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KM Wheeler Orcid.Org/0000-0001-7927-6613 Historic house museums and communication: a case study of the Irma Stern Museum KM Wheeler orcid.org/0000-0001-7927-6613 Thesis accepted in fulfilment of the requirements for the degree Doctor of Philosophy in History at the North-West University Promoter: Prof M Burden Graduation ceremony: July 2020 Student number: 26958074 ABSTRACT This cultural historical study investigates the challenges faced by historic house museums both internationally and in South Africa, and considers the question of whether effective communication could solve these problems. It will focus on interpretation, an important communication process, which forms an essential part of the visitor experience. The Irma Stern Museum, located in the home of the famous South African artist, is used as a case study to provide the context for this investigation. The study also aims to fill a gap in the literature, since to date very little research has been undertaken on house museums in South Africa. Historic house museums have been analysed as a specific museum type consisting of a house and its interior in which a collection consisting of household equipment is displayed in its original context as a home. These tangible aspects of culture are complemented by intangible aspects such as associations with the people who once lived in the house. House museums are found throughout the world. They can be divided into categories, amongst which are personality or hero houses, which celebrate the lives of famous people; they are the biggest category; other categories are collectors’ houses which belonged to collectors, and artwork house museums, which emphasise architectural style. House museums have remarkable educational potential because a home is part of everyone’s experience and they therefore should be very popular places to visit. However, since the 1990s these museums – as well as museums in general – have been facing challenges to their survival, as a result of social and economic changes in society, issues of relevance and lack of funding. As a result the role and function of museums and house museums has moved from being collection-based to visitor-based. This involves museums knowing who their visitors are so that they can effectively communicate with them; the case study is therefore based partly on a visitor survey. The importance of communication, an essential museum function which includes marketing, education, entertainment, exhibitions, interpretation, the visitor experience, and thereby sustainability, is discussed. Museum communication can consist merely of the transfer of information from the curator to the visitor who is a passive recipient as no feedback takes place. In contrast, by using interpretation the curator, through exhibitions and activities, aims to communicate important messages and meanings about the museum to the visitor, who may or may not actively interpret the message. This study explores the ways in which curators interpret house museums: as shrines, through objects in the collections, the context of house and home which includes the period room, and through social history. All these forms of interpretation address notions of authenticity, which is an essential part of the visitor experience. However, the interpretation offered by some ii house museums has been identified as a major problem, as it is seen as irrelevant and out of touch with the expectations of visitors. This study raises the questions: Do these museums only appeal to specific interest groups? If so, do they have a future in South Africa and internationally? Key words: Irma Stern; Irma Stern Museum; Irma Stern collection; historic house museum; communication; interpretation; museum visitor; visitor experience, challenges iii ACKNOWLEDGEMENTS I would like to express my sincere thanks to the following whose encouragement, help and support ensured that this project was completed: To my supervisor, Matilda Burden; To the Irma Stern Trust, trustees and advisors to the Trust past and present: Dudley Cloete-Hopkins, Morag Naylor, Michael Bosazza, Tania Pretorius, Virgil Lawrence; To the director and the staff of the Irma Stern Museum: Christopher Peter, Mary van Blommestein, Lucinda Cullum, Mbulelo Peter, Portia Twalo, Siphiwo Xaba; To the new director of the Irma Stern Museum, Nadja Daehnke; To the UCT heritage architect, Sally Hugo-Hamman; To my colleagues past and present at the Department of Social History Iziko Museums of Cape Town, Wieke van Delen and Esther Esmyol; To my friend Kareni Bannister; To my husband Philip and sons Michael and Richard. iv CONTENTS INTRODUCTION 1 Problem statement 1 Purpose of the study 3 Demarcation of the field of study 3 Presentation of the study 4 Sources 5 CHAPTER 1: CONCEPTUALISATION, METHODOLOGY 7 AND LITERATURE REVIEW 1.1. Introduction 7 1.2. Conceptualisation 7 1.2.1. Irma Stern (1894-1966) 8 1.2.2. Culture 8 1.2.3. Cultural history 13 1.2.4. Museum and historic house museum 19 1.2.4.1. Museum 19 1.2.4.2. Art museum 23 1.2.4.3. Historic house museum 23 1.2.5. Communication 24 1.2.5.1. Interpretation 26 1.3. Methodology 28 1.3.1. Theoretical approach 28 1.3.1.1. Historic house museum theory 29 1.3.1.2. Communication theory 29 1.3.1.3. Cultural history theory 34 1.3.2. Method 36 v 1.4. A review of the literature and other sources 37 1.4.1. Literature 38 1.4.1.1. Concepts and theories 38 1.4.1.2. Museums 39 1.4.1.3. Communication 40 1.4.1.4. Historic house museums 42 1.4.1.5. Irma Stern and the Irma Stern Museum 44 1.4.1.6. The South African context 46 1.4.2. Other sources 47 1.4.2.1. Primary sources 47 1.4.2.2. Oral sources 48 1.4.2.3. Fieldwork 48 1.4.2.4. Visitor survey 49 CHAPTER 2: HISTORIC HOUSE MUSEUMS: A GENERAL BACKGROUND 50 2.1. Historic house museums: a category of museum 50 2.2. The development of historic house museums: a brief overview of house 52 museums in the United Kingdom, the United States of America, Australia, Asia and South Africa 2.2.1. Background 52 2.2.2. The United Kingdom 53 2.2.3. The United States of America 55 2.2.4. Australia 57 2.2.5. Asia 58 2.2.6. South Africa 59 2.3. Types of historic house museums 59 2.3.1. Categorisation 59 vi 2.3.2. A brief overview of hero, collectors’ and artwork house museums 61 internationally and in South Africa 2.3.2.1. Hero house museums 62 2.3.2.2. Collectors' house museums 69 2.3.2.3. Artwork/Architectural style museums 73 2.4. Challenges facing historic house museums 77 CHAPTER 3: MUSEUMS AND COMMUNICATION 83 3.1. Introduction 83 3.2. The role of communication in the 21st century museum 83 3.3. Theories of communication: the transmission approach and the cultural 91 approach as applied to museums 3.3.1. Transmission approach 92 3.3.2. Ritual/cultural approach 94 3.4. How do museums communicate with their audiences? 96 3.4.1. Museum marketing 97 3.4.2. Museum education 98 3.4.3. Museum exhibitions 101 3.4.4. Holistic approach to museum communication: the visitor experience 107 3.5. The museum visitor 112 3.6. Conclusion 114 CHAPTER 4: HISTORIC HOUSE MUSEUMS AND INTERPRETATION 116 4.1. Introduction 116 4.2. The status of historic house museum interpretation 116 4.3. The role of the curator and research in historic house museum 120 interpretation vii 4.4. Presentation and interpretation in historic house museums 123 4.4.1. Background 123 4.4.2. Shrines 125 4.4.3. Objects 128 4.4.4. Context: house and home and the period room 133 4.4.5. Social history 139 4.4.6. Authenticity 142 4.5. Problems affecting interpretation and the visitor experience 145 4.6. Reinterpreting historic house museums for a better visitor experience 149 4.7. Interpretive plan 152 CHAPTER 5: THE IRMA STERN MUSEUM: ESTABLISHMENT AND 157 CURRENT SITUATION 5.1. Introduction 157 5.2. Irma Stern (1894-1966) the artist: a brief biography 158 5.3. The establishment of the Irma Stern Museum 162 5.3.1. Irma Stern’s will 162 5.3.2. The Firs: a potential venue for a museum 164 5.3.3. The selection of the Irma Stern Collection 168 5.3.4. The opening of the Irma Stern Museum 174 5.4. The Irma Stern Collection 180 5.4.1. Artworks by Irma Stern 180 5.4.2. Irma Stern’s collection 182 5.5. The Irma Stern Museum: house museum or art gallery? 189 5.6. The Irma Stern Museum and the current interpretation 194 5.7. Challenges facing the Irma Stern Museum 196 5.7.1. Low visitor numbers 197 viii 5.7.2. Funding 198 5.7.3. Relationship of the Irma Stern Museum with the UCT Works of Art 201 Collection 5.7.4. Mission/statement of significance 203 5.8. Conclusion 204 CHAPTER 6: THE IRMA STERN MUSEUM AND INTERPRETATION 206 6.1. Introduction 206 6.2. The Irma Stern Museum visitor 207 6.2.1. Low visitor numbers 207 6.2.2. Visitor survey 209 6.2.3. Visitors’ book 213 6.3. Interpretation and the Irma Stern Museum 213 6.3.1. What is the Irma Stern Museum: an art museum/art gallery or a historic 213 house museum? 6.3.2. Website 218 6.3.3. Orientation 218 6.3.4. Presentation of Irma Stern, the house and the collection 222 6.3.4.1. Background 222 6.3.4.2. Display rooms 224 6.3.5.
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