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Towards a Comparative Analysis of Madame Tussaud's and the National Portrait Gallery, London

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Towards a Comparative Analysis of Madame Tussaud's and the National Portrait Gallery, London Faces and figures : towards a comparative analysis of Madame Tussaud's and the National Portrait Gallery, London Autor(en): Kornmeier, Uta Objekttyp: Article Zeitschrift: Georges-Bloch-Jahrbuch des Kunsthistorischen Instituts der Universität Zürich Band (Jahr): 5 (1998) PDF erstellt am: 30.09.2021 Persistenter Link: http://doi.org/10.5169/seals-720073 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Uta Kornmeier Faces and Figu res Towards a comparative analysis of Madame Tussaud's and the National Portrait Gallery, London Famous and Infamous Flicking through London's weekly magazine 'Time Out', two curiously similar entries can be found. Under the heading Major Tourist Attractions' is listed Madame Tussaud's [...] Waxworks of the famous and the infamous...' while, a few pages later in the arts section, included under the heading 'Public Spaces and Museums', we find the 'National Portrait Gallery [...] collection of portraits of the famous and infamous'. Despite the fact that these two institutions would not usually be mentioned in the same breath, they are advertised using precisely the same words. Yet, where the description appears to conflate the two in terms of content, the classification — tourist attraction or museum — could hardly differentiate them more clearly. Madame Tussaud's, defined by its public, is contextualised as entertainment, geared to the credulous tourist seeking undemanding enjoyment of an inconsequential kind. The museum National Portrait Gallery on the other hand appears in the context of high culture, addressing an audience of art lovers and others with an interest in history, catering apparently for more delicate, refined and altogether serious needs. This simple categorisation corresponds to a readily accepted and opposing evaluation of the institutions in the consciousness of the public, although the description unwittingly reveals a hidden connection between the two. What these two apparently very different establishments have in common is a This is drawn from MA Cour- essay my report at the remarkably unified idea at the heart of their collections: they both set out to gather tauld Institute of Art, University of London, 1995.1 would like to thank Michael L. Phipps for his assistance images of public figures. It is indeed possible to describe both institutions as in reworking the original text as well as 'museums of noteworthy people'. Both their origins lie within a concept of history discussing its problems. I am also grateful to Dr. Simon Ward for his advice. My Ph.D. thesis at the and culture as representable through a selection of key figures. These selections, Kunsthistorisches Institut, Humboldt-Universität, Berlin, however, are controlled by two different sets of criteria. Furthermore, their entitled 'Das Kabinett der Madame Tussaud — Wachsfiguren zwischen Show und Museum', will developments and methods of accession and display are fundamentally different. As examine Madame Tussaud's first fourty in Britain years a consequence, their respective places in society have come to be defined by their within the context of England's early museum landscape, and is planned to be completed by May 1999. museological practices rather than the concept of their collections. Georges-Bioch-Jahrbuch des Kunsthistorischen Instituts der Universität Zürich 1998 Fig. 1: Ewan Christian, Exterior of the National Portrait Gallery, 1896, London, St Martin's Place. Photo 1998. 1 The historian Philip Henry, fifth Earl of Stanhope (1805-1875), had already requested the establishment of a portrait gallery for the nation in the late 1840's and in 1852. Only this third attempt in 1856 came to fruition. 2 Hansard's Parliamentary Debates (Lords), 3rd series, vol. CXL (1856, March 4th), col. 1770-1789, quotes: col. 1789,1771. 3 Hansard's Parliamentary Debates (Commons), 3rd series, vol. CXLII (1856, June 6th), col. 1113-1124, quote: col. 1120. 4 On the transformation of agricultural England into an industrial nation see Thomson, David, England in the 19th Century 1819-1914, Pelican History of England, vol. 8, Harmondsworth 1967, pp. 73-74. 5 See Pointon, Marcia, Hanging the Head. Portraiture and Social Formation in 18th-century In this essay I want to examine some of the similarities and differences England, New Haven/London 1993. 6 Mr. Spooner, for example, spoke against the between the National Portrait Gallery and Madame Tussaud's more closely, in order expenditure of tax money derived from the labouring to uncover the roots of their acknowledged levels of social standing and ascertain people for the gratification of the taste of the higher classes'. The Gallery - useful for lower the relevance of the latter in a strictly museological sense. 108 classes as it might be - should not, he said, be financed by the government (Hansard las in 31, col. 1115). and 7 George Scharf (1820-1895), watercolorist, Origins Development draughtsman and illustrator by education, became an authority on British portraiture while working When, in 1856, the Earl of Stanhope proposed to the House of Lords the establishment as Secretary of the Manchester Art Treasures of a national collection of portraits,1 his idea was to collect 'Portraits of the Exhibition. He was Secretary and later Keeper of the NPG from 1857 until 1882 but remained involved in most eminent Persons in British History' as a means of historical and moral its management until his death (Jackson, Peter, Sir instruction, especially for the 'industrious classes'.2 Furthermore, it would be a tool George Scharf, in: London Topographical Society (publ.), Drawings of Westminster by Sir George for historical research, a means of promoting the arts in general and portraiture Scharf, London 1994, 7-9).The of the pp. majority in particular, and provide aesthetic pleasure for the public. The Prime Minister, Lord founding Trustees, including Earl Stanhope, Lord Elcho and Lord Robert Cecil, were members of the Palmerston, supported the idea. He stressed its educative potential when he Houses of Parliament. Most had an interest in summarised the functions of the future gallery thus: history and were members of the Society of Antiquaries (Scharf, George, Historical and Descriptive There cannot [...] be a greater incentive to mental exertion, to noble actions, Catalogue of the Pictures, Busts G c. in the National to good conduct on the of the living than for them to see before them the Portrait Gallery on Loan at the Bethnal Green part Museum, London 1888, pp. 11-12; Kerslake, John F., features of those who have done things which are worthy of our admiration, and National Portrait Gallery Catalogue 1856-1947, London whose example we are more induced to imitate when they are brought before us 1948, p. X). 8 Marie Tussaud (1761-1850), born in Strasbourg in the visible and tangible shape of portraits.'3 as Marie Grosholtz, took her eldest son Joseph Apart from the assumed social benefit of the institution, Stanhope drew attention (1798-1870) with her to England in 1802. Her younger son Francis (1800-1873) left France to join them to the fact that many family portraits were lost to the nation when sold by in 1822 (Pyke, E. J., A Biographical Dictionary of the heirs. The State needed to continue the aristocratic tradition of the ancestral Wax Modellers, Oxford 1973, pp. 150-151, and Leslie, Anita/Chapman, Pauline, Madame Tussaud. Wax- gallery when the upper classes failed to do so. Stanhope's ideal was to preserve the worker Extraordinary, London 1978, esp. p. 143). and form a gallery of the new, nationally defined 'family' Britain. In 9 Philippe Guillaume Mathé Curtius (1737-1794), portraits a German by birth, settled in Berne in the 1750s and addition, the aristocratic need for self-representation and legitimization of power moved to Paris in 1762. Trained as a doctor, he through a long line of ancestors was also of concern to the new ruling classes of changed trade to become a successful wax modeller and showman (Pyke 1973 las in 81, pp. 34-35). the 19th century, the industrialists.4 Lacking their own sense of tradition, the latter Uta Kornmeier C xTallû/v de ûir'làtj- Fig. 2: Anonymous, 'Le Sallon de Cire de M. Curtius', adopted aristocratic forms of presentation and collected, instead of images of mid-1780s, Madame Tussaud's engraving, Archive, their own undistinguished forefathers, of 'great men' politicians, London. portraits - writers, and philosophers - in public spaces such as town halls as well as in their Fig. 3: Mrs Goldsmith (attr.), William III and Mary private quarters.5 II, wax effigies, 1725, Westminster Abbey Undercroft Museum, London. The earliest photographic In spite of objections from the House of Commons in terms of the selection record of this display is c. 1900. process and finance,6 a purchase grant of £2,000 for the foundation of the 109 Fig. 4: Marie Tussaud (attr.), Marie Antoinette's National Portrait Gallery was agreed at the end of June 1856.
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