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02/03 FoRewoRd ChristopherBreward headofresearCh

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Medieval&RenaissanceGalleRiespetaMotture

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sTephenJones’ orioleCullen decode:diGiTaldesiGnsensaTions louiseshannon TheculToFbeauTY:TheaesTheTic MoveMenTinbRiTain,1860-1900 stephenCalloway posTModeRnisM:sTYleand

subveRsion1970-1990 GlennadaMsonandJanepavitt 20/21 ReseaRch FoR Publication MedievalJewelleRYineuRope

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30/31 collections ReseaRch ReseaRchinTheTheaTRe

collecTions katedorney epsRc/ahRc:scienceand heRiTaGeReseaRchclusTeR Marionkite

34/35 univeRsity oF sussex/v&a exchange

20ThanniveRsaRYevenT ChristopherBreward exchanGeFellows2009-2010 anneatwellandfloradennis

38/39 gRaduate ReseaRch ahrCCollaBorativedoCtoral

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23/43 aPPendix stafflist BenefaCtorslist

welcometothefourtheditionofthev&aresearchBulletin.thesummariesoftheresearchprojectsundertakenbytheMuseum’scurators,conservators,educators,studentsandfellowsduring2009includedherearerepresentativeofamuchbroaderrangeofcollections,exhibitions,galleryandweb-relatedwork,fulllistingsofwhichcanbefoundintheon-linev&aresearchreport(http://www.vam.ac.uk/res/cons/research_reports).

thecontentandformatofthisresearchsupportsthev&a’smissiontobeacknowledgedandrespectedastheworld’sleadingmuseumofartanddesign.itrangesfromtheislamicartsofspaintopostmoderndesign,andaimstobetrulyglobalinitsimpact.aparticularfeatureofresearchactivityoverthepastyearhasbeenthecompletionofworkonarangeofpublicationstoaccompanytheopeningofthev&a’sMedievalandrenaissanceGalleries,severalofwhicharefeaturedhere.allofthepublications,touringexhibitionsandweb-resourcesproducedbycolleaguesandcollaboratorswillreachnationalandinternationalaudiences,increasingknowledge,understandingandenjoymentofthedesignedworld.

2009hasalsoseenthelaunchofthev&a’sonlineJournalandpreparationsforthepublicationofthesecondissue.theJournal,whichoffersaspaceforarticlesandreviewsfocussingontheMuseum’shistory,collectionsandcurrentpublicprogrammecanbyviewedathttp://www.vam.ac.uk/vandajournal.futuresubmissionsarewelcome!

thev&a/rCapostgraduateprogrammeinthehistoryofdesigncontinuedtothrive,withthefirstcohortofournewMacourseinasiandesignhistorymovingintotheirfinalyear.newsofstaffandstudentresearchacrossallthreepathwaysoftheprogrammecanbefoundinthesisterbulletinofthispublication,andbothareavailabletodownloadathttp://www.vam.ac.uk/school_stdnts/stdnts_lecturers/ma_history/index.html.

wehopeyouenjoythisinsightintotheactivitiesthatunderpinthepublicoutputsofthev&a,andwethankoursponsors,partners,staffandstudentsforplayingapartintheirsuccessfulexecution.

PRoFessoR chRistoPheR bRewaRdheadofresearChoCtoBer2009

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Fashion drawing by Mary Quant, 1960s, V&A: E.526–1975

theMedieval&renaissanceGalleries,openingindecember2009,presenttheMuseum’soutstandingcollectionsofeuropeanartanddesignfrom300–1600asacoherentnarrativeforthefirsttime.tengalleries,includingadramaticnewdaylitspace,incorporatethediverserangeofmaterials,fromCopticsockstoarenaissancechapel.theseincludestellarexamplesofmedievalivoriesandmetalwork,manuscripts,prints,tapestries,stainedglass,ceramicsandfurniture,aswellasmajormasterpiecesbyartistssuchasdonatello,CrivelliandGiambologna.

thematicdisplaysexamineartisticproductionacrosstheperiodandsettheobjectswithintheirwiderculturalcontext.theyhighlightcontinuities,aswellassignificantchanges;challengingdivisionsbetween,forinstance,artandartefactorsacredandsecular.eachofthegalleriesisarrangedchronologicallyanddesignedtotellaparticularstory–suchasfaiths&empires300–1250,nobleliving1350–1500,aworldofGoods1450–1600andsplendour&society1500–1600.twomainthemesrecurthroughout:theconstantreferencetothepast,notablythestylesandideasofantiquity,andthecentralityofChristianbeliefandthechangingattitudesoftheChurch.

thenarrativeisexploredthroughthecarefuljuxtapositionofobjects,supportedbyinterpretation,includingfilms,interactivesandtouchmaterials.furtheractivitiesareavailableintwodiscoveryareasandastudyzonewheretheMuseum’sonlinecataloguecanbeaccessed.anonlineblog,www.vam.ac.uk/vastatic/microsites/1265_frost/hastrackedthedevelopmentofthegalleryandtheeducationalinitiativessurroundingit.anahrCknowledgetransfergrantthroughtheroyalCollegeofMusichasenabledrecordingsofobject-specificmusictobeavailableinthegalleriesandontheweb.theprojectalsobenefitedfromanahrC-fundeddoctoralstudent,sarahBercusson–co-supervisedwithQueenMary,universityoflondon–whosubmittedherthesisthisyear.atwo-yearkressCuratorialfellowshipwasheldbyMeghanCallahan,andakressConservationfellowshipbyeowynkerr.annualrenaissancestudydays,incollaborationwiththeopenuniversity,havebeenestablished,aswellasamajorprogrammeofrenaissancesculpture

studies,generouslyfundedbyroberth.smith.ColleaguesfromwithinandoutsidetheMuseumhavecollaboratedoversevenyears,takingadvantageofthisuniqueopportunityforexaminingthecollectionsclosely.thebreadthanddepthoftheirresearchisreflectedintherangeofpublicationsproduced.foremostisMedieval&renaissanceart:peopleandpossessions,byGlyndaviesandkirstinkennedy,providingafreshapproachtothestudyofartandcultureacross1300years.othermorefocussedvolumesincludethoseonmedievaljewellery,armourasclothing,andthematerialcultureofdeath,aswellasrenaissancesecretsbyJowheeler,assistedbykatytemple,andMedievalandrenaissancetreasureseditedbypaulwilliamsonandpetaMotture.

Medieval & Renaissance galleRies

04/05 Griffin-shaped ewer, Germany, circa 1120 V&A: 1471–1870

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ConservationstudiesincludeatechnicalreviewofrenaissanceframesbyChristinepowellandZoeallen,andadedicatedissueofthev&a’sConservationJournal.aspecialissueofrenaissancestudies,editedbypetaMottureandMichelleo’Malleyoftheuniversityofsussex,willbepublishedinfebruary2010,shortlybeforeathree-dayconferenceatthev&aonMakersandMarkets,1100–1600.numerouscontributionsarebeingmadetospecialistjournals,andaseriesoffuturearticlesintheBurlingtonMagazinewillcontinuetomakethefruitsofthisresearchavailabletoabroaderaudienceworldwide.

Peta MottuReMedievalandrenaissanCeGalleriesproJeCt

theeuropeangold,silverandmosaicsassembledbyrosalindeandarthurGilbertbetween1968and2001weregiventoBritainin1996.atthetimethiswasthemostvaluablesingledonationofmajorworksofartonrecord.theircollectionwasdisplayedatsomersethousefrom2000–2008.transferredtothev&aonlongtermloan,thenewGilbertGalleriesreflecttheGilberts’passionforcraftsmanshipandfascinationwithcollectingworksassociatedwithimportanthistoricalfigures.

sirarthurbeganbypurchasingdomesticsilverandmicromosaicpicturestodecoratetheirhomeinBeverlyhills,California.hisinterestinmosaicsledhimtocollectgoldboxes.theseinturndictatedhiscollectionofenamelportraitminiaturesandporcelainboxes.histasteforBritishsilverdevelopedtoembracepreciousraritiesassociatedwiththeeuropeanprincelytasteandincludedthelargestprivatecollectionofpiecesthenintheunitedstatesmarkedbycelebratedlondongoldsmithpauldelamerie.severalofthesepiecesweremodelledandchasedbythe‘MaynardMaster’,anantwerp-trainedcraftsmanwhoworkedfordelamerieinthe1730sand1740s.aspecialdisplayofsilvermarkedbydelamerieandassociatedwiththeMaynardMasterisshownintheadjacentwhiteleysilverGalleriestocelebratetheopeningofthev&a’snewGilbertGalleriesandillustratescurrentresearchbyfreelanceamericanscholarellenoralcorntoidentifythismysterycraftsman.

theGilberts’pioneeringcollectionofglassmosaics‘inpiccolo’,producedinromefrom1775assouvenirsforgrandtourists,hasencouragedscholarlyinterest.oneofthefourv&aGilbertGalleriesisdevotedtoaspectaculardisplayofglassmicromosaicsandpietredure.alongsidetheclockcabinetmadeattheflorentineopificiounderGiovanniBattistafoggini,circa1700,avideofilmedinthepaciworkshopillustratesthehistoricmaterialsandtechniquesof‘florentinemosaic’whicharestillpractisedinflorencetoday.

the Rosalinde and aRthuR gilbeRt galleRies

06/07Frederick the Great Snuffbox, chrysoprase, varicoloured gold, diamonds, carnelian and foil, Berlin, circa 1765. V&A: Loan: Gilbert.412–2008

the‘Beautifulskyofitaly’micromosaictabletopcreatedbyMichelangeloBarberiinrome,demonstrateshowdelicategradationsoftoneoftheglasstesseraecanrepresentnaturalphenomena.recentresearchinitalywillpavethewayforanexhibitionofGilbertCollectionitalianmosaicsinromein2011.

snuffboxesmadeforfredericktheGreatofprussiaweretheprideofsirarthur’scollectionofover200goldboxes.MadeinBerlinbyfrenchgoldsmiths,theydemonstratetheGilberts’interestintasteandskillsthatcrossednationalboundaries.aninternationalsymposiuminnovember2010organisedbyv&aGilbertcuratorsinassociationwiththewallaceCollectionwillexplorethedesign,materialsandtechniquesof18thcenturyeuropeangoldboxes.

thepublishedcataloguesoftheGilbertCollectionbyleadingexpertshavefuelledthesearchtheCollectionsdatabaseaccessibleintheGilbertGalleriesandontheweb.theGilbertCollection,editedbyconsultantcuratortimothyschroder,2009,providesageneralintroduction.

tessa MuRdochsCulpture,Metalwork,CeraMiCsandGlass

Buddhistteachingsinalltheirformshaveprovidedoneofthestrongestculturalunifyingfactorsthroughoutasiaduringthelasttwomillennia.thefortysevenmasterpiecesshowninthenewlyopenedroberth.n.hofamilyfoundationGalleryofBuddhistsculpturereflectthegreatdiversityofartisticstylesandthegradualevolutionofdoctrinesasBuddhismmovedfromindiaacrosssoutheastandeastasiafromthe1stcenturyadonwards.Createdinawidevarietyofmediatheworksshowndatefrombetweenthe2ndcenturyadandthe19thcentury.

thekeyobjectsinthemuseum’simportantBuddhistsculpturecollectionaredisplayedtogetherforthefirsttimeandareinterpretedcoherentlyinrelationtotheirhistorical,religiousandartisticcontexts.thenewdisplaysfollowtheapproachoftheadjacenteuropeanandenglishsculpturegalleries,makingfulluseoftheavailableabundantnaturallightwhilealsoallowinggenerousspaceforeachwork.whereverpossibletheimagesareonopendisplayallowinganallroundanddirectviewing

thelayoutofthenewdisplaysreflectthelongandenduringhistoryofBuddhismandthejourneywhichthefaithmadebothintermsofitsgeographicalspreadanditsdoctrinalevolution.Geographicalgroupingsprovidetheprimaryoverallframework.room20,theconceptualstartofthegallery,coversthemajorearlysculpturalschoolswhiletheothermajorthemeisthatofthelifeofthehistoricalBuddhahimself.room19showsmasterpiecesfrommedievalnorthandsouthindiaandfromadjacentnepalandtibet.thisgroupingreflectstheimportanceofindianmonasticcentresforthespreadofthefaith,togetherwithitsartisticstyles,tothehimalayas.twooilpaintedcopiesofthe5thcenturyadmuralsinthecavetemplesofajantainMaharashtrastateprovidevisualcontextinthefirsttworooms.theseremarkableworks,createdbyJohnGriffiths,theheadtutorofpaintingattheBombayschoolofartandhisbestindianstudentsbetween1872and1885,documenttheworldfamouspaintingprogrammesbeforemuchsubsequentdamageoccurredtothem.room18displaysworksfromsoutheastasia,mainlyfromthailand,indonesiaandBurma.thecollectionisparticularlyrichinmaterialfromthelattercountry,theresultofa

longBritishengagementwithitduringthelasttwocenturies.possiblythesinglemostspectacularobjectinthegalleryisthelacqueredandgildedteakshrinefromthepalaceatMandalaydatingfromthemiddleofthe19thcentury.enshriningaBuddhaatitscentrethistoweringconstructiondazzlesthroughitscombinationofgilt,colouredlacquer,insetstonesandmirrorwork.CollectedbyaBritishofficerin1885andformerlypartofthecollectionoftheBristolMuseumitwasde-accessionedbythatinstitutionandacquiredbythev&ain1969.itisondisplayagainafternearlythirtyyearsofstorage.thefinalroom,room17showssculpturesfromJapanandChinaincludingtwo6thcenturyworksfromthemajorcavetemplecomplexatXiangtiangshaninhebeiprovince,centralChina.

eachroomprovidestwomainfocusesofinterpretation.amainroompanelexplainsthehistoricalandgeographicbackgroundwhileasecondpanelhighlightsevolvingreligiousdoctrineanditsrelationtoarthistory.theotherelementofgalleryinterpretationconsistsofthreefilmsandaninteractiveprovidingthevisitorwithaguidetothelanguageofgestures,posturesandotherBuddhistsymbolsandattributesfoundinsculptures.

John claRkeasiandepartMent

the RobeRt h.n.ho FaMily Foundation galleRy oF buddhist sculPtuRe

Buddhist Shrine and associated objects, AD 1800–1900, Mandalay, Myanmar (Burma). Teak, gilded lacquer, semi-precious stones and mirrors.V&A Is.11–196908/09

l&icarryoutresearchinthreebroadareasofinterest:gallerycontentdevelopment,museumvisitors,andlearningandinterpretationprogrammesandactivities.

thisyearourprimaryfocusofvisitorresearchforgallerycontentdevelopmenthasbeenthematicandnarrativetestingfortheBuddhistsculpturegalleries,lookingatthemesandobjectsinordertoinformanddevelopproposedinterpretationinthegalleries.wealsoconductedsignificantinterpretivedeviceprototypetestingfortheMedievalandrenaissanceandCeramicsgalleries.

ourworkwithaudiencesthisyearlookedatvisitorswhocametoournewsacklerCentreforartseducation.twolargeresearchprojectswerecommissioned:onelookingatvisitorprofile,andtheotheratengagementwiththecentre,intermsofitsfiveintellectualobjectives.thedepartmentalsorantheinauguralsacklerCentreconferenceforartseducation,‘fearoftheunknown:cangalleryinterpretationhelpvisitorslearnaboutartandmaterialculture?,’whichwastheMuseum’smostsuccessfulacademicconferenceforfouryears.attendeesfromafrica,theMiddleeast,americaandeuropespentthreeenergeticdaysdebatinganddiscussing.

ourkeyfocusofresearchforinterpretivemethodologyandmuseologyforthelastfewyearshasbeenontheuseofmobiledigitaldevicesbothingalleriesandaspartofoff-sitenetworks.aspartofthis,wearealeadpartnerintheCentreofexcellenceforteachingandlearningindesign(Cetld)alongwiththeuniversityofBrighton,theroyalCollegeofartandroyalinstituteofBritisharchitects.thisinnovative5-yearresearchprojectlookingatdevelopingresourcesthatencourageanewstandardinobject-basedlearning,isnowinitslastyearandhasproducedawidevarietyofpublications,seminars,andaforthcomingbookfromashgate.theresearchhasinvestigatedhowdigitaldevicescancontributetobuildingpersonalisedlearningenvironmentsformuseumvisitors.

finally,our3-yearhlffundedproject‘CapacityBuildingandCulturalownership’cametoanendandwithitanextensiveresearchreportwaspublished,evaluatingallstrandsoftheproject.wearecurrentlyplanningaconferencelookingatdiversityfortheyear2011.someofthisresearchiscarriedoutentirelybyresearcherswithinl&i,othersinpartnershipwithresearchconsultantsandacademicinstitutions.wealsohostanumberofMuseumstudiesandeducationgraduateandpost-graduatestudentseachyear,whousethemuseumforcase-studiesfordissertationsandtheses.

Juliette FRitschlearninGandinterpretation

leaRning and inteRPRetation

10/11 Interpretative exhibits in the new Ceramics Galleries

thev&aisdedicatedtoinspiringandworkingwiththecreativeindustries.whiledesignersandmakersfrequentlyvisittheMuseum’sgalleriesandstorestoseekinspiration,itisdifficulttoquantifythekeyroleplayedbytheMuseumwithinthecreativeworld.thisexhibition(february–May2009)focussedonthecreativeprocessofonecelebrateddesignerwhomtheMuseuminvitedtoinvestigatethehatscollection.itaimedtoillustratehisdesignprocess,frominspirationtoendproduct.

stephenJonesisoneofthemosthighlyregardedmillinersworkinginfashion.sinceearlyinhiscareerhehasworkedwithsomeofthehighestprofileinternationalfashiondesigners:JeanpaulGaultier,thierryMugler,viviennewestwood,reikawakuboofCommedesGarçonsand,mostfamously,JohnGalliano.

asaco-curatorwithstephenJones,ourresearchbeganwithvisitstothev&astoreswhichhadtofitwithhisbusyworkscheduletravellingbetweenlondon,parisandnewyork.overtwoyearstheprojectexpandedtoincludeasurveyofnumerousotherhatcollectionsinBritainandabroad,includingJones’sownarchiveofhatsandpressbooks.inaddition,hisstaffandcolleagueswerewillingintervieweeswhocouldgiveaveryspecificanduniquewindowintohismethodsofworking.

observingadesigneratworkisanincrediblyrevealingandimmediateformofresearch.whetherthedesignerisexaminingdetailsofahistorichat,fittingprototypesintheatelierormeetingwithstrawsuppliersinluton,therecanbenobetterwayofbuildingupacomprehensiveimageofthedesignprocess.

stephenJonesandilookedatthousandsofhatsandspentmanytorturedhourseditingthesedownto350.ourchoicewasinformedbytheconceptoftheexhibition,basedaroundfoursectionsmirroringthe‘life-cycle’ofahat:inspiration,Creation,thesalonandtheClients.theaccompanyingbookwithanintroductionbystephenJonesandillustrationsbylawrenceMynottfollowedasimilarformat.productiondesignerandartdirectorMichaelhowellscreatedthesetfortheexhibitiontosuitthesethemes.atitsheartwasareplicaofamilliner’sworkroom,situatingthecreativehubatthecentreofthegallery.

forthemuseumcurator,workingwithlivingdesignerspresentsadifferentsetofchallengestothoseencounteredwhenpreparingexhibitionsofhistoricdress.inordertoprovideastimulatingexperienceforthepublic,curatoranddesignerhavetoachieveagoodworkingrelationshipbeforehand.eachneedstounderstandtheother’sschedulesandplanaccordingly,andbepreparedtonegotiateanyconcernsoverdifferentworkingmethodsandpractices.with‘hatsananthologybystephenJones’thev&ademonstratedjusthowproductivesuchanexchangecanbe.

duringtherunoftheexhibition,anaudienceofover95,000wereabletoenjoytheworkofacontemporarydesignerandsomeofthetreasuresofthev&a’sunparalleledarchivesintheMuseum’sContemporaryexhibitionGallery.Manymorehaveaccesstoitontheweb.

oRiole cullenfurniture,teXtilesandfashiondepartMent

‘hats an anthology by stePhen Jones’

12/13A window from the ‘Salon’ section of the V&A ‘Hats An Anthology by Stephen Jones’ exhibition

theexhibitionwillshowthelatestdevelopmentsindigitalandinteractivedesign,fromsmallscreenbasedgraphicstolarge-scaleinstallations.Curatedincollaborationwithleadingdigitalartsorganisationonedotzero,therewillbeworksbyestablishedinternationalartistsanddesignersincludingdanielBrown,JohnMaeda,Golanlevinanddanielrozinaswellasemergingdesignerssuchastroikaandsimonheijdens.theexhibitionprovidestheopportunitytocommissionnewworksincludingalargecommissionfortheJohnMadjeskiGarden.

theexhibitionwillbecentredintheporterGallerywithaseriesofinterventionsthroughouttheMuseumandgardenaswellasanumberofspeciallycommissionedone-offperformances.therewillbeanambitiousmicrositethatwillhostcontentfromtheexhibition.

theexhibitionwillexplorethreethemes.CodeasarawMaterialwillpresentpiecesthatusecomputercodetocreatenewdesignsinthesamewayasculptorworkswithmaterialssuchasclayorwood.thissectionwilllookathowcodecanbeprogrammedtocreateconstantlyfluidandeverchangingobjects.ondisplaywillbeanewpiecebydanielBrownfromhis‘onGrowthandform’series,inspiredbythev&a’scollection.Brownusesadvancedmathematicstogenerateorganicdepictionsofimaginaryplantsthatcontinuouslygrow,producingnewbuds,blossomsandstalks.assoft,organicdigitalimages,thesegenerativeflowerswillcontinuetodevelopandgrowoverthecourseoftheexhibition.

thesecondtheme,interactivity,willlookatdesignswheretheviewerdirectlyinfluencesthework.visitorswillbeinvitedtointeractwithandcontributetothedevelopmentoftheworks,manyofwhichshowdesignersplayingwiththeboundariesofdesignandperformance.oneobjectwillbeGolanlevin’sopto-isolator,ahuman-sizedmechanicaleyewhichfollowsthegazeoftheviewer,blinkingonesecondafteritsvisitorblinks.weaveMirrorbydanielrozinisaresponsivesculpturethatrecreatesanimageofthevieweronits768motorizedplanes.asmokyportraitcomesintofocusastheplanesrotateintoplace.

thefinaltheme,thenetwork,willfocusonworksthatcommentonandutilisethedigitaltracesleftbehindbyeverydaycommunications,fromblogsinsocialmediacommunitiestomobilecommunicationsorsatellitetrackedGpssystems.thissectionexploreshowadvancedtechnologiesandtheinternethaveenablednewtypesofsocialinteractionandmediaforselfexpression.designersreinterpretthisinformationtocreateworksthattranslatedataintostrikingforms.theserangefromlive,real-timevisualisationsofflightpatternsbyaaronkoblintoadataminingprojectbyJonathanharrisandsepkemvar.theirproject‘wefeelfine’extractscommentsbybloggersfromallovertheworldonhowtheyarefeelingandrepresentstheinformationascolourful,floatingspheres.userscanfiltertheinformationbyselectinganemotionaswellasbloggers’gender,ageandthecityandweatherconditionswhereheorsheisbasedtorevealanonymous,oftenhighlypersonalstatements.

theexhibitionwillhaveanambitiouseventsprogramme.highlightsofthisincludeatwodayconferenceandadigitalweekend.theexhibitionwillleadtoacquisitionsofcontemporarydigitalmaterialforthev&a’scollections.

louise shannonConteMporaryproGraMMes

decode: digital design sensations.

14/15Dandelion, Sennep/Yoke, 2006, 2009 edition, Image Copyright: Sennep

thev&a’smajorexhibitioninspring2011willexploretheextraordinary19thcenturymovementwhichaspiredtoescapetheuglinessandmaterialismoftheagethroughanewidealisationofartandbeauty.embracingthenoveland,asmanythought,‘dangerous’notionof‘artforart’ssake’,paintersandpoetscreatedanewkindofartthatexistedonlytobebeautiful;anartwhich,setfreefromestablishmentideasandvictoriannotionsofmorality,daredsimplytoofferdelightandhintatsensualpleasures.

the‘CultofBeauty’willexaminetheaestheticMovementthroughtheworkandideasofitskeyfiguressuchasdanteGabrielrossetti,edwardBurne-JonesandwilliamMorris;JamesMcneillwhistler,oscarwildeandaubreyBeardsley,chartingthedevelopmentofthisdaringexperimentinartandlifestylefromtheromanticbohemianismofthe1860stoitsfinal,fascinatingdecadentphaseinthelastdecadeofQueenvictoria’sreign.

thisexhibitionwillbringtogetheranunrivalledgroupofthegreataestheticpaintingstogetherwiththefinestfurnitureanddecorativeartsinspiredbythemovement.amongthemasterpieceswillbe‘nocturnes’andportraitsbywhistler;Burne-Jones’exquisitelylanguorouslausvenerisandlordleighton’scelebratedBathofpsyche.literarylifewillberepresentedbysomeofthemostimportantandbeautifulbooksoftheday.

theriseofaestheticisminpaintingwasparalleledinthedecorativeartsbyapowerfulrecognitionoftheneedfordesignreformandanewandincreasinglywidespreadinterestinthedecorationofhouses.Manyofthekeyavant-gardearchitectsanddesignersof‘artmanufactures’,suchase.w.Godwin,interestedthemselvesnotonlyinworkingforwealthyclientsbutalsoinrethinkingthedesignofthemiddle-classhome;asaresult,thenotionof‘thehouseBeautiful’becameatouchstoneofculturedlife.Co-incidingwithaperiodof

unprecedentedexpansionofdomesticmarkets,thestylesfavouredbyaestheticdesignerswereamongtheveryfirsttobewidelyexploitedcommerciallyinBritain.inadditiontogatheringmanyimportantindividualpieces,anumberofset-piecesintheshowwillevokethevisualworldoftheaesthetesandthekindofroomsandensemblesofbeautifulobjectsbywhichtheyexpressedtheirtastesandideals.inthisperiod,‘palacesofart’,thehousescreatedbyrossetti,Burne-JonesandMorris;fredericleighton,alma-tademaandothers,andtheirextravagantlifestylesbecametheobjectofpublicfascination.significantly,themajorcollectorsandpatronswhoboughtaestheticpaintingsandfurnishedtheirhousesinthenewstylecamefromtwodistinctgroups:oneanoldaristocraticandintellectualcircle,theotherdrawnfromthenewclassofambitious,self-confidentandlargelyself-mademerchantsandindustrialists.figuresfrombothgroupsarewellrepresentedinaestheticportraiture.

throughportraits,photographsandfashionabledressoftheperiod,theexhibitionwillparadethemovement’sglitteringcastofcharactersfeaturingartists,poetsandtheirmuses,thedesignersandmakersofexquisitethings,andtheaesthetesandcollectorswhodevotedtheirlivestothepursuitofBeauty.

theexhibition,organisedinconjunctionwiththefineartMuseumsofsanfrancisco,willhaveitsfirstshowingatthev&afromapril–July2011andwillthentraveltotheunitedstatesforshowingsinsanfranciscoandathirdamericanvenue.asubstantialv&apublicationwithcontributionsbyaboutadozenv&acuratorsaswellasanumberofoutsidespecialistsinthefieldwillaccompanytheexhibition.

stePhen callowaywordandiMaGedepartMent

the cult oF beauty: the aesthetic MoveMent in bRitain, 1860–1900

16/17 The Day Dream by Dante Gabriel Rossetti, oil on canvas, 1880, bequeathed by Constantine Alexander Ionides. V&A: CAI.3

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theradicalideasassociatedwiththetermpostmodernismsweptthroughtheartsinthe1970s.inachallengetothe‘grandnarrative’ofartisticprogress,architectsanddesignersrejectedModernism’skeytenetsofuniversalismandutopia.intheirplace,theyofferedarangeofsubversivetactics:parodyandpastiche,quotationandirony,andaboveall,areconsiderationofthepast.oneresultofthesedevelopmentswasanewfreedomfordesign.

postmodernismwillexploredevelopmentsinarchitecture,design,fashion,graphics,film,videoandthefineartsbeginningwiththe‘crisis’yearsoftheearly197os,whichsawaradicalnewpracticeemergingtochallengethehegemonyofModernism,tothepeakofthe1980s‘boom’years,whenarchitecture,designandfashionbecamebigbusiness.Bothiconicandlittle-knownworksfromtheperiodwillbegatheredtogether,includingtheradicaldesigngesturesofalessandroMendiniandronarad,thearchitectureofMichaelGravesandaldorossi,theperformancesoflaurieanderson,graphicsbyaprilGreimanandpaulascher,andsubversivefashionsbydesignerslikereikawakubo(CommedesGarçons)andviviennewestwood.thesevariedandchallengingworkswillbesetagainstthebackdropoflate-capitalism–thepost-fordist,globalised,image-rich,speeded-upandde-centredexperienceofthelatetwentiethcentury.

theexhibitionistheproductofthelong-standingcollaborationbetweenthev&a’sresearchdepartmentandtheuniversityofBrighton,andisco-curatedbyGlennadamson,headofGraduatestudiesanddeputyheadofresearchatthev&aandJanepavitt,theuniversity’sprincipalresearchfellowatthev&a,alsobasedintheresearchdepartment.amongsttheresearchactivitieswhichhaveinformedtheintellectualdevelopmentoftheexhibitionisaseriesofacademicworkshops,includinganeventco-organisedwiththeBardinstituteinnewyork.alivelyprogrammeofacademicandpubliceventsisplannedleadinguptoandduringtheexhibition,tocontinuethedebateoverthismostcontentiousofphenomena.

glenn adaMson and Jane PavittCo-Curators,postModernisM

PostModeRnisM: style and subveRsion 1970–1990

Casablanca sideboard, 1981Plastic laminate over fibreboard. Acquired, in part, with the assistance of Memphis. V&A: W.14–1990

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thisshortbookintroducesthegeneralreadertotheworldofmedievaljewellerybyseekingtoanswersomeofthemostpressingquestionsaroundthesubject.whoworejewelleryandwhy?howdiddressaffectthetypesofjewelleryworn?whatwasreligiousjewellery?howdoesonedistinguishthemerelysuperstitious,fromwhattheChurcheithercondemnedasheretical,orapprovedofasreflectingdevotion?whydosomejewelshaveinscriptions?whatwasthesignificanceofgems?

throughoutthemiddleagesineurope,jewellerywaswornasmuchbymenandchildrenasbywomen,andbyalllevelsofsociety.itreflectedanintenselyhierarchicalandstatus-conscioussociety,andwasofcrucialimportanceasanindicatorofthewearer’ssocialimportanceandwealth,oftheirfaithandsuperstition,oftheirallegiancesandevenoftheirliteracy.Jewelswerebyfarthemostimportantandvaluableformofportablewealth.MostofthegoldandsomeofthesilverusedintheMiddleageswasrecycledfrompastcenturies,andmanyofthegemstonesusedwereprobablysurvivalsfromtheancientworld.

royaltyandthenobilityworegoldorsilver,oftensetwithcostlypreciousgems.sapphires,pearls,garnetsandamethystswerepopular,rubiesthemosthighlyprized.humblerranksworebasemetals,copperorpewter,sometimessetwithcolouredglass,inimitationofgems.Jewellerymadeofthebasemetals-copperandpewter-issurprisinglyraretoday,giventhatitwasmadeingreatquantitiesforpoorerpeople.thisisbecausesuchpieceswerelesslikelytobetreasuredheirlooms,andwhentheybecameunfashionable,theirmetalwouldsimplyhavebeenmelteddownandrecycled.

appliedgemsandenamelgavecolourtojewellery,andmanygemswereprizedaboveallfortheirpowerfulamuleticpowers,believedtogiveprotectionagainstdiseaseanddanger.Magicalandsometimescrypticinscriptionswereespeciallyvaluedbecausetheytoowerethoughttoprotectthewearer.Gemswereusuallyjustpolished,butuncut,untiltherenaissance.sizeandlustrouscolourdeterminedtheirvalue.

Medieval JewelleRy in euRoPe 1100–1500

Medievaljewelsareingeneralrare,bycontrastwiththejewelledmagnificencedescribedbymanymedievalwriters,anddepictedbyartists.theMuseumcollectionofmedievaljewelleryfromeuropeisrichinbrooches,withafewgirdles,rosarypendantsandotherornaments.itsmostoutstandingfeatureisitsextensiveandvariedcollectionoffinger-ringsofalltypesanddecoration.thecollectionwasshapedbytwoprominentantiquaries,edmundwaterton(1830–87),aroman

Ring broochFrenchcirca. 1225–1275V&A: 547-1897

Rese

aRch

Fo

R Pu

blic

atio

n

Catholicanddiplomat,andsirJohnevans(1823–1908),whowastheheadofafamilyofantiquary-collectorsandbenefactors.heleftmostofhiscollectiontohisson,sirarthurevans,famousexcavatorofknossos,whoaddedtothecollection,leavingmostofittohissisterdameJoanevans(1893–1977),whogavemuchofittotheMuseum.

MaRian caMPbellsCulpture,Metalwork,CeraMiCsandGlass

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thebookisintendedtoexplorefundamentalissuesunderlyingtheMedievalandrenaissanceGalleries,andprovidecontextualinformationtosupportthemainpublication.

theexistingliteraturesurroundingthesubjectisextensive,andbynecessitythebookisasynthesis.neverthelesstheexplorationofsuchacomplexsubjectinarelativelystraightforwardwaythroughvisualevidenceisafreshapproach.itallowsmajortheological,socialandhistoricalissuestobeinvestigatedthroughcarefullychosenv&aobjects.severalofthese,inparticularsomeoftheminiaturesfrombooksofhours,haveneverbeenpublishedbefore.

thetextandillustrationssetoutthebeliefssurroundingdeathandtheafterlifeintheperiod,andthenexaminehowtheseaffectedthebehaviourofpatronsandconsumers.duringlife,believersmadeeveryattempttoimprovethechancesoftheirsoulsafterdeath;commissioningfurnishingsandvestmentsfortheirchurches,wearingreligious/magicaljewelleryandusingbooksofhoursandotherdevotionalaids.alltheseactivitiesfuelledtheproductionofworksofart.theactualprocessofdyingandtheassociatedfuneraryceremonialwasofparamountimportance,andthebookexplorestheritualssurroundingdeathandburial.afterdeath,elaboratetombsandmonumentswereintendedtobolsterfamilystatusaswellasencouragingremembranceof–andprayersfor–thosewhohaddied.

eleanoR townsendMedievalandrenaissanCeGalleriesproJeCt

death and aRt: euRoPe 1200–1530

Burial scene, detail from a book of hours; illuminated manuscript, Paris or Rouen (France), circa,1500 V&A:MSL/1902/1661, f.85

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inthisbook,armourandweaponsaremovedawayfromthebattlefieldandnearertotherenaissancewardrobe.

renaissancenoblemenwerethefashionleadersoftheirday.theyspentafortuneontheirappearance.forbattle,pageantandsporttheyworethefinestarmour,expensivelycommissionedinthelateststyles.paradearmours,lavishlyornamented,adornedwithplumesofostrichfeathersanddrapedwithcolourfulsilksashesparalleledthesumptuousfabricstheyworeatcourt.

pragmatismmightsuggestthatgoodarmourshouldbeshapedwithonlyprotectioninmind,thatitshouldstrikeabalancebetweenbeingthickenoughtoprotectagainstswordblows,lancestrikesandmusket-shot,andlightenoughtoallowforfastmovement.armourevenforfighting,however,canbedatedaccordingtoshape,proportionanddecorationaseffectivelyasclothing;changesinfashionaffectedthewaysmenpresentedthemselves,whethertheychosetodressinleather,satin,velvetorsteel.armourwasclothing.

veryfewfabricitemssurvivefrombefore1630.Mostperishedthroughageorwerecutupandrecycledasfurniturecoversandhangings.armourthereforeprovidesimportantevidenceforunderstandingthehistoryoffashion.itnotonlysurvivesbutretainsitsshape.

historicallymuchattentionhasbeenfocussedonnotionsofarmourandweaponsaspurelymilitaryequipmentorontypologicalanalysesthattreatthesubjectinisolation.armourdesignswereasmuchpartoftheartisticmainstreamasfurniture,silverandceramics.Greatartistslikealbrechtdürerandhansholbeinincludedhelmets,swordanddaggersintheirrepertoireofdesigns.armourdidnotnecessarilycopyclothing:theywerepartofthesameaesthetic.Bothproclaimedcontemporarynotionsofbodyimage.

swiftlychangingfashionswereakeyfeatureoftherenaissance.Bytheendofthesixteenthcentury,newwealthhadblurredclasslinesandmadetheluxuriesenjoyedbytherichmorewidelyavailable.youngmenwithaspirationschallengedtraditionalnotionsoforderwiththeirmodishdressandbehaviour.theyacquiredthebadgesofwealthpreviouslyenjoyedbyonlyafew,andsometimesworepiecesofarmourandswords,daggers,pistolsandgunpowderflasks,slungfromequallylavishlydecoratedbelts,asworkingfashionaccessories.

Fashion and aRMouR in Renaissance euRoPe: “PRoud lookes and bRave attiRe”

Design for armour for Thomas Sackville, Lord Buckhurst, Jacob Halder, circa, 1587 V&A: D.613–1894

thisnewsenseofselfwasnotwelcomedbyall.onewriteroutlined“theabusesthatpridehadbredinengland,howithadinfectedtheCourtwithaspiringenvy,theCitiewithgripingCovetousnesse,andtheCountreywithcontemptanddisdaine:howsincemenplacedtheirdelightsinproudlookesandbraveattire,hospitalitywasleftoff,neighbourhoodwasexiled,Consciencewasscoftat,andCharitielayfrozeninthestreets.”

angus PatteRsonsCulpture,Metalwork,CeraMiCsandGlass

thepublicationislamicartsfromspain(v&apublishing,June2010)drawsonthevictoriaandalbertMuseum’sworld-classcollectionstotellthefascinatingstoryoftheartandarchitectureproducedinspainduringthelongperiodofislamicrule,andtoexplorethelong-lastinginfluenceoftheseartsoneuropeandesign.

Muslimarmiesconqueredtheiberianpeninsulain711Ce,andruledinspainfornearly800years.in1492,thekingdomofGranadafelltotheforcesoftheCatholicMonarchs,ferdinandandisabella,thoughMuslims–andtheirculturalinfluence–livedoninspainuntiltheexpulsionsoftheearlyseventeenthcentury.usingafundamentallychronologicalapproach,thoughweavinginandouttocreateathematicnarrative,thisbooksurveystheentireperiod,culminatingwiththerevivalofislamicstylesinthenineteenthcentury,andthecrazeforthealhambrastylewhichcametodominateeuropeandesignfollowingitsglamorouspromotionbyowenJones(1809–74).

throughdiscussionofmonumentssuchastheGreatMosqueofCórdobaandthepalaceofthealhambrainGranada,toivorycaskets,marblecapitals,jewellery,silktextiles,fineceramics,andarchitecturalmodels,rangingfromtheeighthtothetwentiethcentury,thisbookaddressesthecreation,suppression,rediscoveryandinfluenceofislamicspain’sart,architectureandornament.newphotographyofobjectswhichhavenotbeenpublishedbefore,orhaveonlybeenpublishedinacademicvolumes,bringsthisrichcollectiontogetherinoneplaceforthefirsttime.

Bringingfresheyesandanewapproachtomanyofthesubjectscovered,ihavetriedtoquestionoldnotionsanddoawaywithold-fashionedvocabulary.ihavegivengreaterprominencethanisusuallyaccordedtotheartoftheMoroccan

islaMic aRts FRoM sPain

dynasties,thealmoravidsandalmohads,whoruledislamicspainfornearlytwohundredyears.theperpetuationofeuropeancolonialistattitudestoafricanarthascausedthisperiodtobeunjustlyneglectedinislamicarthistory,andirevisititsartandaimtoreviveunderstandingofitssignificance.

similarly,theartofthenasrids–who,fromtheircapitalatGranada,ruledthelast,andmuchreduced,islamickingdominspain–hasbeenviewedwithhindsightasthatofadynastyindecline.iexaminetheconsistent‘dynasticstyle’whichtheyadoptedacrosstheirarchitectureandallthedecorativearts,fromluxurysilktextilestosomeofthelargestlustreceramicsevermade,toexpresstheirmessagesofroyalpower.

ialsodiscusstheuniquelyiberianphenomenonof‘Mudéjar’–architectureanddecorativeartsproducedfornon-Muslimpatronsbutcontinuingislamicstylesandtechniques.idiscussthisphenomenoninitsmanyforms,includingthedecorationofsynagogues,andpalacesbuiltforthekingsofCastile.portableworksofartinthisstylewereparticularlypopularwithitalianclients,andireattributeanumberofobjectswhichhavehithertobeencataloguedasitalianbecausetheywerefoundoracquiredinthatcountry.

thebookisaimedatageneralreadership,sincethereisnoeasily-accessibleintroductoryvolumeonthisfascinatingsubjectinenglish.atthesametime,ihopethatthebookwillalsosatisfyacademicreadersandfillagapforthoselecturersinislamicarthistorywhohavetroublefindingenglish-languagebookstoincludeonundergraduatereadinglists.

MaRiaM RosseR-owenasiandepartMent

26/27Ceiling from the Palacio de Altamira in Torrijos (near Toledo), circa, 1490. V&A: 407–1905

illuminatedmanuscriptsformoneofthefoundationcollectionsofthev&a,acquisitionsbeingmadefrom1854onwards.thecollectiondevelopedintwoways.avastcollectionofcuttingsfrommedievalandrenaissancemanuscriptswasputtogetherasasourcefordesignstudents,andwasmadeavailableinsouthkensingtonandthroughselectionscirculatedtoartschools.Cataloguesofthismaterialappearedin1908and1923,andtheexamplescanbeconsultedinthev&a’sprintsanddrawingsstudyroom.alsocollectedwereilluminatedcodices–iemanuscriptbooks–whichtodayareheldinthenationalartlibrary.itisthislattermaterialwhichisthesubjectofaforthcomingcatalogue.

thecoreofthenationalartlibrary’scollectionofilluminatedmanuscriptsreflectsavictorianpredelictionforrichornament,theresultbeingthatworksofthe14thtothe16thcenturiespredominate.earlyacquisitionsweredocumentaryincharacter,seekingtoshowprinciplesofbookdesignandornament.inthe1890s,illuminatedmanuscriptswereacquiredwhichwereoutstandingasworksofart,atendencyconfirmedbythegiftof83manuscriptsbyGeorgereidin1902–3,andbythelegacyof7manuscriptsafterthedeathofGeorgesaltingin1910.humanisticmanuscriptsenteredthecollectionchieflythankstotheenergyofJameswardrop,whointhe1950smadespectacularacquisitionsofworksbyleadingscribesandartistsoftheitalianrenaissance.

seentoday,theuniquequalityofthecollectionisthatitdocumentsthepracticesofmanuscriptbooktradeofthelatermiddleagesandrenaissance,showingbothstandardsofmassproductionandworksofexceptionalquality,butalsothesurvivalandrevivalofcraftssuchascalligraphyandilluminationafterthe16thcentury.therearetreatises,diplomasandofficialdocumentsofthe17thand18thcenturies,andsomemajorworksdatingfromthe19thcentury,whenilluminationwasproposedas

a catalogue oF illuMinated ManuscRiPts held in the national aRt libRaRy

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acontemporaryartformthattookitsstrengthfromwhatwereseenasnationalschoolsofilluminationineurope.examplesof19th-centuryworksaretheChambordMissal,presentedin1844totheBourbonpretenderbythedameslégitimistesdefrance,andtheBookofverseilluminatedandwrittenbywilliamMorrisin1870.thecataloguewilldescribe280works,some129ofthemdatingfrombefore1500and57ofthemdatingfromthe16thcentury.theearliestworkdatesfromc.1025–1050,andthelatest,anilluminatedaddressandagrantofarms,from1912and1913.descriptionspayspecial

attentiontotextandornament,butalsototheusestowhichtheworkswereputwhenfirstmadeandinsucceedingcenturies.indexeswillbeamajormeansofaccesstothematerial.therewillbeseparateindexesforiconography;fortheprayers(mostlyinlatin)thatweretheessentialaccompanimentstothekindofdevotionalobjectwhichaboundinthev&a;andforformerowners.

Rowan watsonwordandiMaGedepartMent

Missal made for Abbey of St Denis. Paris, 1350

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coll

ecti

on

s Re

seaR

ch

theatRe & PeRFoRMance at the v&a

inMarch2009,thetheatre&performancegalleriesopenedatthev&a,replacingthepermanentdisplaysofthetheatreMuseuminCoventGarden.setmodels,costumes,posters,paintingsandphotographsareshownalongsideprompt-books,archivaldocumentsandfilmtocelebrateandexploreliveperformanceinBritain.thecollectionsarethelargestintheworldinbothscaleandscopecoveringeverythingfromclassicalballettocircusandstand-upcomedy,andencompassingeverythingfromivorytokensandticketstostagetechnologyandarchitecturalfragments.

aswellasaprovidingthecollectionswithanewvenue,theredisplaygavethedepartmentanopportunitytorethinkthewayinwhichthehistoryandpracticeoftheperformancecouldbeinterpreted.theephemeralnatureofperformancepresentsachallengeintermsofmuseumdisplaytechniquesbecausetheexcitingpart–theperformance,andtherelationshipbetweenperformers,audienceandspacewhichthatentails–disappears.ourcuratorialbriefaskedforadesignwhichwasdramatic;thatcommunicatedsomethingoftheexcitementofbeingpresentat,ortakingpartinaperformance;thatwouldbeabletohouseverylargeobjectsnexttosmallonesandwhichwouldbeabletoaccommodateambientsound.

whenthetheatreMuseumopenedin1987,thefocuswasonthechronologicaldevelopmentofartforms.drama,danceandoperadominatedthegalleriesbecausewehadagreaterquantityofmaterialrelatingtotheirevolutionandpracticeintheformofplaybills,printsandotherpaperitems.forthenewdisplays,thecuratorialteamagreedthatwewantedsomethingthatfocussedonsimilaritiesbetweengenreswithinperformanceratherthantheirdifferences,thatwouldallowustodisplayagreaterrangeofmaterialandwhichemphasisedtheroleoftheentirecreativeteaminmaking,shapingandproducingaperformance.wecameupwithanarrativestructurewhichmimickedthecreativejourneymovingfromthemomentofinspirationthroughtotheapplauseoftheaudience:creating,producing,rehearsing,promoting,costumeandmake-up,sceneryandeffectsandfinally,totheperformanceitselfrepresentedbyexcerptsfromourrecordingsoflivetheatre–thenationalvideoarchiveofperformance.

focussingontheprocessofperformancealsoallowedustocreateadisplayprofessionalperformerscanrelateandcontributetothroughfilmedinterviewsdisplayedinthegalleries.weintervieweddirectors,playwrights,composers,choreographers,performersanddesignersabouttheirexperienceintheindustryandtheirunderstandingofthecreativeprocess.alltheaudio-visualelementshavebeendesignedtoallowustoupdatematerial,addinterviewsandtours,andtorespondtothedemandsofvisitorswhethertheyarestudents,practitioners

orinterestedmembersofthepublic.asthenationalmuseumofartanddesignitisourmissiontoinspirethecreativeindustriesofthefutureandthetheatre&performancegalleriesarenowcontributingtothatmissionbyshowcasingtheworkofperformanceworkersthroughouthistoryandencouragingthecreatorsandaudiencesofthefuture.

kate doRneytheatreColleCtions

Box from the Glasgow Palace Theatre of Varieties, designed by Bertie Crewe, 1904. V&A: S.2804I to R–1986

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researchclustersweresetuptofurtherourunderstandingof,andhelppreserve,theculturalfabricoftheuk.theyfacilitateinteractionsbetweenresearchersandstakeholdersfromarangeofdisciplinesandinstitutions.

thev&awasco-partnerintheclusterentitled‘understandingComplexstructures:theConservation,displayandinterpretationoflaceandnaturalobjects’.thiswasleadbydrtomfisher,professorofartanddesign,nottinghamtrentuniversity,withco-partnersMarionkite,togetherwithClareBrowne,fromthev&a,andChrisCollinsfromthenaturalhistoryMuseum.

threeworkshopswereheld,hostedbythepartnerinstitutionsinturn,whoseobjectivewastoidentifysubstantiveresearchprojectswhichmadeuseofinsightsavailableasaresultofbringingtogetherthedisciplinesandperspectivesrepresented.theseworkshopshadtwofocuses:thecollectionsoflacethatexistinnottinghamandthev&a,andthecollectionsofnaturalobjectsinthenaturalhistoryMuseum.

laceexemplifiesmanyoftheproblemsinherenttotheanalysis,interpretationanddisplayofunstableandephemeralartefacts.itspatternsdonoteasilyrevealtheirstructureorthephysicaltechniquesusedtomakethemortheimpactoftheprocessonlaceworkers.likewise,manyobjectsinnaturalhistorycollectionsarecomplexstructureswhichhaveundergonemuchhumaninterventionincollecting,preserving,curatingandconservingthem.Bothtypesofcollectioncanbeproblematictodisplayandinterpreteffectivelybecausetheircomplexstructuresareusuallyverysmall-scale.theyalsopresentparticularchallengesinconservation.

workshopparticipantswereabletoconsiderboththeapplicationofsciencetoheritage,andtheexplanationandinterpretationoftheheritageofscienceandtechnologyitself.thecollectionsprovidedavehiclefortheinterdisciplinaryexplorationofarangeofsolutionstotheconservationneeds,curatorialdemandsandculturalchallengesthatsuch

engineeRing and Physical sciences ReseaRch council/aRts and huManities ReseaRch council (ePsRc/ahRc) science and heRitage ReseaRch clusteR

Detail of a border of needle laceItalian, early 17th century V&A: T.148–1992

complexartefactshavecreated.theworkshoppresentationsanddiscussionsencouragedinnovativethinkingandprovidedopportunitiestocreatewidereachingnetworksforfurthercollaborations.followingeachworkshoptheformalpresentationswerepostedon-lineandthereforeweremadeavailabletoawidereachingaudienceaswellastoparticipantsofotherresearchclusters.

Closelinkshavebeenformedbetweenthethreepartnerorganisationsandanongoingdiscussiongrouphasbeensetuptomaintaincontactsandfosterthecontinuationofcommunicationanddevelopmentofthemes.

Mainclusterwebsitehttp://ntu.ac.uk/science_heritage/

MaRion kiteConservationdepartMent

univeRsity oF sussex/v&a exchange 20th anniveRsaRy event

on12June2009thev&aandtheuniversityofsussexjointlyhostedaneventatthev&a,tocelebratetwentyyearsofthev&a/universityofsussexexchangeprogramme.thisprogrammearrangesforcuratorstoteachattheuniversity,andsussexacademicstafftocontributetoMuseumprojectsforayeareach.thefollowingisaneditedextractfromthespeechmadeattheeventbyChristopherBreward.

“Curatorsandsussex-basedacademicshavebothshapedtheprogrammeintoanextraordinaryvehicleforprogressingarticles,chapters,monographs,galleriesandexhibitions;butalsoforcontributingtothetransformationofthenatureofthedisciplinesofarthistoryandthehistoryofdesignandthedecorativeartsthroughthesimpleactofintellectualexchange,ahands-onconsiderationofmuseumobjects,collectionsanddisplaysandthepracticeofcreatinganddeliveringcoursestogenerationsofstudents.

Between1989and2009v&acuratorshavedeftlyusedtheirtimeinsussextothinkthroughforexample,allaspectsofourasiancollections,fromindiansculpture,toJapanesearmourandChinesedress.sculpturecuratorshavebeenabletore-considerthenatureofneo-classicisminBritainandmostrecentlyacontemporarycuratorhassethermindtoquestioningthewaysinwhichtheMuseummightrespondtocontemporaryafricanart.ipresentedacourseonfashionandurbancultureinthe1960sinpreparationforoursixtiesfashiondisplayin2005andfoundthatthereisnomoretestingaudiencefornewideasthanagroupoffinalyearsussexundergraduates.allatsouthkensingtonhaveenjoyedthestimulatingpresenceandcontributionsofsussexcolleagues.theBritishGalleries,theMedievalandrenaissanceGalleries,theModernismexhibitionandthecurrentBaroqueexhibitiontonamejust

univ

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ty o

F su

ssex

v&

a ex

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fourprojects,haveallbenefitedenormouslyfromtheinsightsandlabourofexchangefellows.

finallyi’dliketothankthosewho’veensuredthattheexperienceoffellowshasbeenaspleasurableandstress-freeaspossible,boththedepartmentadministratorsonbothsides,andmypredecessorsCharlessaumarezsmith,paulGreenhalgh,Markhaworth-BoothandCarolynsargentson,whoasheadsofresearchatthev&a,championedtheexchangeandensureditslongevity.”

Professor Michael Farthing, Vice Chancellor of the University of Sussex and Mark Jones, Director of the V&A at the V&A/University of Sussex Exchange 20th Anniversary Event

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oneoftherarestsixteenth-centuryobjectsgoingintothenewMedievalandrenaissanceGalleriesisbothaknifeandapieceofmusic.ononesideofitsbroadbladeisaclear,perfectlynotatedmusicalsettingofablessingofthetable,tobesungbeforeameal;ontheother,aprayergivingthanks,tobesungwhenthemealhasended.theinscription‘.i.9[primus]tenor’providesthecluetoitsoriginalfunction:itisfromalargersetofknives,eachofwhichboreonepartofacompletepolyphonic,ormulti-voiced,song.researchihavecarriedoutasthev&a/sussexexchangefellowhaslocatedsixteensurvivingexamplesinothermuseumsandcollectionsaroundtheworld,andfouradditionalknivesknownonlythroughnineteenth-centuryillustrations.thesefindingswillbepublishedinaspecialissueofthejournalrenaissancestudies,tocoincidewiththenewGalleries’opening.

intheacademicyear2009–10iwillbeteachingaspectsofdininghistoryinwesterneuropetoundergraduatesintheautumnterm,andpostgraduatesinthespringterm.theundergraduatecoursecoversawidechronologicalspectrumfromtheMedievalperiodtothepresentday.studentswillgainanappreciationoftheculture,materialsandstratagemsofdining.focusonfoodhistoriesofsalt,teaandicecreamwiththeirrelevantequipmentwilllinkobjectstocommoditieswithinaglobalcontext.

thepostgraduatecoursehasatighterchronologicalremitfrom1650–2009andwillgiveopportunitiesformoreindepthstudyofdiningissues.theimpactofreligion,politics,socialchange,scienceandaestheticsondininganddiningequipmentwillbeconsidered.aswellasthetaughtsessions,thestudentswillundertakesomeguidedresearchintotheuniversity’sowncollectionofdiningsilver,someofwhichwascommissionedtocelebratethefoundingoftheuniversityinthe1960s.

thissilverispartofamuchlargergroupofdiningsilverfundedbytheGoldsmith’scompanytoendowthenewuniversitiesinenglandandhasneverbeenstudiedbefore.

BothcourseswillhavehandlingsessionsatBrightonMuseumandartGalleryandthev&atobuildunderstandingofobjectsandidentificationskillsinceramics,glassandsilver.visitstogalleriesatthev&awillpromptdiscussiononthedisplaytechniquesusedfordiningsubjects.

ann eatwellsCulpture,Metalwork,CeraMiCsandGlassv&a/susseXeXChanGefellow2009-2010

Jug designed by Gerald Whiles in 1965. An identical jug presented to Sussex University by the Goldsmiths’ Company. Picture credit The Worshipful Company of Goldsmiths.

Knife, Europe, Sixteenth century, Steel blade, ivory handle with bands of ebony and brass. V&A: 310–1903

Bytranscribingthemusicalinscriptionsfoundonthesetwentyknives,ihavediscoveredthatthereareinfacttwodistinctgroups,eachsettingthesametexttodifferentmusic.anahrCknowledgetransfergrantawardedtothev&aandtheroyalCollegeofMusichasfundedrecordingsofthesemusicalsettingswithcurrentrCMstudents,whichwillbeavailabletodownloadfromthev&awebsite.Bylisteningtothismusicastheyseethev&a’sknifeondisplay,visitorswillbeabletofullyappreciatethisextraordinaryobject’soriginalmusicalandritualfunction.

FloRa dennisuniversityofsusseXv&a/susseXeXChanGefellow 2008-2009

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thev&acontinuestobesuccessfulinanumberofjointapplicationstotheartsandhumanitiesresearchCouncil’sCollaborativedoctoralawardscheme.theawardswereintroducedtodevelopcollaborationbetweenhighereducationinstitutionsandnon-academicbodies(includingmuseums)andtoenhancetheemploymentrelatedskillsandtrainingresearchstudentsgainduringthecourseoftheirstudies.hererecentgraduateJaneeadedescribesherresearchprojectandwelisttheprojectsofstudentscontinuingfrom2008:

collaboRative doctoRal ReseaRch

gRad

uate

Res

eaRc

hConceivingadoctorateinrelationtoanexhibitionproject(Baroque1620–1800:styleintheageofMagnificence,v&a,april–July2009)wasachallenge,butitgavetheresearcharealsenseofmomentumandcontext.theprivilegedaccesstoworksofartthatthecollaborationafforded,andtheopportunitytolearnfromtheexpertiseofcuratorsandconservators,wasaninvaluableexperiencewhichhadasignificantimpactuponmydissertation.inturn,researchundertakenonv&aobjectsforthedissertationhadimplicationsfortheirinterpretationanddisplay,bothintheexhibitionandmoregenerally.forexample,ittranspiredthatabrilliantjewel-likeimagedepictingthelegendaryconversionofMaryMagdalenwasalsolikelytohavebeenintendedasananalogue‘portrait’oflouisedelavalliere,firstmistressoflouisXiv,whoeventuallyleftcourtinordertoenteraconvent.asanobjectforprivatedevotionthepicturewasoriginallyintendedfordisplaywithinthesacredspacessectionoftheexhibition.however,theemergenceofaclearassociationwiththefrenchcourtandtheunusuallysumptuousinteriordepictedintheimageledtoadecisiontocontextualisethepicturebyhangingitinthesectiondevotedtotheroyalpalace,asanexampleofacabinetpiece.thattheglasscouldsitmeaningfullyineitherarearaisedinterestingcuratorialquestionsabouttheexhibition’snecessary,ifartificial,divisionbetweensacredandsecularspaces,andhowbesttointerprettheobjectinthecontextoftheexhibition.

Jane eadeuniversityofsusseX/v&avisionandeCstasyintheBaroQue

The Penitent Magdalen, probably French, circa, 1660–75, clear glass gilded, etched and lacquered on the reverse and backed with foil in an ornate metal frame. V&A: 146–1879

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stePhen knottroyalColleGeofart/viCtoriaandalBertMuseuMspotthedifference:concealingthe‘ever–same’inmodernadornmentusinghistoricallyconstructedillusions

eleanoR PaReMainBirkBeCk,universityoflondon/viCtoriaandalBertMuseuMahistoryofthetricycletheatre:audience,identityandagency

Judith theiiMperialColleGelondon/viCtoriaandalBertMuseuMConservationofdegradedeastasianlacquersurfaces

eMilia teRRaccianoCourtauldinstitute/viCtoriaandalBertMuseuMBeyondthegaze:collectinganddisplayingmodernandcontemporarysouthasianartinthev&aandotherukpublicandprivateinstitutions:positioningcurrentcontemporaryindianartintheglobalarena

saRah beRcussonQueenMary,universityoflondon/viCtoriaandalBertMuseuMGifts,consumptionandritualexchangeinitalyinthesecondhalfofthe16thcentury

steve bRownroyalColleGeofart/viCtoriaandalBertMuseuMdialoguesbetweendecorationandform:newpotentialforCeramicsofferedbyimageBasedtechnologies

veRity claRksonuniversityofBriGhton/viCtoriaandalBertMuseuMtheColdwar‘emigré’exhibitinBritain:Culturalexchange,diplomacyandtradec.1945–75

helena daviesuniversityColleGelondon/viCtoriaandalBertMuseuMJohnforsterasbiographer

lesley delaneyuniversityColleGelondon/viCtoriaandalBertMuseuMthedevelopmentandmarketingofbookstoteachreadinginvictorianBritain:primersandfirstreaders,theirauthors,publishersandconsumers

bonnie hewsonuniversityColleGelondon/viCtoriaandalBertMuseuMCollectingtheintangibleheritage:theCaseoftheatricalprocesses

caRolyn McshaRRyiMperialColleGe,universityoflondon/viCtoriaandalBertMuseuMConservingtangibleandintangibleculturalheritage:investigatingtheremovalofdegradedwesternvarnishfromJapaneselacquer

eMMa RichaRdsonuniversityofsouthaMpton/viCtoriaandalBertMuseuMnon-invasiveCharacterisationofsynthetictextileswithinMuseumandheritageCollections

catheRine RossiroyalColleGeofart/viCtoriaandalBertMuseuMthetransitionofModernity:thepractice,disseminationandConsumptionofModernCraftinitaly

nicola stylianoutrain(Centrefortransnationalart,identityandnation),universityofthearts,london/viCtoriaandalBertMuseuMproducingandCollectingforempire:africantextileswithinthevictoriaandalbertMuseum1850–1950

elaine tieRneyuniversityofsusseX/viCtoriaandalBertMuseuMtheunofficialMaterialCultureofofficialpublicfestivalinparisandlondon,1660–1715

Dr Emma Richardson using a spectrometer, V&A Conservation Studio

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Funded FellowshiPsashMoRe, sonia ahrCfashioninGdiasporaspaCefellowbowett, adaMBritishaCadeMyfellowbRown, owenahrCMappinGsCulpturefellowPowell, JenniFeRahrCMappinGsCulpturefellow

exchangesdennis, FloRa (susseX)susseXuniversityeXChanGefelloweatwell, ann(v&a)susseXuniversityeXChanGefellow

tRusted, MaRJoRie(v&a)MetropolitanMuseuMeXChanGefellowwaRdRoPPeR, ian(Met)MetropolitanMuseuMeXChanGefellow

FoRResteR, gillian(yaleCenterforBritishart)yCBa/v&aeXChanGefellowbRyant, Julius(v&a)yCBa/v&aeXChanGefellow

researChdepartMentstaffandproJeCts2009

coRe staFFbRewaRd, chRistoPheRheadofresearChMilleR, lizdeputyheadofresearChFlood, lindsayresearChadMinistrator

v&a/Rca couRseadaMson, glenn headofpostGraduatestudiesanddeputyheadofresearChaJMaR-wollheiM, MaRta CoursetutorcuRRie, elizabethCoursetutorguth, chRistineCoursetutorMcshane, angelaCoursetutorlong, loRaineCourseadMinistrator

Joint FellowshiPsedwaRds, eilunedlondonColleGeoffashion/v&afellowinfashionandteXtilesFielding, aMandaCaMBerwellColleGeofart/v&afellowinCraftPaRtington, MatthewuniversityofthewestofenGland/v&afellowin20CandConteMporaryCraftPavitt, JaneuniversityofBriGhton/v&afellowinproduCtdesiGnandMuseoloGysandino, lindav&a/CaMBerwellColleGeofartanddesiGnoralhistoryresearChfellowtulloch, caRol universityofthearts/v&afellowinBlaCkvisualCulture

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x inteRnal secondMents baRnes, MaRtin shadowCatChersowens, susanliteratureandtheaesthetiCMoveMentPatel, diviaindiadesiGnnowRosseR-owen, MaRiaMislaMiCartsfroMspainseaveRs, stePhanietheGlouCesterCandlestiCkthoMas, abRahaMillustratinGfashionpuBliCationwatson, RowanilluMinatedManusCriptsCataloGue

exhibition teaMs

baRoque 1620-1800: style in the age oF MagniFicenceMiChaelsnodin,JoannanorMandigital ResPonseslouiseshannonquiltssuepriChard,ClairesMith hoRace walPole and stRawbeRRy hillMiChaelsnodindiaghilev and the ballets Russes JanepritChard,sarahsonnerthe cult oF beauty: the aesthetic MoveMent in bRitain 1860-1900stephenCalloway,esMéwhittakerPostModeRnisM Janepavitt,GlennadaMson,oliverwinChesterdesigning bRitain 1948-2012ChristopherBreward,Ghislainewood,lilyCrowther

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the v&a is gRateFul to the Following beneFactoRs FoR theiR suPPoRt oF ReseaRch activities in the MuseuM:

theartsandhuManitiesresearChCounCiltheBritishaCadeMyCaMBerwellColleGeofartanddesiGn,universityoftheartslondonChelseaColleGeofartanddesiGn,universityoftheartslondontheChipstonefoundationtheClivewainwriGhtMeMorialfundthedesiGnhistorysoCietytheeConoMiCandsoCialresearChCounCiltheenGineerinGandphysiCalsCienCes researChCounCilthefriendsofthev&atheGettyfoundationtheGilBertBayesCharitaBletrusttheGoldenweBfoundationthehenryMoorefoundationheritaGelotteryfundtheleverhulMetrustthelondonColleGeoffashion, universityoftheartslondonMohaMMedaBdullatifJaMeelMonsoonaCCessoriZetheMuseuMs,liBrariesandarChivesCounCilnehrutrusttheoliverfordtrustthepasoldinstitutethepaulMellonCentreforstudies inBritishartpaulandelissaCahnfoundationtheaMeriCanfriendsofthev&athrouGh theGenerosityoftiMothyand MadeleineplauttheaMeriCanfriendsofthev&athrouGh theGenerosityofroBerth.sMiththereynerBanhaMfundtheroBerth.n.hofaMilyfoundationtheroyalColleGeofartroyalholloway,universityoflondontheaMeriCanfriendsofthev&athrouGh theGenerosityofthesaMuelh.kress foundationsoCietyoflondontheatresotheBy’s

thesylvialennieenGlandfundthetoshiBainternationalfoundationtheuniversityofBriGhtontheuniversityofeastlondontheuniversityofsusseXtheuniversityofthewestofenGlandthewarneCuratorshipforChildren’sliterature:frederiCkwarne&Co.theuniversityofwarwiCktheyaleCenterforBritishartwinkCreativetheCenterforCraft,CreativityanddesiGnandotherswhowishtoreMainanonyMous

visiting Fellowsblaszczyk, Regina lee(independentsCholar)theColorrevolutionandGloBalfiBersandfashionscox, Julian(hiGhMuseuMofartatlanta)BritishphotoGraphy1948tonowoRR, lynn(fineartsMuseuMsofsanfranCisCo)theCultofBeauty:theaesthetiCMoveMentinBritain1860–1900

honoRaRy Fellows dR donal cooPeR(universityofwarwiCk)dR suzanne Fagence cooPeR (independentsCholar)edgaR haRden (independentsCholar)frenChfurnitureCataloGueJenniFeR oPie (independentsCholar)artpotteryPRoFessoR ulRich lehMann (universityoftheCreativearts)JenniFeR weaRden (independentsCholar)iranianteXtilesgaReth williaMs (royalColleGeofart)tellinGtaleseXhiBition

honoRaRy senioR Fellows

PRoFessoR MalcolM bakeR(universityofCalifornia)anthony buRton(independentsCholar)PRoFessoR MauRice howaRd (universityofsusseX)PRoFessoR sandRa keMP (universityofthearts)PRoFessoR nigel llewellyn (tate)dR caRolyn saRgentson(independentsCholar)siR Roy stRongPRoFessoR John styles(universityofhertfordshire)

v&aSouth kenSingtonLondon Sw7 2RL+44 (0)20 7942 2000www.vam.ac.uk

v&a MuseuM oF childhoodcambRidge heath RoadLondon e2 9Pa+44 (0)20 8983 5200