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Refiguring the Art Museum in Twentieth-Century Britain Ana

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Refiguring the Art Museum in Twentieth-Century Britain Ana The Road to Renewal: Refiguring the Art Museum in Twentieth-Century Britain Ana Baeza Ruiz Submitted in accordance with the requirements for the degree of Doctor in Philosophy The University of Leeds, School of Fine Arts, History of Art and Cultural Studies January 2017 2 Intellectual Property and Publication Statements The candidate confirms that the work submitted is her own, except where work which has formed part of jointly-authored publications has been included. The contribution of the candidate and the other authors to this work has been explicitly indicated below. The candidate confirms that appropriate credit has been given within the thesis where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2017 The University of Leeds and Ana Baeza Ruiz The right of Ana Baeza Ruiz to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. 3 Acknowledgements A PhD is no individual project, even though it can at times be a lonesome one. There are many people that have made their way into this thesis, but I am especially grateful to my supervisors, Susanna Avery-Quash and Mark Westgarth, for their insightful comments and unfaltering encouragement. I am greatly indebted to the kind assistance of numerous archivists, librarians and museum curators who have made my research a lot more manageable, and I would like to especially thank Ceri Brough, Nicholas Donaldson, Shana McKenna, James Lomax, Alan Crookham, Tom Mitchie, Nicola Kennedy, and Richard Wragg. Also, I would like to thank Rachael Fenton and Suzanne Bosman from Photographic and Copyright at the National Gallery, and colleagues in the departments of Education and Public Engagement, with whom I learnt a great deal about the delivery of outreach activities. Above all, I want to thank Anthony Wells-Cole for his generosity, friendship, and passion about Temple Newsam, which is contagious. I also owe a special thanks to those colleagues with whom I have been able to share my research, most of them doctoral students and staff from the University of Leeds and the National Gallery. These conversations helped me a great deal, both intellectually and emotionally. As it happens I cannot name them all here, but I would like to mention Liz Stainforth and Chrysi Papaioannou for challenging my thinking and for being such great friends, and Anna Upchurch, such a kind and generous scholar whom I got to know too late, as she very sadly passed away. Lastly, this thesis would not have seen the light without the love and support of friends and of my family. Geno, René, Maria, Ajay, Vanessa, Kurt, Elizabeth, Rafa and Ana, abuela Ana, and Rachi above all, thank you all for being a listening ear and for making sure I would laugh and smile even when it was an uphill climb. 4 Jens, you took my hand and walked with me almost every step of the way, and this thesis is really yours too. Above all, I want to dedicate this thesis to my parents, Eva and Fede, without a doubt the two most tactful listeners I have known, in whose company I was able to find and develop a voice that was my own, and who always encouraged me to keep searching. That I still am, and so grateful to you for it, thank you. 5 Abstract The thesis critically investigates the ways in which art museums in Britain evolved their curatorial techniques in the first half of the twentieth century, and it specifically charts the career of the scholar and museum director Philip Hendy (1900-1980), by focusing on the three museums under his care: Leeds City Art Gallery (1934-1945); Temple Newsam, Leeds (1938-1945); and the National Gallery, London (1946-1967). Through these case-studies, the thesis explores Hendy’s scheme to modernise these institutions during the interwar, wartime and post-war periods (1934-1956), and locates this reform in the context of changing discourses within the museum profession about the purpose of art museums in Britain. Specifically, the investigation is concerned with the duality that was implicated in this agenda of modernisation, as museums aimed to democratise access to their collections with new display strategies and amenities for visitors, but whose efforts were at the same time characterised by a specialisation of curatorial practice which led to concerns about the status of the profession and the improvement of museum standards. The thesis thus articulates the increasingly professionalised endeavours in the museums under study, and examines how these informed, but also competed with, the concrete methods by which these galleries sought to open their doors to the interests of larger publics. The focus of the investigation is on museum presentation - encompassing both architecture and display - which acted as a site of mediation between these professional and public spheres and shaped visitor engagement. As the thesis demonstrates, the curatorial techniques in the museums under review emphasised the need for museums to adapt to the demands of the present by updating their methods of exhibition, and secondly, they 6 intended to make the collections visible to visitors qua viewers, in the belief that this would also make the museum more open and accessible. 7 Table of Contents List of Illustrations .......................................................................................................... 9 Introduction ................................................................................................................. 15 Museum Histories ......................................................................................................... 19 Professionalisation ........................................................................................................ 33 Professionalisation in context .................................................................................. 38 Democratisation ............................................................................................................ 43 The study of museum presentation ............................................................................... 50 Philip Hendy in context: social milieu and archival sources .......................................... 58 Structure of the thesis ................................................................................................... 68 Part I: Museums in the early twentieth century ............................................................ 72 Chapter 1: Reforming Leeds City Art Gallery and the task of visual education (1934-1939) .................................................................................................................................... 77 Playing a part in democracy: art museums in the twentieth century ......................... 80 Museums and the path to professional modernisation .............................................. 88 The gallery beautiful: a project for visual education ................................................... 98 Chapter 2: Temple Newsam and the making of a public museum (1938-1945) ............. 120 The context of the country-house in the 1930s ........................................................ 122 Hendy’s vision for Temple Newsam .......................................................................... 128 Temple Newsam: public museum and aesthetic reform ......................................... 137 8 Art vs history: the restoration at Temple Newsam and the criterion of quality ......................................................................................................................... 142 Values of clarity and simplicity ........................................................................ 152 Part II: Museums, reconstruction and the road to modernisation after WWII ............... 166 Chapter 3: Post-war experimentalism at the National Gallery (1946-1947) .................. 179 Wartime damage and post-war experiment .......................................................... 180 Rehanging the post-war Gallery ............................................................................. 185 Hendy’s ‘daring juxtapositions’ ........................................................................ 188 Aesthetic experience as a link between past and present ............................... 194 The National Gallery’s ‘Exhibition of Cleaned Pictures’ .......................................... 200 A Gallery open to the public eye ...................................................................... 203 Looking at pictures: directness, vitality and colour .......................................... 212 Chapter 4. A Modern Gallery for modern times: refiguring architectural visions at the National Gallery after WWII (1947-1956) .................................................................... 223 Planning the modern museum after the war ......................................................... 224 A modern shell inside an old building and the comforts of picture-viewing .......... 230 The enhancement of vision and the pleasure of looking at pictures ..................... 252 Institutional narratives of modernisation ............................................................... 266 Conclusion ................................................................................................................. 276 Illustrations ...............................................................................................................
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