British Museum blog

A Renaissance cover-up

Hugo Chapman, Exhibition Curator

I’ve been ducking in and out of press previews as the opening day approaches so in a rare spare moment, I’m taking the opportunity to catch-up on our progress over the last week.

Inspecting the drawings

Before being carried up from the basement storage to the Reading Room to be hung, the 50 drawings from the Uffizi gallery were given some rest time to get over their long journey from Italy.

The handmade rag paper on which the majority are drawn (the exceptions are a couple of works on parchment made of animal skin) has the quality of a living organism. It expands and contracts according to the level of humidity in the atmosphere. Such minute changes need to be monitored and the first thing that happens when a drawing comes out of the crate is a thorough examination by a paper conservator from the British Museum.

As in the medical records that our doctors look at when we go for a check-up, the drawing’s condition is compared against a detailed report written by a paper conservator of the lending institution. Usually this consists of a photograph with the stains, tears, repaired holes, undulations and other scars of 500 years of existence marked.

The British Museum conservator and the Uffizi courier (the person who has overseen the transport of the works) check this condition report to see that nothing has altered during the drawing’s journey.

Drawing with a paper cover

Normally the toughness and resilience of paper means that it adjusts to the change in atmospheric conditions. In the rare cases where changes have occurred: for example the surface has become fractionally more undulating; the drawing will be put on a list to be monitored closely during the run of the show.

The condition checking over, the drawings were ready to be put on the walls. The position and spacing of each work has been worked out by the exhibition designer and once they’re on the wall, each of them is covered over with paper to protect them from light so that the inks and washes do not fade in the bright lights needed for the installation.

For a time the exhibition had the air of a contemporary art installation piece. With all the works on the wall and the lighting at the right level, we could start taking the covers off and with just days to go, I’m looking forward to seeing if our visitors are as excited by the result as I am.

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Images:
Inspecting the drawings
A drawing with its paper cover

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We’re sharing our favourite photos taken by visitors – use #myBritishMuseum if you’d like to feature! Here’s a brilliant shot by @j.ziolkowski that really captures the cool tones of the Great Court. We love the collision of lines in this photo – the hard edges of the original 1823 building set against the curvature of the later Reading Room and tessellation of the glass roof. 
Get snapping if you’d like to feature in our next #regram. 
#BritishMuseum #architecture #perspective #GreatCourt This Degas print is an example of the subject matter and technique the artist moved towards in the early 1890s. During this time, Degas produced sketchy prints showing female figures post-bathing. In this print we can see that the ink has been reworked during the printing process – the hair and shoulders show evidence of additional brushstrokes. The backgrounds of these works are much more sketchy and blurred than works he produced earlier in his career, perhaps showing his increased interest in figures.
#Degas #print #portrait The intense gaze of this young woman was originally intended to appear in the background of a horse racing scene by Degas, but the painting was never completed. This type of challenging composition is typical of the French artist’s work – he liked to crop the viewpoints of his paintings and sketches to create a different atmosphere. The coolly returned stare reverses the traditional relationship between viewer and subject, and emphasises Degas’ progressive approach to painting.
#Degas #painting #sketch #Paris French artist Edgar Degas died #onthisday in 1917. Today we’ll feature works that showcase his radical approach to framing subjects, and his subtle handling of form and tone. This vivid oil sketch from 1876–1877 depicts a repeated motif in Degas’ work – the Parisian ballet. He captured both performances and behind-the-scenes moments in his paintings and sketches, often using vantage points that give a fly-on-the-wall impression to his work. Degas worked rapidly but precisely – mirroring the movements of the dancers he portrayed – and this work is completed in thinned-down oil paint so that his quick brushstrokes could dry quickly.
#Degas #sketch #oilpainting #Paris #ballet Our #SunkenCities exhibition is the first at the British Museum on underwater archaeology. Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. 
At the mouth of the Nile, the city of Thonis-Heracleion flourished as the main entry point into Egypt. Underwater excavations have found a large harbour, numerous ships and anchors, proving this was an international port. This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through Thonis and Naukratis. A copy was found in the main Egyptian temple in each port. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis. 
Learn more about the connections between the ancient civilisations of Egypt and Greece in our #SunkenCities exhibition - until 30 November. Follow the link in our bio to find out more about it. 
Stela commissioned by Nectanebo I (r. 378–362 BC), Thonis-Heracleion, Egypt, 380 BC. On loan from National Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the cities were believed to be lost. After sightings from a plane, a diving survey was organised in 1933 to explore submerged ruins. But it was only from 1996, with the use of innovative techniques and a huge survey covering 42 square miles of the seabed, that underwater archaeologists rediscovered the lost cities. 
Thonis-Heracleion and Canopus were thriving cities long before the foundation of the great port of Alexandria in 331 BC. Finds suggest that they were still inhabited into the AD 700s. The cities’ disappearance was caused by gradual subsidence into the sea – much like Venice today – coupled with earthquakes and tidal waves. This triggered a phenomenon known as land ‘liquefaction’, when the ground turns into liquid. 
This reconstruction shows what the port of Thonis-Heracleion could have looked like, dominated by the Temple of Amun-Gereb. Follow the link in our bio to book your tickets to our #SunkenCities exhibition. © Yann Bernard. © Franck Goddio/Hilti Foundation.
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