British Museum blog

130 objects, 3,000 years of history: pharaoh exhibition opens

Margaret Maitland, British Museum

In just under two weeks, over 3,000 years of history – in the shape of 130 objects – has been installed at the Great North Museum: Hancock in Newcastle upon Tyne for the British Museum UK touring exhibition Pharaoh: King of Egypt. The objects span almost the entire extent of ancient Egyptian history, from an exquisite ebony label belonging to one of the very first rulers of Egypt to a monument depicting the Roman Emperor Tiberius as an Egyptian pharaoh.

The exhibition focuses on the kings of Egypt, but there is an incredibly diverse selection of objects, which presented a wide range of challenges in the installation. Among the objects is a tiny pendant of King Senusret II that transforms the hieroglyphs which spell out his name into a decorative piece, delicately crafted from gold and colourful semi-precious stones. To display this beautiful piece of jewellery and other small items, the museum assistants handcraft special mounts for each object.

Pendant of King Senusret II, about 1897-1878 BC.

Pendant of King Senusret II, about 1897-1878 BC.

The monumental objects presented the biggest technical challenges, a task for museum assistants Emily Taylor, Simon Prentice, and Emma Lunn. One of the most fascinating objects to install was the massive wooden statue of Ramses I, which would have stood guard protecting an inner chamber in his tomb in the Valley of the Kings. Towering two metres high, this massive statue has been skilfully conserved but is still fragile, and it was a slow and cautious operation to remove him from his enormous crate, condition check him, and slowly and carefully manoeuvre him into his case.

Museum assistants from the British Museum move Ramses I into position.

Museum assistants from the British Museum move Ramses I into position.

Ramses’ new home in the exhibition space, designed and built by Tyne & Wear, evokes an Egyptian tomb and temple landscape to convey where many of the objects were found. The exhibition text, created in collaboration between British Museum curator Neal Spencer, Great North Museum manager Sarah Glynn, Tyne & Wear curator Gill Scott, and myself, uses these objects to tell both sides of the story of Egyptian kingship: the powerful image the kings wanted to show their subjects and the rest of the ancient world, and stories they might not have wanted you to hear, about civil wars, palace conspiracies, assassinations, foreign conquerors, and female kings.

On Saturday 16 July, the exhibition opens to the public. It has been an incredible experience working with such a great team and amazing ancient objects and I’m thrilled to think of how many more people will now have the chance to enjoy them.

British Museum Director, Neil McGregor spoke eloquently at the official opening of the importance of this exhibition and others like it in bringing the national collection to people around the UK. Although ancient Egyptian pharaohs preferred to safeguard their power by restricting access to their palaces, temples, and knowledge, this free exhibition will share their splendour through the British Museum collection with audiences all over the country.

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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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