British Museum blog

One Leonardo – to go

Hugo Chapman, Exhibition Curator

For the last couple of weeks we’ve been carefully installing the exhibition in the Reading Room. It’s been an exciting – if slightly nerve-wracking – time as the plans we’ve had in place for so long are finally realised.

Statue of Bacchus

Perhaps strangely for a drawings exhibition, the first work to be installed was a first-century classical marble sculpture of the Roman wine-god, Bacchus. He’s one of the star pieces in our Greece and Rome department and has just returned from a world tour of British Museum masterpieces.

The revival of classical art and learning is central to the artistic revolution that occurred in Italy in the 1400s – the French word Renaissance that we use to describe the period means rebirth and was coined by artists and scholars of the period to claim that they had revived the ancient civilisations of Greece and Rome. In truth the classical world had never disappeared, but it is true that artists began to look at ancient sculptures with a new intensity.

Marble figures like Bacchus encouraged artists to recognise the sensuality and beauty of the human body. The sculpted Bacchus presents an idealised vision of the perfect male body. Such are his charms that lipstick has had to be cleaned off him more than once – I’m hoping he will continue to cast his spell without us needing to wipe off the lip gloss.

But now we’re turning our attention to paper – so much part of our lives that we tend to take it for granted, but this exhibition transports us back to the 1400s when it was a new and precious material.

The Chinese invention of papermaking had been brought to Europe via the Islamic world. The invention of the printing press in Germany in the 1450s gave a huge impetus for papermaking, above all in Italy which was the most literate and urbanised region of Europe.

Renaissance paper was handmade from cloth fibres (not wood pulp as today) obtained from old clothes, sails and ropes.

Drawings in storage

Fortunately for us paper’s durability makes it possible for centuries-old drawings like those we’re displaying in this exhibition to travel safely. However, like the venerable voyagers they are, the Renaissance drawings from the Uffizi need time to rest after their journey from Florence. After a few days to acclimatise the Uffizi drawings will be ready to be hung on the walls of the Reading Room.

I can’t wait to see them out of their crates and on the walls.

Click on the title to leave a comment

Images:
Marble statue of Bacchus (Dionysus)
Drawings in storage, ready for display

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

Receive notifications of new posts by email.

Join 15,633 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

Happy #ChineseNewYear! These are called xiao hongbao, literally translated as 'little red envelopes'. Red is the colour associated with celebration in China. In the 1990s, a new style of money envelope appeared. Although it still had a red back, the front was printed in many colours and overstamped in gold. On this envelope there are lush peony flowers in full bloom. They are symbolic of spring, as well as feminine beauty, love and affection. In Chinese, the peony is known as mudanhua or fuguihua. The characters fu ('wealth') and gui ('honour') appear frequently in good luck wishes, and pictures of peony flowers add strength to the wish. The inscription on this envelope reads 'May wealth and honour blossom, in abundance year after year'. The arrangement of the peonies and the inscription is reminiscent of traditional Chinese flower painting. #GongXiFaCai We welcome nearly 7 million visitors a year to the Museum and this photo by @zoenorfolk wonderfully captures the movement of people around the Great Court. Completed in 2000, the Great Court also features a quote by Tennyson: 'and let thy feet millenniums hence be in the midst...’
#repost #regram
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum In 2000, the Queen Elizabeth II Great Court designed by Foster and Partners transformed the Museum’s inner courtyard into the largest covered public square in Europe. We love this striking photo by @adders77 showing this incredible space at night #regram #repost
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum This wonderful photo by @what_fran_saw captures the stunning Great Court #regram #repost
The two-acre space of the Great Court is enclosed by a spectacular glass roof made of 3,312 unique pieces!
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum The roaring lions on the walls of King Nebuchadnezzar II’s palace represented the Babylonian king himself and were intended to astonish approaching visitors. Nebuchadnezzar commissioned major building projects in Babylon to glorify the capital of his empire. Glazed bricks in bright shades of blue, yellow and white were favoured for public monuments in order to emphasise both divine and royal power. These works displayed the might of the city and its king, who commanded unlimited resources.
Glazed brick panel showing a roaring lion from the Throne Room of Nebuchadnezzar II, 605–562 BC. From Babylon, southern Iraq. On loan from Vorderasiatisches Museum, Berlin.
Share your photos using #mybritishmuseum and tagging @britishmuseum.
#lion #art #history #BritishMuseum Lions have perhaps been adopted as a symbol more than any other animal. They are seen as proud, fierce and magnificent – characteristics that made kings and countries want to associate themselves with these charismatic big cats. As well as being the national symbol of England and Scotland, the lion is in many ways the symbol of the British Museum. Lions guard both entrances to the building. At the Montague Place entrance are the languid lions carved by Sir George Frampton, and on the glass doors of the Main entrance are the cat-like beasts designed by the sculptor Alfred Stevens in 1852.
This lion can be found on the wooden doorframe at the south entrance to the Museum, and its nose is polished smooth by the many visitors who rub it for luck on their way in. Share your photos using #mybritishmuseum and tagging @britishmuseum
Follow

Get every new post delivered to your Inbox.

Join 15,633 other followers

%d bloggers like this: