BRITISH MUSEUM Information and Plans
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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Lord Elgin and the Ottomans: the Question of Permission
Yeshiva University, Cardozo School of Law LARC @ Cardozo Law Articles Faculty 2002 Lord Elgin and the Ottomans: The Question of Permission David Rudenstine Benjamin N. Cardozo School of Law, [email protected] Follow this and additional works at: https://larc.cardozo.yu.edu/faculty-articles Part of the Law Commons Recommended Citation David Rudenstine, Lord Elgin and the Ottomans: The Question of Permission, 23 Cardozo Law Review 449 (2002). Available at: https://larc.cardozo.yu.edu/faculty-articles/167 This Article is brought to you for free and open access by the Faculty at LARC @ Cardozo Law. It has been accepted for inclusion in Articles by an authorized administrator of LARC @ Cardozo Law. For more information, please contact [email protected], [email protected]. LORD ELGIN AND THE OTTOMANS: THE QUESTION OF PERMISSION David Rudenstine* In the early morning light on July 31, 1801, a ship-carpenter, five crew members, and twenty Athenian laborers "mounted the walls" of the Parthenon and with the aid of ropes and pulleys detached and lowered a sculptured marble block depicting a youth and centaur in combatJ The next day the group lowered a second sculptured marble from the magnificent templet Within months, the workers had lowered dozens of additional marble sculptures, and within a few years, most of the rest of the Parthenon's priceless marbles were removed.^ These fabulous marbles, sculptured during the age of Pericles'' under the guiding hand of Phidias' out of fine white Pentelic marble quarried ten miles from Athens and hauled by ox-cart to the Acropolis,® had remained on the Parthenon for 2,200 years before being removed. -
Reflecting Antiquity Explores the Rediscovery of Roman Glass and Its Influence on Modern Glass Production
Reflecting Antiquity explores the rediscovery of Roman glass and its influence on modern glass production. It brings together 112 objects from more than 24 lenders, featuring ancient Roman originals as well as the modern replicas they inspired. Following are some of the highlights on view in the exhibition. Portland Vase Base Disk The Portland Vase is the most important and famous work of cameo glass to have survived from ancient Rome. Modern analysis of the vase, with special attention to the elongation of the bubbles preserved in the lower body, suggest that it was originally shaped as an amphora (storage vessel) with a pointed base. At some point in antiquity, the vessel suffered some damage and acquired this replacement disk. The male figure and the foliage on the disk were not carved by the same Unknown artist that created the mythological frieze on the vase. Wearing a Phrygian cap Portland Vase Base Disk Roman, 25 B.C.–A.D. 25 and pointing to his mouth in a gesture of uncertainty, the young man is Paris, a Glass Object: Diam.: 12.2 cm (4 13/16 in.) prince of Troy who chose Aphrodite over Hera and Athena as the most beautiful British Museum. London, England GR1945.9-27.2 goddess on Mount Olympus. It is clear from the way the image is truncated that VEX.2007.3.1 it was cut from a larger composition, presumably depicting the Judgment of Paris. The Great Tazza A masterpiece of cameo-glass carving, this footed bowl (tazza) consists of five layers of glass: semiopaque green encased in opaque white, green, a second white, and pink. -
Experts in Central London Planning & Development
EXPERTS IN CENTRAL LONDON PLANNING & DEVELOPMENT PLANNING & DEVELOPMENT Gerald Eve’s planning and development advisory business is one of the most respected in the UK. Consisting of over 100 professionals, we are one of the only fully integrated planning and development teams in our industry. The vast majority of the team are based in central London, working on some of the capital’s largest and most complex projects. Active in all London Acted for Advised all major central boroughs and the London developers and City of London REITS, including British Land, Derwent London, 50% Great Portland Estates, of London First's property Landsec and Stanhope and housing members We act for all the major London million estates, including The Bedford 15 sq ft £12.5 billion Estates, Capital & Counties Covent Garden, The Church of commercial gross development Commissioners, City of London, floorspace approved value The Crown Estate, Grosvenor Britain & Ireland, The Howard de Walden Estate, The Portman Estate, and Soho Estates 2 EXPERTS IN CENTRAL LONDON PLANNING & DEVELOPMENT OUR CENTRAL LONDON CLIENTS OUR CENTRAL LONDON CLIENTS 3 YOUR INTELLIGENT ADVISOR Gerald Eve is recognised among the UK’s leading experts in planning and development. Our clients look to us to help them realise or improve asset value. One of the largest fully integrated planning and development teams in the sector Deep understanding of the entire planning system Harnessing imaginative strategies and a tenacious approach to optimise outcomes Agile, flexible and adaptable to changing -
Access Guide Piccadilly Main Building Is Burlington House, London W1J 0BD on Piccadilly, Which Includes the Keeper’S House
Burlington House and Please note Keeper’s House The Royal Academy of Arts is Burlington House housed on two separate sites. Our Access Guide Piccadilly main building is Burlington House, London W1J 0BD on Piccadilly, which includes the Keeper’s House. Our other building, Burlington Gardens Burlington Gardens, is situated 6 Burlington Gardens directly behind Burlington House. London Currently, there is no direct access W1S 3ET between the two sites. To get from one site to the other, you need to General Enquiries: 020 7300 8000 use Old Bond Street, Sackville Street or Burlington Arcade which has General opening hours ramped access on request. 10am to 6pm Saturday–Thursday (last admission to galleries 5.30pm) Contact the Access Team To find out more about the RA’s 10am to 10pm Friday dedicated programmes and services (last admission to galleries 9.30pm) for disabled audiences, please visit our website or contact us: Opening times and access to the Website royalacademy.org.uk Keeper’s House and John Madejski Email [email protected] Fine Rooms do vary. Telephone 020 7300 5732 R BURLINGTON GARDEN E S G BU E OL SA N R T D L I CK NG S B Burlington T R ON T VI ON Gardens E E LLE T AR D ST CA ST D E Burlington House PICCADILLY ILLY S ICCAD T. P HA JA YM ME JERMYN STREET Green Park A S’ RK S ET ST REGISTERED CHARITY NUMBER 212798/DESIGN 01.02/ILLUSTRATIONS BY RUSSELL BELL/PRINTED BY TRADEWINDS/PHOTO BY ROY MATTHEWS, © ROYAL ACADEMY OF ARTS OF ACADEMY ROYAL © MATTHEWS, ROY BY TRADEWINDS/PHOTO BELL/PRINTEDBY RUSSELL BY 01.02/ILLUSTRATIONS -
Arcl0017 Greek Art and Architecture Ucl - Institute of Archaeology
ARCL0017 GREEK ART AND ARCHITECTURE UCL - INSTITUTE OF ARCHAEOLOGY Coordinator: Dr. Eva Mol Office hours: weekly chat sessions Wed 12-1pm or by appointment between Mon-Wed 9-17pm. Email: [email protected]; Year 2/3 BA Module, 15 credits Please see the online IoA Student Handbook for instructions on coursework submission, IoA referencing guidelines and marking criteria, as well as UCL policies on penalties for late submission. ARCL0017 1. OVERVIEW&SCHEDULE Introduction This module introduces Greek art and architecture in the period 2500-50 BC. In the context of a broad chronological survey, the focus is on three main themes: (1) the relationship between Greek art and society (2) addressing current problems in Greek art history and contemporary society, and (3) extensive training in visual analysis and the different lenses to look at Greek art. This year, as the course will be taught remotely, it will consist of different modes of online teaching that contain individual creativity, group fun, and lively discussions using famous objects and buildings belonging to the so-called ‘Greek canon’, and lesser known or even excluded object categories that will expand our idea of what Greek art is. Normally, we would go to the British Museum together, and look at all the incredible objects up close. This is not possible for the semester, but that does not mean we cannot discuss or study them. In fact, teaching the module online will provide us with the great opportunity to look beyond the British Museum (or any museum for that matter) and the Classical canon, and discuss together what Greek Art is right now, and how make it more relevant in the future. -
The Parthenon Sculptures Sarah Pepin
BRIEFING PAPER Number 02075, 9 June 2017 By John Woodhouse and Sarah Pepin The Parthenon Sculptures Contents: 1. What are the Parthenon Sculptures? 2. How did the British Museum acquire them? 3. Ongoing controversy 4. Further reading www.parliament.uk/commons-library | intranet.parliament.uk/commons-library | [email protected] | @commonslibrary 2 The Parthenon Sculptures Contents Summary 3 1. What are the Parthenon Sculptures? 5 1.1 Early history 5 2. How did the British Museum acquire them? 6 3. Ongoing controversy 7 3.1 Campaign groups in the UK 9 3.2 UK Government position 10 3.3 British Museum position 11 3.4 Greek Government action 14 3.5 UNESCO mediation 14 3.6 Parliamentary interest 15 4. Further reading 20 Contributing Authors: Diana Perks Attribution: Parthenon Sculptures, British Museum by Carole Radatto. Licenced under CC BY-SA 2.0 / image cropped. 3 Commons Library Briefing, 9 June 2017 Summary This paper gives an outline of the more recent history of the Parthenon sculptures, their acquisition by the British Museum and the long-running debate about suggestions they be removed from the British Museum and returned to Athens. The Parthenon sculptures consist of marble, architecture and architectural sculpture from the Parthenon in Athens, acquired by Lord Elgin between 1799 and 1810. Often referred to as both the Elgin Marbles and the Parthenon marbles, “Parthenon sculptures” is the British Museum’s preferred term.1 Lord Elgin’s authority to obtain the sculptures was the subject of a Select Committee inquiry in 1816. It found they were legitimately acquired, and Parliament then voted the funds needed for the British Museum to acquire them later that year. -
HO160210 Sale
For Sale by Auction to be held at Dowell Street, Honiton Tel 01404 510000 Fax 01404 44165 th Tuesday 16 February 2010 Silver, Silver Plate, Coins, Jewellery Ceramics, Glass & Orientals Works of Art & Collectors’ Items Pictures and Furniture yeer SALE COMMENCES AT10.00am Buyers are reminded to check the ‘Saleroom Notice’ for information regarding WITHDRAWN LOTS and EXTRA LOTS SALE REFERENCE HO01 Catalogues £1.50 Silver & Silver Plate Lots 1 – 165 On View: Coins – Lots 200 - 247 Jewellery Lots 250 - 360 th Saturday 13 February 9.00am – 12.00 Ceramics, Glass & Oriental Monday 15th February 9.00am – 7.00pm Lots 361 - 497 Works of Art & Collectables Morning of Sale from 9.00am Lots 500 – 559 Pictures Lots 560 - 619 Carpets, Rugs & Furniture Lots 620 - 723 TUESDAY 16TH FEBRUARY 2010 Sale commences at 10am SILVER AND SILVER PLATE 1. A set of six silver cocktail sticks with cockerel finials, Birmingham 1931, cased, together with a silver cigarette case with engine turned decoration, total weight 6ozs. (2). 2. A silver pepper mill, Birmingham 1934, height 8.5cm, together with a late Victorian silver replica of a late 17th Century bleeding bowl, London 1900, by George Jackson & David Fullerton, weighing 2.5ozs (2) 3. A silver four division bachelor toast rack, Sheffield 1927, also a silver desk or bedroom candlestick, with reeded column, Birmingham 1903, loaded, 11cm high and a silver bachelor cream jug, of an oval half fluted form, Birmingham 1901, weighable silver 3.5ozs (3). 4. A pair of late Victorian silver bachelor salts in the form of porringers, London 1896, by Mappin and Webb, with blue glass liners and non matching spoons, 2.5cm high, also a pair of cut glass salts with silver rims, Birmingham 1906, an eastern silver pepper with foliate spray decoration and a plated acorn shaped pepper. -
American Journal of Contemporary Hellenic Issues
AMERICAN JOURNAL OF Volume 11 Spring 2020 CONTEMPORARY HELLENIC ISSUES Unifying the Parthenon Sculptures George Vardas Still it survives Ruin’d but in its ruins beautiful William Haygarth.1 The English Romantic poet John Keats first encountered the Parthenon Sculptures in 1817 and through them saw a vision of a lost Hellenic world. In “awe-struck deference,” Keats proceeded to pen a sonnet, On Seeing the Elgin Marbles, his mind dizzy with swirling ideas and an “indescribable feud” within his soul as he wrestled with the “dim-conceived glories of the brain.” Keats contrasted his own mortality to "each imagined pinnacle and steep/Of godlike hardship", the great artistic achievement of immortal "Grecian grandeur" and a certain "magnitude" projected by the sculptures. In Ode on a Grecian Urn Keats’ sylvan historian could but only inquire, “What men or gods are these?" Commencing in 1801 workers engaged by the British Ambassador to Constantinople, the 7th Earl of Elgin, Thomas Bruce, by a combination of bribery of local Ottoman authorities in Athens and a dubious authorization (“firman”), began stripping more than one hundred sculptures and significant fragments consisting of pedimental figures, metope reliefs, and panels from the frieze from the Parthenon temple atop the Acropolis. Originally intended for his own private collection, Lord Elgin was forced under financial pressure to sell the sculptures to the British government, and in 1816 the Elgin Collection of Parthenon Sculptures became an exhibit at the British Museum in London where -
English Cameo Glass
ENGLISH CAMEO GLASS THE CORNING MUSEUM OF GLASS ENGLISH CAMEO GLASS IN THE CORNING MUSEUM OF GLASS DAVID WHITEHOUSE THE CORNING MUSEUM OF GLASS CORNING, NEW YORK Cover: Moorish Bathers. England, Amblecote, Thomas Webb & Sons, carved and engraved by George Woodall, 1898. D. 46.3 cm. The Corning Museum of Glass (92.2.10, bequest of Mrs. Leonard S. Rakow). Copyright © 1994 The Corning Museum of Glass Corning, New York 14830-2253 Editor: John H. Martin Photography: Nicholas L. Williams Design and Typography: Graphic Solutions, Corning, New York Printing: Upstate Litho, Rochester, New York Standard Book Number 0-87290-134-3 Library of Congress Catalog Card Number 94-071702 FRONTISPIECE. The Great Dish. CONTENTS Preface 7 Introduction 11 The Early Years 17 Stevens & Williams 31 Thomas Webb & Sons 33 A Woodall Miscellany 42 Epilogue 56 Further Reading 58 Notes on the Illustrations 59 Notes 63 FIG. 1. The Portland Vase. PREFACE THIS SHORT BOOK has two objectives: to cele- makers tried unsuccessfully to make a replica of brate the achievements of 19th-century English it, and in the 1820s and 1830s several silver ver- cameo glass makers and to focus attention on the sions were made by the London firm of Rundle, outstanding examples of their work in the collec- Bridge, and Rundell. tion of The Corning Museum of Glass. In the early 19th century—possibly as early Cameos are objects with two or more layers as 1804—glassmakers in Bohemia began to of different colors. The outer layer or layers are "case," or cover, colorless glass with a layer of partly removed to create relief decoration on a colored glass that was then cut through to reveal background of contrasting color. -
London Top Attractions
LONDON TOP ATTRACTIONS Westminster Abbey Steeped in history, the pillars of this great vaulted hall stand on the final resting place of the men and women who built Britain. Its great Gothic hall continues to play a part in the formation of the kingdom, having hosted nearly every coronation since 1308. Buckingham Palace Not the prettiest royal residence, but a must-see for the glimpse it affords of the modern life of the monarchy. The opulence of the state rooms open to the public provides plenty of wow factor, and don’t forget the collection of china and carriages at the Queen’s Gallery and Royal Mews next door. St. Paul’s Cathedral No matter how many times you have been before, the scale and elegance of Sir Christopher Wren’s masterpiece never fail to take the breath away. Climb the enormous dome, one of the world’s largest, to experience the freaky acoustics of the Whispering Gallery, and higher still for fantastic views across London. Tower of London The Tower is London at its majestic, idiosyncratic best. This is truly the heart of the kingdom—with foundations dating back nine centuries, every brick tells a story, and the ax-blows and fortunes that have risen and fallen within this turreted mini-city provide an inexhaustible supply of intrigue. British Museum If you want to journey through time and space without leaving the confines of Bloomsbury, a visit to the British Museum holds hours of eye-catching artifacts from the world’s greatest civilizations, including the Elgin Marbles, the Rosetta Stone, and the Sutton Hoo treasure. -
In South Kensington, C. 1850-1900
JEWELS OF THE NATURAL HISTORY MUSEUM: GENDERED AESTHETICS IN SOUTH KENSINGTON, C. 1850-1900 PANDORA KATHLEEN CRUISE SYPEREK PH.D. HISTORY OF ART UCL 2 I, PANDORA KATHLEEN CRUISE SYPEREK confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. ______________________________________________ 3 ABSTRACT Several collections of brilliant objects were put on display following the opening of the British Museum (Natural History) in South Kensington in 1881. These objects resemble jewels both in their exquisite lustre and in their hybrid status between nature and culture, science and art. This thesis asks how these jewel-like hybrids – including shiny preserved beetles, iridescent taxidermised hummingbirds, translucent glass jellyfish as well as crystals and minerals themselves – functioned outside of normative gender expectations of Victorian museums and scientific culture. Such displays’ dazzling spectacles refract the linear expectations of earlier natural history taxonomies and confound the narrative of evolutionary habitat dioramas. As such, they challenge the hierarchies underlying both orders and their implications for gender, race and class. Objects on display are compared with relevant cultural phenomena including museum architecture, natural history illustration, literature, commercial display, decorative art and dress, and evaluated in light of issues such as transgressive animal sexualities, the performativity of objects, technologies of visualisation and contemporary aesthetic and evolutionary theory. Feminist theory in the history of science and new materialist philosophy by Donna Haraway, Elizabeth Grosz, Karen Barad and Rosi Braidotti inform analysis into how objects on display complicate nature/culture binaries in the museum of natural history.