18/1/07 - History of Art - Museums

This lecture will consider how museums are influential rather than neutral, and some of the controversies that have surrounded museums.

The first modern museum was founded in the late 18th century, at a time closely linked to Enlightenment and the rise of the bourgeoisie. Museums were frequently purpose-built, though sometimes they were installed in already existing buildings. Private collections were the first displays, but they were often crowded.

Many see the Louvre as the real beginning of modern museums. The building began as a palace for the king. After hid death a decree was put out that the Louvre would open to the public in 1793. This was the agenda for hanging paintings in its halls. "Potent engines of ideology."

French museums in particular are treasures of war, showing objects that were taken as booty abroad, for example, some of its 17th century Spanish paintings. Provenance later became an issue and museums were therefore seen to harbour an aggressive culture and power struggles.

When the National Gallery was first opened in Angerstein's house it was an embarrassment of a mere 40 paintings compared to The Louvre's hundreds. It was later moved to a purpose-built building in Trafalgar and more paintings were acquired.

Other cities wanted to show off their prestige and power by having their own museums. Worldly success came to be measured by acquisition in museums (whether they collected national paintings, local paintings or those of an individual).

Museums are now used to protect, curate and conserve works. They provide a permanent haven for works that would otherwise be damaged or sold to an 'unsuitable' place. Works are studied and catalogued accurately and thoroughly. Studies of works are facilitated. Museums are always looking to improve their permanent collection by complementing already existing works by filling in gaps and acquiring works that are central to the museum's surrounding culture. Emphasis has been placed on availability to public and education for all. Museums try to provide entertainment for a public of diverse background, which is increasingly important as government funds rely on customer numbers, hence the current level of marketing that museums use).

So presentation, the images and information given are important for museums.

Deacquisition (selling surplus or undesirable items) is rare in the UK, but common in the US. The reason why this is not exercised in the UK is because while some paintings may appear to be inferior today, they may gain significance in the future. There is also a rise in the returning of apparently looted works to their country of origin. There is the issue of restoration and conservation of paintings: the Louvre is conservative and prefers not to restore paintings but to leave them in their present condition; the National Gallery in London is cavalier and prefers to restore its paintings to their original condition so that they can be better appreciated. Admissions to galleries are mostly free, for the inclusiveness of everyone. However, charging would bring some much-needed cash. Installations could be put in for the sake of education or beauty; this needs to be considered before paintings are installed. And how much say should marketing have on the hanging of works? Nowadays, the market has a lot more say than it did previously.

The culture of ancient Greece is seen as the epitomy of great art, so some museums imitated this style, for example, look at the architecture of the Ashmolean Museum, Oxford. There is often a balance that must be struck between modern, respected style and the emulation of the classical arts.

Museums try to give the impression that art objects ennoble the viewer, hence why some galleries and museums such as the National Gallery of Scotland are set back from the street. In order to get there, you must cross the road, walk across a courtyard and mount some steps. Many people dislike the oppressive atmosphere of museums, however. Others find them glorifying.

The rise of the museum came in conjunction with the decline of religion. Museums replaced church visits. Yet they are similar in many ways: they have a sacred space, one must speak in a hushed voice, one must process down long corridors, venerate works and behave with unusual decorum.

The Guggenheim Museum brought to question whether it was the contents of the museum that were of most interest, or whether it was the architecture of the building.

Extensions on to museums are sometimes unsuccessful yet required, for example, the Playfair Project at the National Gallery of Scotland and the refurbishment programme of the power station in London in what is now the Tate Gallery. Yet it was argued that the Guggenheim's significance was its architecture and not is exhibitions.

We must consider what the effect of museums on art really is. Remember that works of art were not originally made for museums or public viewing. In a museum, art could lose all meaning. The Bridgewater Madonna, say, would look different if it were put in a display of monographic works, Italian works, religious works or a private setting. Other factors include using neutral walls and how crowded the works are affect aesthetics. Also, how the viewer sees a work of art depends on what they have seen previous to it, and in turn seeing the work of art may affect how they see subsequent works of art.

The South Kensington Gallery had a separate room for watercolours and showed a preference for classical art. The order that we're supposed to see the art can be influenced by curators, for example, ethnographic sections tend to be on the top floor of a gallery or museum. Barnes deliberately undermined the view that ethnographic art should be kept separate from classical art by putting both sections together and showing how one influenced the other. He even declared in his will that this was not to be changed.

Period hanging tries to re-establish the original settings that paintings were painted and viewed in. This is an educational agenda.

Aesthetics became more popular in the 1960s so each work began to be treated as a work of art in itself. In the Getty Museum, the works are widely spaced and information about them is restricted to minimise conditioning on the viewer. Dark walls were used, and enclosed rooms with wide open spaces, with seating for contemplation. The Beyller Foundation and Tate Gallery adopted this approach, with emphasis on education of the soul rather than factual education. Galleries became places of escapism and purification.

Thematic hanging is the final one. This type of hanging disregards date and tradition. So still lives of all nationalities and periods can be seen together. However, this is a limiting technique so only large museums are able to do it.