British Museum blog

The first ring of the doorbell

Hugo Chapman, Exhibition Curator

I’m writing on Thursday evening at the end of the first day of the public viewing of the exhibition. I was unusually nervous and keyed-up all day. I now realise my feelings were a bit like those I experience in that half hour before a party begins. The food and drink is all ready, but I can’t shake off a bat squeak of panic in my head that there’s been collective form of amnesia among my friends, or I told them the wrong date. Such nerves are quickly dispelled by the first ring of the doorbell. Would the Reading Room have only the warders in attendance on the opening day?

With these dark thoughts in mind it was heartening to step into the Reading Room around 11am to see it thronged with people. It was fantastic to witness the hushed concentration of the visitors as they looked intently at the drawings and at the explanatory films.

The scene made me think back to how panic-struck I had been three years ago when I was told that my proposed show was to be in the Reading Room. How could such a vast space be given the intimacy that drawings need? In the event the BM exhibition designer, Jon Ould, came up with a brilliant plan that gave the works space to be viewed without having a sense of the great void above.

Inside the exhibition

One of the thrills of the show was to see the transformation of the empty Reading Room platform to the exhibition space that Jon had designed. The discussions with Jon and other colleagues as to how the drawings should be structured and displayed mirrored many others that shaped the show’s formation. For me the collective, collaborative nature of creating an exhibition is the perfect antidote to the essentially lonely business of writing the book that preceded it.

I’ll definitely keep on returning to the show to savour the reaction of the viewer and to admire the drawings. Someone at the opening told me wistfully that they hoped that the Icelandic volcano would keep on erupting to allow the Uffizi drawings to remain. Volcanic ash or not the exhibition will, however, certainly close on 25 July so the clock is ticking…

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Image caption: Inside the exhibition

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Renaissance under review

Hugo Chapman, Exhibition Curator

Andrea Mantegna, Allegory of the Fall of Ignorant Humanity

I’ve just got back to my desk from the press launch of the exhibition and although it’s just gone midday I feel exhausted. I gave a 10 minute speech to the assembled journalists in the Reading Room and then fielded a few questions. Thankfully the grandeur of the setting, with Sidney Smirke’s Pantheon-inspired vault above us and the beauty of the Renaissance drawings, had a calming effect.

Only time will tell whether this will wear off once they return to their computers to write their reactions to the exhibition. So far the reviews have been excellent, but will the drawings of Verrocchio, Leonardo and the others conquer all?

Tonight it’s the launch party with hundreds of guests invited. Sadly all the curators at the Uffizi in Florence, who I was so looking forward to showing around the exhibition, have been prevented from coming by the volcanic ash. It’s a subject worthy of a Renaissance allegorical painting: Vulcan trampling on Mercury (the gods of volcanoes and the arts respectively) but with Fame blowing a trumpet, and perhaps the party loving Bacchus, providing a more positive spin on events.

In the exhibition there’s an eye-catching, if somewhat bleak, allegory of this kind showing mankind, represented by a blind woman, being led to a precipice by a variety of dodgy characters including Deceit, Ignorance and Folly. This is definitely an image one should keep in mind during this election period.

I imagine it will feel a little odd to be in the exhibition with quite so many people. Over the last weeks I’ve grown used to the space with just a handful of people putting up the drawings. An exhibition that has for the past three years existed first in my head, and then in the evolving plans of the designer, will finally be viewed.

Aside from the predicted laid-back and unimpressed reactions of my two teenage sons, I hope that the opening crowd like what they see.

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Image caption: Andrea Mantegna, Allegory of the Fall of Ignorant Humanity (‘Virtus Combusta’) About 1490-1506

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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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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.

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

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Fra Angelico to Leonardo: Italian Renaissance drawings

Hugo Chapman, Exhibition Curator

As curator of the soon-to-open exhibition, Fra Angelico to Leonardo: Italian Renaissance drawings I’ll be writing weekly about what’s happening behind the scenes as the show takes shape before it opens to the public on 22 April.

The exhibition consists of a hundred of the greatest Italian fifteenth-century drawings from the British Museum and the Uffizi in Florence.

The process of selection from the two best collections of Renaissance drawings came close to fulfilling my childhood dream of being locked in a sweet shop… the difference being that I was picking out Leonardos, not sherbet dib dabs.

For the last three years I’ve imagined how the drawings would look in the soaring space of the Reading Room. This week we’ve started to hang the drawings, so finally the waiting is over.

Will the drawings that I thought would work so well together turn out to be good neighbours? Time will tell.

Next week I’ll be back with an insider’s peek at the exhibition installation.

Hope you enjoy following our progress.

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In 1966 the Beatles were number one with Paperback Writer, Lyndon Johnson was asked to ‘get out’ of Vietnam, and a gallon of gas cost $0.32. American artist Ed Ruscha travelled 1,400 miles on Route 66 from LA to his hometown of Oklahoma, recording the gas stations dotted along the road. Influenced by graphic design and advertising, he transformed everyday images like this into dramatic works of art.

See this work on loan from @themuseumofmodernart in our #AmericanDream exhibition – follow the link in our bio to book tickets.

Edward Ruscha (b. 1937), Standard Station. Screenprint, 1966. @themuseumofmodernart New York/Scala, Florence. © Ed Ruscha. Reproduced by permission of the artist.

#EdRuscha #Route66 #USA #graphicdesign #advertising #print #art #LA #1960s #westcoast #printmaking Today marks 30 years since the death of Andy Warhol, hailed as the ‘Pope of pop art’. One of the most recognisable images in the world, Warhol’s Marilyn series remains sensational after five decades. This series of 10 individual screenprints, made in 1967, is on loan from @tate for our #AmericanDream exhibition – opening 9 March. Warhol used a cropped and enlarged publicity still as the source image for this work, taken by photographer Gene Kornman for Monroe’s 1953 film ‘Niagara’. Behind the glamour and fame of the Marilyn series lay tragedy. Recently divorced from playwright Arthur Miller, Marilyn had taken her own life with a drug overdose in August 1962. Warhol’s depiction of the alluring screen goddess became a memorial to a fallen idol.

See some of Warhol’s most iconic works in our major exhibition. Follow the link in our bio to find out more.

#Warhol #AndyWarhol #PopArt #1960s #USA #art #MarilynMonroe Sweets, ice creams and cakes feature heavily in the sugary, colourful work of American artist Wayne Thiebaud. This piece is called ‘Gumball Machine’ and was made in 1970. His works are characterised by his focus on mass-produced objects.

You can see some of his prints in our upcoming #AmericanDream exhibition – book your tickets by following the link in our bio.

Wayne Thiebaud (b. 1920), Gumball Machine. Colour linocut, 1970. © Wayne Thiebaud/DACS, London/VAGA, New York 2016.
#WayneThiebaud #popart #art #Americanart #🍭 #🍬 This beaded #wedding blanket was made around the 1950s in South Africa by a Ndebele artist. Under apartheid the Ndebele were forced to live in ethnically defined rural reserves. In response to losing their ancestral lands, Ndebele women began to make distinctive beadwork for significant events.

They also adapted these designs and painted them on their homesteads, to include ever more intricate and colourful patterns. As a form of protest, these artworks had the effect of making Ndebele identity highly visible at a time when the government was attempting to make them effectively invisible through rural segregation.

See this beautiful beaded blanket in our special exhibition #SouthAfricanArt, which traces the history of this nation over 100,000 years. Follow the link in our bio to book your tickets before the exhibition closes on 26 Feb.
#SouthAfrica #history #design #beads #Ndebele #blanket In 19th-century southern Africa, people wore different designs, colours and materials to communicate their power, wealth, religious beliefs and cultural community.

This beautiful beaded necklace is made of brass, glass and fibre, and is known as an ingqosha, a traditional necklace worn by the Xhosa people. Young Xhosa women and men traditionally wear the ingqosha at weddings and ceremonial dances.

During apartheid, necklace designs from the 1800s were used as a form of political and cultural protest. While on the run in 1961, Nelson Mandela was photographed wearing a beaded collar, and after his capture his then wife Winnie reportedly chose one for him to wear during sentencing. By wearing this necklace Mandela made a powerful cultural and political statement about his Xhosa ancestry.

Learn more about the fascinating history of this nation in our #SouthAfricanArt exhibition, closing 26 Feb 2017. Follow the link in our bio to find out more.
#SouthAfrica #necklace #jewellery #beads #history #art #xhosa We love this great shot of Esther Mahlangu’s stunning BMW Art Car taken by @bitemespice. It’s currently in the Great Court as part of our #SouthAfricanArt exhibition, charting the fascinating history of a nation through its art. The car was painted in 1991 to mark the end of apartheid in South Africa, and the brightly coloured geometric shapes are inspired by the traditional house-painting designs of the Ndebele people.

Mahlangu’s Art Car combines tradition and history with contemporary art and politics; themes  that are explored in our #SouthAfricanArt exhibition. Catch it before it ends on 26 February 2017 – you can book tickets by following the link in our bio.
#SouthAfrica #mybritishmuseum #britishmuseum #regram #repost
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