British Museum blog

Installing Shakespeare: staging the world


Becky Allen, Project Curator: Shakespeare

The three-week installation of the British Museum’s major new exhibition Shakespeare: staging the world has just finished, and the Reading Room has been transformed.

With over 190 objects, and 38 lenders, there has been a lot of work to do. One of the most impressive aspects of the experience has been witnessing how many colleagues, both within and outside the Museum, have come together to bring the exhibition to life. It is a real team effort to create an exhibition on this scale, and it calls on skills and experience of all kinds, from conservation specialists to lighting technicians, heavy object handlers to designers.

The exhibition features a huge range of objects, including coins, armour, textiles, sculpture and much more. One of the most exciting, and perhaps surprising, aspects of the show is how many paintings it includes – 21 in total from many different lenders. For me, watching the paintings being hung has been a highlight of the installation. One of my favourites is the enormous 1611 bird’s-eye view of Venice from Eton College. The painting has only travelled twice: first from Venice to Eton, where it was hung in 1636, and then from Eton to the British Museum.

As you can see from the photograph, hanging the painting safely required careful coordination and teamwork. Venice is one of Shakespeare’s most important imagined places, and is often the setting for his brilliant examinations of outsiders in society – Shylock the Jew and Othello, the ‘moor of Venice’, being powerful examples. The painting is populated with figures and really brings the Venice section to life – it’s a great pleasure seeing it each morning.

Museum assistants and specialist art handlers hanging the ‘Bird’s-eye view of Venice’ by Odoardo Fialetti, 1611. (Eton College, Windsor)

Another remarkable painting comes from the Pinacoteca Nazionale in Siena. It is a beautiful portrait of Queen Elizabeth I known as ‘The Sieve Portrait’, by Quentin Metsys the Younger, dated 1583. In the portrait Elizabeth holds a sieve, symbolic of chastity. This association comes originally from the story of the Roman Vestal Virgin Tuccia who proved her own virginity by carrying water in a sieve. It’s a beautiful and striking painting which makes a real statement about the presence and theatricality of Elizabeth, queen at the time Shakespeare moved to London and began to write and act.

Museum assistants from the British Museum hanging ‘The Sieve Portrait’ by Quentyn Metsys the Younger, 1583. (Pinacoteca Nazionale, Siena)

Shakespeare: staging the world is open from 19 July to 25 November 2012.

The exhibition is supported by BP.
Part of the World Shakespeare Festival and London 2012 Festival.

Tweet using #ShakespeareExhibition and @britishmuseum

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A year’s placement in Shanghai

Valentina Marabini, British Museum

Over the coming months I will be writing regularly about my experiences in the Painting Conservation Studio at the Shanghai Museum in Shanghai, where for a year I am studying to complete my training in traditional scroll mounting.

Valentina Marabini at work with a colleague in the studio at Shanghai Museum

Since 2003, I have been working in the Department of Conservation and Scientific Research at the British Museum learning, under the guidance of Mrs Qiu Jin Xian, the skills and art of Chinese painting conservation and traditional mounting techniques.

It takes 10 years to acquire the necessary knowledge of these traditions. So in December last year, to undergo the crucial final stage of my training, with the support of the British Museum and the generous sponsorship of the Bei ShanTang JSLee Memorial Foundation I travelled to China and the Painting Conservation Studio of the Shanghai Museum for a year-long secondment.

Shanghai Museum

I’m here to refine my knowledge of traditional conservation and scroll-mounting, working with pictorial artefacts on paper and silk: hanging scrolls, hand scrolls, fan and albums.

There is not much literature to study or many courses to attend in order to specialise in this field, so the only way to learn the skills is by observing the work of conservators and, assisting senior teachers.

The opportunity to spend one year fully immersing myself in the work and life of the Shanghai Museum mounting studio is invaluable in increasing my understanding of the form and function of Chinese art within its historical context.

It will additionally improve my fluency in the Chinese language, but, most importantly, this placement will help me refine the skills needed to care for the Chinese paintings in the British Museum collection.

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Filed under: Conservation, Studying in Shanghai, , , ,

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