Posts tagged with 'exhibition'
This week it is 100 years since RMS Carpathia was lost. The ship is of course best known for the role it played in the rescue of survivors from one of a much more famous liner – RMS Titanic. In this guest blog, student Hannah Smith from the University of Liverpool explores the story through the nameplate of Titanic’s lifeboat No. 4:
“It is 100 years since RMS Carpathia was struck by three torpedoes from a German U-55, amid the Celtic Sea on 17 July 1918. Just six years earlier, on 15 April 1912 under the captaincy of Arthur Henry Rostron, the Cunard liner undoubtedly experienced its most memorable voyage. When Carpathia’s radio received the Titanic’s distress signal at 12.25 am she turned off her course to travel the 58 mile distance to the wreckage. From 4-8am all 705 survivors were brought aboard the Carpathia. Although sadly 1,503 people were to lose their lives in the sinking, without the Carpathia’s sense of urgency, the cold would have ultimately claimed more. Read more…
Over the last two years we have been preparing some of our collections of Roman sculpture for the exhibition, ‘Age of Reason’ at the National Museum of Anthropology in Mexico City.
5 July 2018 by Kay
Nothing quite brings home the horror of force-feeding than seeing the actual equipment; porcelain funnel, wooden mouth gag and long rubber tube, used to inflict torture on women. This set is even more disturbing to me as it was used at Walton Gaol, Liverpool.
Since our landmark exhibition China’s First Emperor and the Terracotta Warriors opened in February, we’ve welcomed over 300,000 visitors from across the country and around the world. For many, it’s a once in a lifetime opportunity to see some of the incredible life-size figures from the burial site of China’s First Emperor. Read more…
The five prizewinning paintings shortlisted for the John Moores Painting Prize 2018 have been announced. One of them, selected from more than 2,700 entries, will be chosen as the overall winner of the £25,000 first prize.
16 June 2018 by Joe
This weekend marks the Chinese holiday of the Dragon Boat Festival, an ancient celebration where boats are decorated in the form of dragons and raced in towns and cities across the country. To commemorate the festivities, we are exploring some of the dragon-themed objects on display in our landmark exhibition, China’s First Emperor and the Terracotta Warriors.
15 June 2018 by Alex Patterson
For a curator the best part of any exhibition, is the first time you properly look at the objects. This is a time when you can make discoveries and investigate objects beyond their normal scope. When I first began work on the Whistler & Pennell: Etching the City exhibition, Keith our paper conservator analysed the condition of the prints. In doing so, he noticed a wonderful watermark on the paper used for James McNeill Whistler’s prints (1834-1903). It is a beautiful design with a central beehive motif surrounded by ornate scrollwork of leaves and flowers crowned with a fruit tree. It also shows the initials DEDB. I immediately wanted to learn more about where this paper came from and why it was used for Whistler’s prints so I could include it in the exhibition and share it with our visitors. This is what I found!
Apparently Whistler was very selective about what paper was used for his etchings. This wasn’t at all unusual; the etching revival had instigated a new interest in the aesthetic tone and structure of paper. Modern paper made in the early 19th century could be highly acidic and appear bright white after the introduction of wood pulp and chlorine bleaches into the paper-making process. Laid paper was also gradually replaced with wove paper which had a more even surface. Whistler, and indeed most printers, refused to use such paper as it affected the overall tone and aesthetic of the work. The modern paper created too much of a contrast between the inks and the white background. Also wove paper did not hold the ink in the same way as laid paper.
Following Rembrandt’s example, Whistler like most etchers’ and printers preferred to use ‘Old Dutch’ or silky Japanese paper. Throughout his life Whistler constantly searched stationers and old book shops looking for it, as large quantities could still be found in London, Paris and Amsterdam. Made from boiled and beaten rags, drained on wire moulds, ‘Old Dutch’ paper was high quality with a ribbed texture and creamy in colour. Japanese paper was alternatively made from the bark of a mulberry tree; it could vary in thickness and tone from pale cream to a pronounced yellow. These types of paper could be identified by their unique watermark.
A watermark is design or motif that is caused by thickness variations created by the wire mould when shaping the paper. The ‘beehive’ watermark that we found on Whistler’s print’s, shown in transmitted light, is not the mark of ‘Old Dutch’ papermakers as I originally thought, but it can be traced to Holland.
The ‘beehive’ watermark is associated with the Honig (honey) family of Dutch papermakers who owned mills in Zaandijk, North Holland. The coat of arms was widely copied throughout the Netherlands and came to represent Dutch papermaking more generally. Whistler’s ‘beehive’ watermark is a variation belonging to the De Erven de Blauw papermakers from the 1820s, which explains the initials DEDB within the design (there were alternate versions of the De Erven de Blauw watermark also shown)
We would have never known that these watermarks existed on the Walker Art gallery’s prints before as they are not visible under normal lighting conditions, it was crucial to photograph our findings through transmitted light to document the work. This research and photographs of all the prints which contain the watermark are permanently available for everyone to view on Watermark, our online collection of works on paper.
14 May 2018 by Ann Bukantas
Water presents artists with a restless, ever-changing technical challenge. As representations of H2O go, there are some undisputed masterpieces in the Walker Art Gallery’s collection, including Monet’s Breaking up of the ice on the Seine, near Bennecourt, Courbet’s Low Tide at Trouville and Sickert’s The Bathers, Dieppe. Water even provides the backdrop to Fournier’s sombre ‘The Funeral of Shelley’, which is set on a beach – all very fitting, given that the poet drowned at sea in 1822.
With the wet stuff in mind, there is a surprising amount of water too in the Walker’s current display of John Moores Painting Prize first prize winners, which we are celebrating as part of the 60th anniversary of the Prize.