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How the Museum Saw the Motorcar?

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How the Museum Saw the Motorcar? How the Motor Museum Saw the Automobile: Curating the Automobile as Commodity, as Design and as Social History in Germany and Austria in the 20th Century from National Identity to Mobility. Thesis - submitted for the degree of Doctor of Philosophy at the University of Leicester by Pál Négyesi School of Museum Studies University of Leicester October 2018 1 Abstract How the motor museum saw the automobile: Curating the automobile as commodity, as design and as social history in Germany and Austria in the 20th century – from national identity to mobility. The automobile has defined the 20th century. It has brought along radical changes in mobility, altered the landscape, transformed communities and everyday life. Although this complex object has been shown in museums for over a century, an in-depth academic study which looks at the different institutions and changing curatorial practices around the automobile has been lacking. This thesis charts the evolution of the motor museum in Germany and Austria. Here the motor museum is being defined as a museum where automobiles are displayed. It includes science, technical, industrial museums, local history museums and company museums. This thesis draws upon the work of Lubar (Lubar&Kingery,1993) and Divall (Divall&Scott,2001) in order to conceptualise the car as a museum object and as an object of material culture. With the help of fifteen case studies it analyses the different type of museums, their development, their curatorial practices and their permanent and temporary exhibitions, in order to understand the different roles the automobile has played (and is playing) in these institutions. The tension between the static museum and the dynamic automobile is highlighted through specific examples. This thesis considers the role of collections, curators and exhibitions and looks at the automobile as a cultural, political and social sign in museum settings. It contends that the automobile is a complex object with different roles and functions. Therefore the automobile has a multi-faceted appearance in museums, where it is curated in many different, sometimes contradicting ways. Working on the assumption that if we understand the past we can plan for the future, this thesis provides examples on how to solve the tension of displaying a dynamic object in a static setting, thus offering curators a roadmap on planning future exhibitions. 2 Acknowledgements This thesis is the realisation of a decade-long dream. I will be forever grateful to all who has made it possible. My initial application was reviewed by Professor Simon Knell who supported my idea on a motoring museums-related thesis wholeheartedly. My supervisor, Dr Ross Parry made sure I stayed on track and supported my PhD journey all the way through. Without the guidance and wisdom of the late Martin Pfundner, I would not have had the courage to embark on this journey. A number of individuals assisted me during my field trips: Ms Dana Runge at Verkehrsmuseum Dresden; Ulrich Kubisch at the Deutsches Technikmuseum; Dr Bettina Gundler at the Deutsches Museum; Dr Katrin-Ann Ebert at the Technisches Museum; Hagen Nyncke, Ms Annika Biss and Ms Julia Oberndörfer at BMW Group Classic; Wolfgang Rabus at Mercedes-Benz Classic, Archive; Regina Franzke at Museum Industriekultur. It was Júlia Kisfaludi at the Hungarian Postal Museum who first accepted me as a volunteer. Imre Kiss at the Hungarian Museum of Trade and Hospitality found my idea for an exhibition on the history of Hungarian motorcar trade interesting and with Orsolya Varga we have developed my first museum exhibition. Let me express my thanks to Dr Gábor Zsigmond and László Köcze at the Hungarian Museum of Science, Transport and Technology. They enabled me to gain valuable museum experience by working as a photo archivist at the museum. Several people within the School of Museum Studies rooted for me and gave invaluable advice, especially Dr Stephanie Bowry. Thanks to Dr Amy Hetherington who proof-read the manuscript. And last but not least I, would like to express my eternal gratitude to my wife, Ms Boglárka Németh who stood by me and provided moral support during the joys and tribulations of the PhD journey. 3 Table of Contents Abstract.................................................................................................................2 Acknowledgements...............................................................................................3 Introduction...........................................................................................................9 Context Chapters Chapter 1 National Identity and Museums.........................................................29 1.1 Nation states and national identities.........................................................29 1.2 National Museums....................................................................................32 1.3 Science, Technical, Industrial and Transportation Museums...................36 1.4 Displaying national identity in museums..................................................48 1.5 Displaying national identity in science and industrial museums..............53 Chapter 2 The Automobile as Industrial, Political and Social Object.................57 2.1 The automobile as an industrial object.....................................................57 2.1.1 The early development of the motorcar............................................58 2.1.2 The motoring era...............................................................................64 2.2 The automobile as political object............................................................70 2.3 Mobility, the automobile as a social object...............................................72 2.4 Conclusion................................................................................................77 Chapter 3 The Automobile in Museums.............................................................79 3.1 The automobile as historical evidence.....................................................81 3.2 Private collections and museums before the Second World War............88 3.3 Adolf Hitler and the automobile industry as a tool to aid the creation of national identity...............................................................................................90 3.4 The automobile becomes collectible........................................................91 3.5 Collecting after the Second World War....................................................96 3.6 Motoring museums after the Second World War.....................................98 3.7 Conclusion..............................................................................................102 Analysis Chapters Chapter 4 The Automobile as a Symbol of National Identity............................105 4.1 The Exceptional Car...............................................................................107 4.2 The Leading Car.....................................................................................123 4.3 The Powerful Car....................................................................................137 Chapter 5 The Multipurpose Automobile..........................................................171 5.1 The Community Car...............................................................................172 5.2 The Global Car – The community understands the automobile.............197 5.3 The Empowering Car..............................................................................207 Chapter 6 Curating the Car...............................................................................228 6.1 Role of collections..................................................................................229 6.2 Role of curators......................................................................................234 6.3 Role of buildings.....................................................................................238 6.4 Role of exhibitions..................................................................................243 4 6.5 Conclusion..............................................................................................247 Synthesis Chapter 7 Conclusion: How the Museum Saw the Motor Car in Germany and Austria?.............................................................................................................249 7.1 Summary................................................................................................249 7.2 Key Findings and Original Contribution..................................................252 7.2.1 The car as historical evidence and as industrial object..................252 7.2.2. The car as political object...............................................................253 7.2.3. The car as social object.................................................................255 7.2.4. The car as marketing object...........................................................256 7.2.5. Original contribution.......................................................................257 7.3 Limitations and Future Research...........................................................258 Bibliography......................................................................................................261 5 List of Figures Fig 1: Cugnot's ‘Fardier á vapeur’ at the Musée Arts et Metiers (Source: https://www.arts-et- metiers.net/musee/fardier-vapeur)..............................................................................................60 Fig 2: 1913 Ford Model T from the
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