mental breakdown and his place as the leading anti-Napoleon caricaturist was taken by the young George Cruikshank. News of Napoleon’s army struggling through the snow of the Russian winter inspired Cruikshank to high comedy.

In 1813, the tide began to turn. Prints satirising Napoleon had previously been harshly suppressed in the countries that he dominated, but in that year they began to appear all over Europe. A particularly popular example showed a devil rocking a baby Napoleon. There were around 20 versions of this image, one of which was made in London by Thomas Rowlandson and given the title The Devil’s Darling.

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Thomas Rowlandson (1757–1827), The Devil’s Darling. Hand-coloured etching, 1814. Published by Rudolph Ackermann, 12 March 1814. 1868,0808.8116

Napoleon’s crushing defeat at Leipzig in October 1813 and the crossing of the Franco-Spanish border by the Duke of Wellington’s army, led to Napoleon’s abdication in April 1814. He was exiled to the Mediterranean island of Elba, but returned in less than a year. His renewed rule lasted only 100 days before the final Battle of Waterloo on 18 June 1815. Lifelong exile to the remote south Atlantic island of St Helena followed.

As soon as Napoleon was removed as a threat, Britain began to perceive him as something of a hero. His most prominent admirers were Lord and Lady Holland but, as the French ambassador to London later recalled, by 1822: ‘Souvenirs of Bonaparte were everywhere; his bust adorned every mantelpiece; his portraits were conspicuous in the windows of every printseller’.

Our exhibition aims to show both sides of the British response to Napoleon. On the one hand, the view of him as the devious and belligerent ‘Little Boney’; on the other, admiration for his military prowess and administrative genius by those who hoped that he might rescue Europe from the excesses of the old hereditary regimes.

The exhibition Bonaparte and the British: prints and propaganda in the age of Napoleon is on display in Room 90, the Prints and Drawings Gallery, until 16 August 2015.

The exhibition catalogue by Tim Clayton and Sheila O’Connell is available from the British Museum shop online.

Filed under: Bonaparte and the British, Exhibitions, , , , , , , , , ,

Lost and found: toys, tears and the Thames

Janina Parol, Assistant Treasure Registrar, and Dora Thornton, Curator of Renaissance Europe, British Museum

If you walk by the north bank of the Thames when the tide is low you will spot mudlarks searching for finds, even when it is windy, raining and freezing. You might think they are crazy, but you will certainly be curious to know what they have found – if they are prepared to get that muddy and wet there must be a reason. Mudlarks can spend hours waiting to catch the right tide, but for the hundreds of hours that are spent out there in all conditions some of the last things we imagine them being interested in are toys.

Tony Pilson and Ian Smith on the Thames foreshore

Tony Pilson and Ian Smith on the Thames foreshore

But interested they are. One in particular has discovered a huge number from the medieval and post-medieval periods. Tony Pilson, the highly-regarded founder member of the Society of Thames Mudlarks, has generously donated a selection of these toys to the British Museum. This matches his gift of London toy finds to the Museum of London, which forms the basis of the foremost book on medieval and post-medieval toys, Toys, Trifles & Trinkets by Hazel Forsyth and the late Geoff Egan. We have now registered our toy collection from Tony Pilson on our collection database. The range is extraordinary: from miniature muskets, cauldrons and porringers, watch parts, tools, animals and detailed tableware.

The City from Bankside, Thomas Richardson, oil on canvas, c. 1816-25, © Museum of London (95.185)

The City from Bankside, Thomas Richardson, oil on canvas, c. 1816-25, © Museum of London (95.185)

Pewter doll, late 16th century (British Museum 2009,8020.5)

Pewter doll, late 16th century, found at Bull’s Wharf, London (British Museum 2009,8020.5)

Looking through this collection we soon realise that many tears must have been shed by children over their beloved toys, which suddenly fell out of their grasp and over a bridge or wall with no possibility of rescue. Thomas Richardson’s The City from Bankside, painted around 1816–1825, shows a small girl playing on one of the wharves where blocks of stone are being prepared for shipping. Looking at her, it is all too easy to understand how playthings were lost in the Thames. One doll in the Pilson collection in the British Museum, found at Bull Wharf in London, takes us close to her original owner, a small girl in late Tudor London. The doll is a rare find; her closest comparison in the Museum of London was also found on the Thames foreshore and donated by Tony Pilson. The British Museum doll is cast in lead alloy and is almost complete. Her dress is so exactly detailed that she can be dated to the late 1500s. She wears a heart-shaped hood, a fitted bodice which is laced at the back and a full skirt, which opens at the front to reveal a kirtle or underskirt. A sweetmeat bag hangs from her waist.

Mother and child at toy-stall; a woman reaching into her purse and smiling at her daughter, who pulls on her skirts and points to a large doll on the counter of a well-stocked street-stall; engraving after Adriaen van de Venne; illustration of an unspecified edition of Jacob Cats' "Spiegel vanden Ouden ende Nieuwe Tijd" (first edition published in The Hague: 1632) (British Museum 1952,0117.14.13)

Mother and child at toy stall; engraving after Adriaen van de Venne; illustration from an unspecified edition of Jacob Cats’ ‘Spiegel vanden Ouden ende Nieuwe Tijd’ (first edition published in The Hague, 1632) (British Museum 1952,0117.14.13)

We know very little about who made these hollow-cast dolls, but we think they were sold at city fairs such as St Bartholomew’s Fair at Smithfield in London. Elizabeth I’s entertainer, the oddly-named Ippolita the Tartarian, had ‘one baby of pewter’ bought for her in 1562, which might have looked a bit like this one. Could lead alloy dolls have been less expensive versions of the larger dolls made of ceramic and dressed in the latest style, which were imported into England from abroad? A Dutch print of 1632 shows these grander dolls for sale at a toy stall at a city fair. Any parent will recognise the scene of a little girl exercising pester power. Her mother smiles as she opens her purse, the stall-holder looks on indulgently while the family dog sits waiting. The Dutch inscription points a moral with a strongly Protestant commercial ethos: ‘Well set-out is half sold.’

John White, A wife of an Indian 'werowance' or chief of Pomeiooc, and her daughter, who carries a contemporary English doll. Watercolour over graphite, touched with bodycolour, white (altered) and gold (British Museum 1906,0509.1.13)

A wife of an Indian ‘werowance’ or chief of Pomeiooc, and her daughter, who carries a contemporary English doll. John Waite, watercolour over graphite, touched with bodycolour, white (altered) and gold (British Museum 1906,0509.1.13)

That marketing drive perhaps explains why dolls, or ‘babies brought out of England’, were given as presents to Algonquin people by English traders in Virginia in the 1590s as attractive presents ‘which we thought they delighted in’. A doll can be much more than a doll. Toys given to little girls were useful ways of winning over their mothers, as women often acted as intermediaries between Native Americans and the new English settlers. John White’s watercolour of the wife of a chief of Pomeiooc and her daughter shows a doll like the ones on the toy stall in the print. The English were cultivating new markets.

Utagawa Sadahide (歌川貞秀), colour woodblock print. European woman and young daughter standing at a toy stall decked out with a display of toys (dolls, stick horses, a toy axe, horns, and drums); the stall-holder shows a doll to the young girl. Japan, 1860 (British Museum 1998,0218,0.19)

European woman and young daughter standing at a toy stall decked out with a display of toys (dolls, stick horses, a toy axe, horns, and drums); the stall-holder shows a doll to the young girl. Utagawa Sadahide (歌川貞秀), colour woodblock print, Japan, 1860 (British Museum 1998,0218,0.19)

But even in Europe, dolls were not just playthings or useful diplomatic gifts. They might have been display pieces for adults, or curios for collectors with a taste for miniatures. In other cultures, dolls have an independent life. In Japan, for example, dolls were displayed in the households of families with daughters at the annual doll festival held on 3 March every year since the 1600s. With the opening of Yokohama to world trade in 1859, many Japanese people became intensely curious about foreign customs – particularly in relation to children – and the city had a European community. Perhaps that is why the Dutch print seen here appealed so strongly to the artist Utagawa Sadahide (1807-1873) that he copied it as a colour woodblock print. A quick comparison reveals how Sadahide retained the hobby horses stuck into a barrel; the drums on sticks; the toy trumpets; and even the folds of the women’s dresses. But the central doll in Sadahide’s print is no plaything: it has a formal presence relating to Japanese tradition. In translating a European print into an unmistakably Japanese idiom, Sadahide demonstrates how dolls as miniature human figures attract us across continents and centuries.

Postscript (added 9 January 2015):

We wrote this blog in Tony Pilson’s honour and to thank him for his generosity to the British Museum and the Museum of London in donating substantial collections of small finds accumulated over many years. We were very sorry to hear of his death, on 24 November 2014, but we hope that this small tribute can serve as our way of remembering him. His legacy is upheld in the work of the Society of Thames Mudlarks, who continue to search the foreshore and record their finds with the Museum of London.

Anyone can walk along the Thames foreshore, but scraping or digging is strictly regulated by The Port of London Authority and there are different levels of searching, from eyes only to scraping and using a metal detector. There are prohibited areas and permission should always be sought.

Filed under: Archaeology, Portable Antiquities and Treasure, , , , , , , , , , , ,

Night at the (British) Museum: fact and fantasy

Sian Toogood, Broadcast Manager, Night at the Museum: Secret of the Tomb, British Museum

In the century or so since the birth of film, the British Museum has had many cameras within its galleries, labs and libraries. For the most part they have been filming documentaries, unravelling mysteries of the Museum’s collection, but every once in a while the Museum gets to participate in the organised chaos that is feature film production. In the past we have had Hitchcock in the Egyptian Sculpture Gallery, Merchant Ivory in the Assyrian Galleries and Phaedra in the Parthenon Galleries; we can now add Fox to this pantheon, with their third installment of the hugely popular Night at the Museum series: Night at the Museum: Secret of the Tomb.

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I was extremely pleased when I was approached by Fox, not because it was a fantastic opportunity to get more people interested in the Museum, nor because it would be an interesting project filled with lots of exciting and complicated challenges (though it was undoubtedly both of these things). I was pleased because ever since I’ve worked at the British Museum I have consistently been asked why they didn’t film Night at the Museum here! Now I can finally say that we have.

The limitations of what is possible within the Museum meant that Fox only filmed at the Museum for three nights, from the moment the gates closed to the public to 07.00 the next day. The remainder of the British Museum scenes were shot over three months on a specially built set in Vancouver, Canada. Filming a full-scale feature in a 19th-century Grade I listed building is no joke – given some of the dramatic and explosive chase and fight scenes, it could never have been done on the actual premises.

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Those of you who have seen the film and know the Museum, even reasonably well, might wonder why parts of the fictional Museum look so different to the real thing. There are significant differences between the real Museum and the museum of the film. For one thing, our natural history collection became the basis of the Natural History Museum in 1889, so to see a triceratops you will have to go to South Kensington. Equally, if you want to see a knight in full armour, then the Wallace Collection is a much better bet. I’m afraid I can’t tell you where to find a nine-headed serpent cast in bronze though!

Apart from the objects in the collection, the layout and style of the Museum has been almost entirely altered for the film, with only the Parthenon Gallery (Room 18) and the Great Court remaining as they are in real life. So why was there a need to change the Museum to such an extent? Well, this film is the third in a series and so it had to fit in with the aesthetics of its predecessors in the trilogy, and we must allow for the artistic licence of the film’s director, Shawn Levy. This is an adventure film with a wish to get young people hooked on history. While there are some wild inventions, the Fox team also paid meticulous attention to detail for the general ‘look’ of the British Museum. For example, the Museum’s distinctive brass doorknobs were designed especially for the Museum and can be found nowhere else in the world. We sent a single pair of them to Vancouver so that they could be recreated for the film.

The Artistic Director spent a week looking at the original plans and elevations of the Parthenon and Egyptian Sculpture Galleries, and recording the details of many of the galleries, floor tiles, heating grills and columns to faithfully recreate them. Paint chips and marble samples went to Vancouver to join the doorknobs and these details, along with the great care that Fox took to recreate signage in the building, make a lot of the imagined Museum look as though these scenes could have been shot in brand new galleries of the British Museum.

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We were lucky that Night at the Museum came in only few months after we had had our own first foray into cinema production with a live broadcast from our exhibition on Pompeii and Herculaneum. The Museum facilitates about 50 commercial film crews a year, shooting documentaries, music videos, fashion photo shoots and commercials, so we are well used to dealing with the requirements of film crews. But it was the experience of broadcasting live to hundreds of cinemas nationwide that gave us the confidence and base knowledge about the fabric of the building to be able to facilitate the scale of Night at the Museum. All those tedious facts about the weight loading capacity of the forecourt and the exact power provision in the Great Court suddenly became very useful!

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Fox were certainly not the average Museum film crew. They had 200 crew on site, a 40-tonne crane, helium balloon lights so large they couldn’t fit through the front door when inflated, and a myriad of other lights, cameras and stands. There was also a visual effects crew that 3d-scanned key spaces and dozens of objects from the collection to populate the film with living objects. Then there were the horses (outside) and the monkeys (inside). All of this kit, people and animals needed significant managing and overnight supervision.

We saw this film as an opportunity to interest new audiences across the world in museums in general, and to show the British Museum in particular in a new light. At the heart of the series is the idea that when you enter a museum you see the objects gathered there as if they were alive. These objects are used as gateways to other places and times and we invest them with personalities – we do not need to know everything about them to have an emotional connection with them. Visitors to the British Museum in the past might not have had the capabilities of Fox’s digital team, but in our mind’s eye I think we have all seen a lion roar or Greek sculptures walk, and we now have the opportunity to see them on the silver screen.

I doubt that we will ever have another film that is so closely linked to the Museum and its collection. I personally have been delighted and proud to have been part of this new chapter in the Museum’s film history.

Night at the Museum: Secret of the Tomb is in cinemas across the UK from 19 December.

Download the free app based on the film to help you explore the Museum, and enter a competition to win a real Night at the Museum!

Filed under: At the Museum, , ,

You acted funny tryin’ to spend my money…Bowie on a banknote

Ben Alsop, curator, British Museum

If you were to walk down the high streets of a town or city in the UK you would most likely be struck by a sense of the familiar. You could move from shop front to shop front recognising typefaces, colours, window displays and smells as they are wafted out through peculiarly open doors (even in the depths of winter). Where once there was variety, now sit the well-known brands of mobile phone shop, fast-food restaurant, stationer, coffee shop and the smaller version of the bigger supermarket that sit on the edge of town. Success on the high street gives birth to repetition and replication.

The phenomenon of modern local currency is, however, attempting to rectify this by supporting small, independent businesses against large national and international companies. The first of a new wave of local currencies in Britain began in Totnes, Devon in 2007 with the issuing of 1,5,10 and 21 pound notes by Transition Towns Totnes, and has given rise to a further four schemes in Lewes, Stroud, Brixton and Bristol. These schemes allow for the exchanging of a local currency 1:1 with UK pound sterling which then can only be spent in participating, local, independent businesses. The hope is that this money will then be used by traders to purchase produce from local providers, ensuring the money continues to circulate in the community. The inspiration for this modern British take on localised monetary systems came from a number of progenitors that include the Berskshare in Massachusetts, USA and the Chiemgauer in Prien am Chiemsee in Bavaria, Germany. These systems have offered a blueprint for the UK and are part of an international family of local currencies from EarthDay Money in Japan to the Bangla Pesa in Mombasa, Kenya.

Oh you pretty things…

When it was decided to put together a display of UK local currencies in the Citi Money Gallery, the joy of collecting the various issues was in the variety and vibrancy of the designs. By their very nature Bank of England notes have to be conservative in appearance, adhering to our notion of what banknotes should look like. Local currencies have no such restrictions. This freedom means that while historical figures are depicted, such as the writer and Lewes resident Thomas Paine, it also allows for a fantastic array of contemporary designs.

David Bowie and Luol Deng on Brixton five and ten pound notes, as displayed in the Citi Money Gallery

David Bowie and Luol Deng on Brixton five and ten pound notes, 2nd edition, design by Charlie Waterhouse and Clive Russell, This Ain’t Rock’n’Roll, 2011. as displayed in the Citi Money Gallery

Five Bristol pound note showing ‘Graffiti Tiger’ by Alex Lucas

Five Bristol pound note showing ‘Graffiti Tiger’ by Alex Lucas

Local heroes David Bowie – shown in the iconic image from the cover of his 1973 album Aladdin Sane – and Luol Deng, professional basketball player for the GB national basketball team, are shown on the Brixton notes. Bristol artist Alex Lucas‘ tiger in a hoodie was one of the designs for the Bristol pound notes chosen from competition entries.

Local issues have also allowed for a redressing of gender disparities on UK paper money, with images of author Mary Wesley and secret agent Violette Szabo among others.

One Totnes pound note showing author Mary Wesley.

One Totnes pound note showing author Mary Wesley. Designed by Samskara Design

Changes…

To ensure that they are as simple as possible to use, UK local currencies are changing with the times and now offer ways to pay digitally, with SMS payment systems available in Brixton, Bristol and Totnes. There have even been forays into the world of cryptocurrencies (which I’ve written about in a previous post) with plans to create HullCoin garnering significant interest earlier this year.

These changes are central to their ability to grow and remain a viable part of the local economy but not all currencies have been a success. The Stroud pound is no longer issued (although there are hopes to reintroduce it) and there are questions as to how far these currencies have permeated different areas of society. Time will tell if the established local currencies continue to prosper and if proposed new local currencies in places such as Hackney and Oxford can continue this story.

Watch this Space (Oddity)…

The Money Gallery is supported by Citi

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

Beyond propaganda? North Korea in the British Museum

Sascha Priewe, curator, The British Museum

When the embassy of the Democratic Peoples’ Republic of Korea (DPRK) opened its doors for an art exhibition in November, here at the British Museum we were busy preparing the Korea Foundation Gallery for its re-display, which opens today. Given the curiosity about the mysterious state and the artists working there, it seemed timely to write about the British Museum’s collection of art from North Korea.

Silver coin commemorating the meeting of the leaders of South and North Korea in 2000, Pyongyang, DPRK, 2000. In June 2000 South Korean president Kim Dae-jung (1924-2009) met North Korean leader Kim Jong-il (1941-2011) in the first Inter-Korean Summit in Pyongyang. As one result, working level talks continued between the governments and tourist visits to the Diamond Mountains for South Koreans became possible. (British Museum OR.9666)

Silver coin commemorating the meeting of the leaders of South and North Korea in 2000, Pyongyang, DPRK, 2000 (British Museum OR.9666)

In June 2000 South Korean president Kim Dae-jung (1924-2009) met North Korean leader Kim Jong-il (1941-2011) in the first Inter-Korean Summit in Pyongyang, the DPRK capital. It was the time of ‘sunshine’ relations between the north and the south. Although north-south relations have iced over in recent years, this brief period allowed the world a glimpse into one of the planet’s most inaccessible societies.

In 2001 and 2002 colleagues from the British Museum and the British Library visited the DPRK. Jane Portal, then the curator of the Korean collections (and now the BM’s Keeper of Asia) built of one of the largest collections of DPRK works of art in a Western museum. On her first trip Portal collected woodblock prints, ink paintings, oil paintings, posters, calligraphy, ceramics, lacquer and commemorative coins. On her second visit she collected mostly prints and posters. Thanks to this initiative the British Museum now has about 80 objects from the DPRK.

The Steelworker, Song Chan-yong (b. 1930), Oil on canvas. Democratic People’s Republic of Korea, about 1990-99 (British Museum 2001,0607,0.6)

The Steelworker, Song Chan-yong (b. 1930), Oil on canvas. Democratic People’s Republic of Korea, about 1990-99 (British Museum 2001,0607,0.6)

The DPRK’s regime leaves artists few of the freedoms that artists in other parts of the world take for granted. Art from the DPRK is usually seen as a state-controlled propaganda tool. Often there has been little room to appreciate the works as works of art. But once we understand the context and constraints in which art is produced, we have the opportunity to think about their qualities as works of art. One example is The Steelworker, an oil painting by Song Chan-yong (b. 1930). The portrayal of a worker is naturally in tune with the tenets of a socialist country, however, with Song’s own words we can add a layer of appreciation to the work:

I have dedicated all my artistic life to drawing the subject of the working classes. The base of our society is the working class so I should draw them. I always like to place my easel in a glaring blast furnace not in a splendid studio. Then it seems to be more realistic. I intended to be an artist of the workers in the world of workers.

This and other works in the collection permit glimpses into an isolated world, which for most of us seems like a different universe.

Celadon-glazed porcelain with inlaid decoration. From Pyongyang, DPRK, c. 2002. (British Museum 2002,0930.1)

Celadon-glazed porcelain with inlaid decoration. From Pyongyang, DPRK, c. 2002. (British Museum 2002,0930.1)

When I visited the Pyongyang and other parts of the DPRK as a tourist in 2005, I felt as if I was stepping into the photographs, footage and stories of 1970s China. The place felt otherworldly, but realising that this physical manifestation is a reality for millions of people held me firmly on the ground. But it is within this context that great works of art are being created. There is politics behind some art, but there is also art behind some politics.

Filed under: Korea Foundation Gallery, , , , , , , , , ,

Facelift: the new Korea Foundation Gallery

Sascha Priewe, curator, and Ellie Miles, Interpretation Officer, British Museum

The Museum is re-opening its refreshed Korea Foundation Gallery (Room 67) thanks to a generous grant from the National Museum of Korea. The project gave us the chance to re-think how we talk about and display things from the Korean peninsula. We took into account the collection’s profile, and how our visitors actually use our permanent gallery spaces. Most visitors make their own paths around the gallery, so we took down walls and moved cases to open up the space for them to browse and make different connections between objects. Bringing in colourful case designs and a new lighting design, we hope that the new gallery will give the objects a stronger visual impact, and encourage closer looking than before.

Samramansang Moon Jar #1 by Kang Ik-joong (b. 1960)

Samramansang Moon Jar #1 by Kang Ik-joong (b. 1960), USA, 2010–13, mixed media on wood (British Museum 2014,3046.1)

The collection tells an on-going story of Korean visual and material culture that continues to today. To start this new look at the Korean peninsula’s enduring history, we chose contemporary art with a historical focus. Kang Ik-joong (b. 1960) is an artist whose paintings of moon jars from the Joseon period (1392–1910) are particularly well known. His spectacular Samramansang Moon Jar #1 will welcome visitors into the gallery.

One of the parts of the new gallery that we are most excited about is the cases that we have reserved for changing displays. These will allow the gallery to be responsive to the events programme, new acquisitions and visitor interest. When the gallery opens on 16 December the first of these cases will show the work of Nam June Paik (1932–2006),the Korean pioneer of video art. The display of his works is in step with other interest in him, such as Tate Modern’s current exhibition. The other changing cases will allow us to make links with other collections within the Museum, too, and with the Museum’s exhibition programme.

Korean and Chinese objects displayed in Eumorfopoulos’ home, 7 Chelsea Embankment, London, 1934

Korean and Chinese objects displayed in Eumorfopoulos’ home, originally published in George Eumorfopoulos, G.E. 7, Chelsea Embankment, December 1934 (1934).

As we’ve been thinking about the re-display, the first ‘mini-exhibition’ will look at the history of the Korean collection at the British Museum, and how the earliest Western collectors of Korean art might have seen Korea. The beginnings of the Korean collections and the collecting of Korean objects began in the 19th century through the likes of the diplomat Thomas Watters (1840-1901), William Gowland (18427–1922), who worked for the Japanese mint, and George Eumorfopoulos (1863–1939), an ‘Oriental’ art collector in London, each representing different types of collectors. Between the three of them they amassed important collections but each with a very different texture.

East Gate – Seoul by Elizabeth Keith (1887–1956), Britain, about 1924, colour woodcut, donated by the Contemporary Art Society, P&D 1928,0310.40

East Gate – Seoul, colour woodcut by Elizabeth Keith (1887–1956), Britain, c. 1924, (British Museum PD 1928,0310.40)

Another lens through which Korea was seen was through photography and paintings. The display will show books featuring images of Korea published by the collectors’ contemporaries. Depictions of trades, pastimes, boats, architecture, costumes and natural history and so forth provided a lens through which Asia was perceived. And we will also show prints by Europeans and Americans that they made based on their impressions of Korea.

The gallery refreshment has given us the chance to look into the collection from different angles, to explore its strengths and its weaknesses. We have made some new discoveries and reconnected with objects that have been ‘old friends’. But our main task has been to improve the gallery to serve the visitors much more consciously by telling exciting stories and making connections with a part of the world, its past and present, that is still largely unknown.

The Korea Foundation Gallery</a re-opens on 17 December 2014, admission free.
View on the floorplan

Filed under: Korea Foundation Gallery, , , , , , , , ,

What colour were Dorothy’s shoes? The Wonderful Wizard of Oz as monetary allegory

Mieka Harris Education Manager: Citi Money Gallery, British Museum

A classic children’s story? A fairytale? Or an interpretation on the international exchange rate system? In my role as Education Manager for the Citi Money Gallery I teamed up with students from the Children’s Hospital School at Great Ormond Street Hospital to explore concepts raised in The Wonderful Wizard of Oz.

The Wonderful Wizard of Oz in the Citi Money Gallery.

The Wonderful Wizard of Oz in the Citi Money Gallery.

This year marks the 75th anniversary of the Wizard of Oz film (MGM, 1939) and the creation of those iconic shoes, worn by Judy Garland as Dorothy. But what colour were Dorothy’s shoes originally? In L Frank Baum’s book, originally published in 1900, they were not ruby red, but silver. Therefore some economists, politicians and historians believe that the story is actually a monetary allegory, outlining a proposed move from the gold standard to a bimetallic standard known as the ‘Free Silver Movement’ led by William Jennings Bryan in the US in 1896. For this reason, a copy of the book has a place in the Citi Money Gallery, alongside other objects and artefacts that depict the history of money.

Fixing the dollar against gold, creating a ‘universal’ currency, initially had a positive effect on economies; a lack of fluctuating currencies reduced profit risks and so increased trade. However, the Malthusian trap becomes apparent with any natural reserve, with the mining rate unable to match the growth in trade. At the time, America was in a period of depression and the populist belief suggested that a bimetallic standard would enable the money stock to be increased. So, Dorothy’s silver shoes walking on a gold road could represent the two metals working together to provide a route towards a stable economy.

Like with many things, as soon as something is pointed out, other potential double meanings become apparent. Is the land called ‘Oz’ because this is an abbreviation of ounces, the standard measure for gold? Did farmers (the Scarecrow) need more business sense (a brain) to help them survive during a period of economic instability? Is the all-powerful Wizard really the President, who hides behind a smoke-screen of promises but in fact has very little actual power? Do the different locations of the four witches represent the geographical divides in America? Did advances in industry create automated production lines which reduced the workforce (or created workers with no heart)? The students at the Children’s Hospital School set out to examine some of these concepts, and others.

Object handling.

Object handling.

Students shared their perceptions of The Wonderful Wizard of Oz, identifying key elements in the story. To put the book into context as a potential monetary allegory, students explored the history of money and some key economic concepts by handling objects from the Museum’s collection. A week of activities then followed, based on themes in the book and ideas generated by the students.

Making Dorothy's shoes.

Making Dorothy’s shoes.

In maths, students considered Dorothy’s shoes and the fact that they fit her and so they investigated what information can be gleaned about a person by knowing their shoe size. The shoe theme was carried into art, with students creating shoes using a variety of media.

Science lessons saw students investigating the melting power of water; with jellies being created in the shape of witches! The concept of the tin man having a heart was also explored, considering that if he had a heart, what other organs would he need and where would they all be placed.

Descriptive language used in the book and a character analysis of the Good Witch of the North and the Wicked Witch of the West were analysed during English, resulting in students creating job descriptions or personal statements applying these roles. Ben Alsop, curator of the Citi Money Gallery, supported this session and applied for the role of the Good Witch of the North, but unfortunately was deemed an unsuccessful applicant by the students based on his responses to the questions!

Working on the citizenship activity.

Working on the citizenship activity.

The values identified for these roles were further discussed in Citizenship. Money does not exist in Oz, so the children discussed this as well, creating a currency for Oz using ideas from the earlier session on the history of money.

The variety of activities and resources available to the students, combined with the commitment of the teachers at the Children’s Hospital School, made for a very enjoyable week. Learning was put into a different context, perceptions were challenged and concepts were investigated. Whether the story is a monetary allegory remained unresolved by the students, but the skills to question what we see and read were developed. Did the water have to be a certain temperature to melt the Wicked Witch? Can shoes change sizes? Could a heart function on its own without other organs? All very good questions, but the ultimate question in taking a view as to whether The Wonderful Wizard of Oz is a children’s story or a monetary allegory surely has to be, ‘What colour were Dorothy’s shoes?’.

The work produced by the students at The Children’s Hospital School will be on display in the Clore Centre for Education in the British Museum from 11 December 2014 until 22 January 2015.

The Citi Money Gallery (Room 68) is on the Upper floor, admission free.

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