Personal Blogs

Coming home from a holiday in Devon I had a chance to look at the Methodist 'New Room' in Bristol, which features in the 'Christianity and its material culture' chapter of A111. 

The chapel is the second building on the site dating from 1748, the first which opened in 1739 was quickly outgrown. It sits just off the main Broadmead shopping centre in the middle of Bristol, there is a courtyard in front of the building with a statue of John Wesley on horseback.

One aspect of the building's design which wasn't mentioned in the A111 materials is the small stable block that flanks the entrance to the chapel. Travelling was very much part of a Methodist preacher's life and so the building including accommodation for both humans and horses!

I like the simplicity of the building's interior - the roof lighting really does flood the room and even on quite a grey day made it seem much more open and inviting than I'd expected.

Something that links with the more recent 'crossing boundaries' A111 theme and which initially surprised me was that the only translated information in the museum was in Korean. Apparently whilst the Methodist Church shrank dramatically in membership across the UK in the 20th century it saw a big increase in South Korea following missionary efforts from the USA - sufficient to make it worth the museum's while to try and encourage donations specifically from Korean pilgrims to the site! 

This variant on non-conformist Protestant Christianity is now practiced much more commonly outside the UK than it is within it.

I thought I'd share the stamps that the Irish An Post published in 2016 to commemorate the 1916 rising.

Having now read the A111 chapter 'Remembering and forgetting in Ireland' I think there were some really interesting choices made about what was 'remembered' (I wonder a bit about what was still 'forgotten', perhaps the impact on Unionists, the link with Germany?). The stamps came grouped into four themed sets

The leaders are grouped to represent the three organisations involved in the Rising, the IRB, the IVF and the ICA and there are a couple of the flags flown over the occupied buildings. This set is similar to the stamps published in 1966 - the seven executed signatories to the proclamation of independence.

Participants

These were a very interesting set of choices, the Dublin police constable was the first person killed in the uprising by Sean Connelly who himself died in the Rising, Michael Malone was an IVF member who died in the Rising his brother William had died the year before on the Western Front, Dr Lynn and Elizabeth O'Farrell were a doctor and nurse respectively who were active Nationalists and provided medical care to the rebels, the picture of Jack Doyle and Tom McGrath is one of very few taken inside the GPO during the week

Easter Week

More interesting choices...Seán Foster was among the 40 children who died in the Rising, Louisa Nolan received a medal from George V for tending to British wounded, Sir Francis Fletcher-Vane was a British officer who exposed the murder of the pacifist Francis Sheehy-Skeffington and four others by another British officer (there was an attempted cover-up, Fletcher-Vane was relieved of his command but had the political contacts to get the perpetrator convicted) 

The Aftermath

Images of the destruction in Dublin, of poor Dubliners scavenging for fire-wood, the repression and round-ups of the public that contributed to a change in public perception and Roger Casement who was the last leader executed having been caught soon after smuggling in arms for the rebellion from Germany.

An Post credit two historians for their contributions to the development of the stamps, Fearghal McGarry and Lar Joye

I don't think many of these stamps, other than the first four, could possibly have been printed in 1966, I found them a really fascinating set now I've learned so much more about public memories!

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According to Mark McCarthy in his 2012 review of 1916 remembrance (Ireland's 1916 Rising: explorations of history-making, commemoration & heritage in modern times. Farnham: Ashgate.),  'much of the substance of the 90th anniversary commemoration was about recovering lost memories of the revolutionary past. In what seemed like a public relations exercise of grandiose proportions, Easter 2006 was all about recasting the Rising in a new positive light and sanitising its legacy from all of the negative connotations associated with the actions of the Provisional IRA during the course of the Troubles.' 

The Taoiseach, Bertie Ahern, had played a key role in the negotiation of the 1998 Good Friday Agreement and according to McCarthy 'saw the 90th anniversary as an opportune time in which to reassert Fianna Fáil’s republican credentials and reclaim the Rising’s legacy from the Provisional IRA.' 

The first military parade since 1971 to celebrate the 1916 Rising was seen in central Dublin and the scale of celebrations exceeded anything that had occurred during the Troubles.

The commemorative stamp was a simple photograph of a recently cleaned and refurbished GPO building and to my mind is the most 'neutral' of all the stamp designs memorialising the Rising. There are no images of conflict or visual references to the rebels themselves - it certainly does look like a 'sanitised' legacy.

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In 1991, the 75th anniversary of the Rising, the commemorative stamp was a combined image of the Cúchulainn statue which stands in the GPO building as a memorial to the Rising and the text of the Proclamation of Independence. The Irish text on the side of the stamp translates as 'in memory 1916'. The other image on the first day cover is a statue of Hibernia which stands above the pediment on the building.

The original statue 'The death of Cúchulainn' was made in 1911-12 by the sculptor Oliver Sheppard and chosen by Éamon de Valera in 1935 as the 20th anniversary approached to be a monument to the Rising. Though mortally wounded by his rival Lugaid, Cúchulainn has himself tied to a standing stone to face his enemies upright in death. Only when a raven lands on his shoulder do his opponents know he has died.

The 1935 memorial also includes part of 1916 Proclamation, but Allison Martin (https://www.historyireland.com/easter-rising-commemorations-in-the-early-irish-state/) makes the point that only a section is included. The failure to include the section on expectations for religious and civil liberty and equal opportunities for all its citizens may reflect a nervousness on the part of the government that the social ambitions of the rebels had not yet been achieved.

When this stamp was issued in 1991 the 'Troubles' were ongoing, the 'Birmingham Six' had been released from prison in England a fortnight earlier, regular sectarian killings occurred in the weeks surrounding the anniversary. The text that accompanied the first day cover reads as quite constrained in its description of the Rising, 'a noble but hopeless venture', 'in almost every sense, a failure.' 

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The 1966 commemorative stamps could be saved in this special display leaflet, there were eight stamps in total. Seven stamps commemorate the signatories to the proclamation, each is given a brief potted history, particularly highlighting their role in the Rising. The date of execution is given for each. 

I think the stamp commemorating the Rising itself is perhaps the most interesting. The text says it 'joins symbolically the lives lost in the war of independence and the theme of Ireland marching into an era of freedom'. The stamp uses the three colours of the Irish flag and I think the sunburst is probably a reference to the Fianna in Irish mythology, the Irish text simply commemorates 'The Easter Rising'. The stamp design was by the Irish artist Edward Delaney, who is best known for his sculpture, including major memorials in Dublin to Wolfe Tone and Thomas Davis. The chapter discussed some of the 'sculpture wars' of this period, but only mentioned the 'victims' of Republicans, Delaney's Wolfe Tone sculpture was blown up by Loyalists in 1971 - but recast and replaced shortly afterwards.

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This is a commemorative from 1941 and the silver jubilee year of the Rising which occurred during the 'Emergency' (aka WWII). What I found interesting was the image of fighting youth. (The Irish is the 'in the name of God and the dead generations...' from the Proclamation)

In one of the A111 chapter references by Allison Martin, https://www.historyireland.com/easter-rising-commemorations-in-the-early-irish-state/ the 1941 celebrations are discussed and how, despite being a neutral country the government opted to make a real show of the military in the commemorations.

"De Valera and his administration therefore decided to use the commemoration service in order to project an image of military strength. In reality, the Irish state was militarily and financially unprepared for war. Nevertheless, the impressive military procession had the desired effect: one reporter from the Irish Independent was left with the distinct impression that ‘the nation was prepared’."

I think this political priority really comes across in the stamp design, none of the other commemoratives (there are ones from 1941,1966, 1991, 2006 and 2016) emphasise images of 'battle' like this - a really potent image!

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In 1941 a provisional set of stamps (two and three pence) were also printed and released just before Easter that year, these were standard 'definitive' stamp designs over-printed with the text 'In memory of the Rising 1916' in Irish. 

Only just started this book (and may dip in and out as chiefly interested in the early phase at this point) but didn't want to lose sight of the arguments Caine raises about reasons for, as she sees it, the lack of a continuity in traditions in feminism that might be seen in other political and social movements.

Caine makes the point that claiming connection to a founding father in other fields like economics '...automatically conferred legitimacy and importance on male writers [...] connection with Wollstonecraft suggested only moral laxity.' (page 6)

Caine goes on to suggest the lack of a single tradition might make feminism '...appear particularly subject to discontinuities and to breaks and constantly to be in need of revival and rescue.' resulting in opportunities and challenges. The absence of a strong central tradition can make it feel a 'starting from scratch' for every generation, 'On the other hand, the lack of an institutionally based tradition has conferred great freedom on later feminists to break with the past, [...] to formulate new theories and programmes [and also] to read and reconstruct their feminist past as they choose.'

Along with being helpful in thinking about the nature of Wollstonecraft's 'legacy' I think these may be important issues in other situations, particularly thinking about traditions relevant to other oppressed groups.

A frosty trip across to Yorkshire Sculpture Park today, followed by a visit to the Henry Moore Institute in Leeds.

I'd gone to YSP to look specifically at the exhibition 'Relics in the Landscape' by the contemporary American sculptor and artist Daniel Arsham, as an example of his work is included in the TMA on Greek and Roman Sculpture. There are six pieces, all displayed in the Formal Garden which is (as it implies) a formal green space, overlooked by a balustraded viewing path. Each sculpture is cast in bronze and coloured to simulate the patina seen on a classical statue. All the sculptures are modelled on existing iconic objects either classical sculptures or 'pop icons' like Pikachu or the bicycle from the film E.T.. Sometimes the scale is increased, and each sculpture is also marked by areas of what the artist calls 'erosions' as though they have been eaten away in some process of decay. Within the erosions are geode-like 'crystals' cast in stainless steel, the combination 'suggesting growth, transformation and the persistence of time'. Most of the statues are based on a plinth of some form, but the dominant sculpture 'Unearthed Bronze Eroded Melpomene' is designed to appear as though parts of the sculpture may yet to be excavated from the ground.

Unearthed Bronze Eroded Melpomene 

This is based on a statue dated from c. 50 BCE of Melpomene, in Greek mythology the muse of tragedy and lyre playing. The original sculpture is now held in the Louvre Museum. Arsham has dramatically scaled up the head from the original statue.

Bronze Eroded Venus of Arles

This is also based on a statue now held in the Louvre Museum, Vénus d'Arles thought to have been created in the 1st century BCE.

Bronze Eroded Astronaut and Bronze Crystalised Pikachu

Whilst the massive bronzes in particular had a dramatic impact and were beautifully set in the landscape I was left a little 'underwhelmed' by the works. The patchy erosions, didn't seem to me to really give quite the idea of a transforming process that may have been intended - perhaps that was because the 'crystals' were cast objects, images I've seen of Arsham's work for interior display use 'actual' crystals and I think look more intriguing. We're used to seeing classical statuary in various stages of decay, so for me it would have to be the 'change' that could bring some excitement. 

The idea of Pikachu as a latter-day Ozymandias didn't really grab me 😂  

After some packed lunch and a lovely bowl of soup at YSP I headed home via Leeds, and dropped in to see the exhibition at the Henry Moore Institute 'The Colour of Anxiety'

This was a great, three room exhibition of sculpture from the Victorian period, but with lots of really direct links to A111 and to the development and questioning of tradition.

The full title of the exhibition was 'The Colour of Anxiety: Race, Sexuality and Disorder in Victorian Sculpture' and the key to all the exhibits was a reflection on the move 'away from the the whiteness of Neoclassical marble' by British sculptors in the second half of the nineteenth century - and the inclusion of colour in their work.

There were links in this movement to the 'Gothic Revival' which we will look at later in the course, with interests in medieval art techniques, the rediscovery of ancient polychromy in sculpture, 'Orientalism' and new industrial techniques. The exhibition encourages us to also think about the impact of ideas of societal degeneration, Darwinism', race and imperialism and changing sexual politics.

'From the Hope Venus to the Tinted Venus'

Sculptures in this room included Antonio Canova's Venus (a representation of the Neoclassical ideal) and Hiram Powers's The Greek Slave which essentially has Venus in chains, representing a Christian white slave in a Turkish market, but perhaps indirectly talking of American slavery (Powers was American) - but also emphasising (like a number of the works here) naked bondage.

There was book on display by Antoine-Chrystome Quatremère de Quincy who apparently coined the term 'polychromy', challenging beliefs that ancient Greek sculpture was never coloured.

There was also a preparatory model for a 'Tinted Venus', by John Gibson that went on show in 1862 with 'ivory-tinted skin, blue eyes and rosy lips.' It apparently went down a storm with the public - but outraged artists and critics.

Finally, of relevance to A111 there was a 'table-top' sculpture of Cleopatra Dying, by Henri Baron de Triqueti, which was made from ivory and bronze (known as chryselephantine sculpture) on a marble and ebony base. This was seen as meeting a 'growing taste for coloured materials but also a fascination for all things Egyptian.'

Antonio Canova Venus  (The Hope Venus) 1817-20

Antoine-Chrystome Quatremère de Quincy Minerve Du Parthenon from Le Jupiter Olympien, ou l'art de la sculpture antique considéré sous un nouveau point de vue 1814

Henri Baron de Triqueti Cleopatra Dying 1859

Echoes of Slavery

The second room presented a number of works that have complex and challenging relationships with race and slavery. These were all statues or images representing black women, often either in chains, or markedly sexualised, or both. Several were produced, or reproduced, in bronze to give colour to the body. The exhibition also included two contemporary works by black artists Sanford Biggers and Maud Sulter. I particularly liked Biggers's statue Nile, which was caved in black marble and had a West African Dan mask on the body of a Neoclassical human form representing originally the River Seine.

Deathly Women

This was the final room and had some startling statues, almost all femmes fatales. These included the man-eating serpent woman Lamia, by Sir George Frampton who was quite astounding and looked basically like Tilda Swinton - well Tilda Swinton in some wild garb! 

There was a Pandora by the Victorian sculptor Harry Bates, but the standout for me was another work by the same artist, Mors Janua Vitae 'Death, gateway of Life', illustrated below - made me think of some the imagery in the illustrations in Birds, Beasts and Flowers I think DH Lawrence might have approved!

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A grand day out and I learned a lot from the exhibition at the Henry Moore Institute - just the right scale for an exhibit and a really excellent written guide and signage. Not really thought that much of the Victorian period in terms of arts (perhaps just the pre-Raphaelites) but I think this could be a really fascinating transitional period - so many social pressures and changes going on.

A parental taxi-run to Oxford allowed for a hasty (15min) dash into the Ashmolean Museum and more specifically to the 'Cast Gallery' that began in 1884 as a resource for teaching classical archaeology. The following are a few 'snaps' I managed to take - along with a promise to come back and spend some quality time in the future! (spent almost more time in the loo than I did in the gallery 😆)

The text is taken either from the accompanying museum labels - or from the online catalogue.

Cast of early Greek kouros, Delphi, Greece, c. 570 BCE

'The stocky, heavily muscled naked figure stands in the schematic ‘walking’ pose copied from Egypt by early Greek sculptors, signifying motion and life. One of a pair excavated in the sanctuary of Apollo at Delphi (now in Delphi Museum). The pair used to be identified as Kleobis and Biton, after a story in Herodotus about two statues at Delphi, supposedly of these two boys from Argos, who pulled their mother, a priestess, in a cart to a festival she needed to get to. The subjects are however more likely to be heroes or exemplary worshippers of Apollo, the god of the sanctuary. Such figures could carry a range of different meanings.

The engraved and simply modelled body surface, and the large eyes and flat-topped head are typical of the earliest large-scale Greek statues. The long hair is elaborately carved in thick, beaded locks, an archaic aristocratic fashion of the period. The subject is beardless, yet has strong muscle development, a full scrotum, and a trimmed mat of pubic hair - he stands on the threshold of manhood.'

[Note that the hair on this kouros is shown coming over the shoulders, more like a kore - presumably a 'local' (in either time or place) variant in style?]

Cast of ‘Peplos kore’, from Athenian Acropolis, c. 530 BCE

'The young woman held an offering in her outstretched left hand (missing) and wears an unusual combination of clothes: a thin underdress visible at her feet, a thick belted dress or skirt, and a short mantle. The outer clothing would have been brightly patterned and painted.'

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Athens, Acropolis Museum, inv. 679.

Found in three fragments in the 1880s, northwest of the Erechtheion on the Athenian Acropolis.

Small statue of kore type. She has long hair falling in symmetrical tresses on either side of the head and down the back, held by fillet, and crowned by stephane. She wears a chiton, a long garment held by a belt, a long jacket, and a short mantle. Studies of remaining pigment on the original marble surface have revealed complex painted decoration, with animal friezes on the long garment and lotus-palmette and running spirals on the jacket.

In: Frederiksen, Rune, and R.R.R. Smith, The Cast Gallery of the Ashmolean Museum: Catalogue of plaster casts of Greek and Roman sculpture (Oxford: Ashmolean Museum, 2011)

Cast of Diadoumenos (hair- binder) of Polykleitos, from Delos, c. 100 BCE

'A young athelete ties a fillet around his head after winning a contest. The marble statue is a sensitive Hellenistic version of a bronze victor statue by the famous fifth century sculptor Polykleitos of Argos, made in c430BC. Over forty later copies attest the impact of this statue.'

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Found in 1894 in the House of Diadoumenos on Delos, Greece.
Statue of naked athlete tying fillet in hair. A himation and quiver are draped over the supporting trunk to his right. Hellenistic, c. 100 BC copy of a statue of 440-420 BC by Polykleitos of Argos.

In: Frederiksen, Rune, and R.R.R. Smith, The Cast Gallery of the Ashmolean Museum: Catalogue of plaster casts of Greek and Roman sculpture (Oxford: Ashmolean Museum, 2011)

Cast of Diskobolos (discus-thrower) of Myron, 460-440BC

'An athelete is coiled up in a taut, momentary pose, about to throw the discus- one of the pentathelete’s five events. The cast combines a headless statue from Hadrian’s Villa at Tivoli and the head of a statue found in Rome. Copied closely from a lost bronze victor statue by the Athenian sculptor, Myron, active c460-440BC.'

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In: Frederiksen, Rune, and R.R.R. Smith, The Cast Gallery of the Ashmolean Museum: Catalogue of plaster casts of Greek and Roman sculpture (Oxford: Ashmolean Museum, 2011)

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Second, painted cast of the same original as B 161.
Cast acquired in 2009 from the Musei Vaticani. Reconstructed polychrome version produced under the scientific direction of P. Liverani.

In: Frederiksen, Rune, and R.R.R. Smith, The Cast Gallery of the Ashmolean Museum: Catalogue of plaster casts of Greek and Roman sculpture (Oxford: Ashmolean Museum, 2011)