Blog

Teacher’s Evening – Get Involved!

24 September 2018 by Matt

Children in Museum

School visit

Want your class to experience a bit of hard work – Victorian style?  Ever fancied packing them off permanently on a ship to faraway climes?  Here’s your opportunity to find out how we can make this happen! Read more…

Leo Fitzmaurice: Between You and Me and Everything Else

3 September 2018 by Felicity

Portraits from National Museums Liverpool’s collection have been brought out of storage for the exhibition. Shown here in the conservation studio.

Here at the Walker, we’ve been working on something exciting with the Wirral-based artist, Leo Fitzmaurice…

Leo will create an assembly of portraits at the Gallery as part of a new exhibition, which asks us to look twice at what might, at first, seem familiar. Leo Fitzmaurice: Between You and Me and Everything Else (29 September 2018 to 17 March 2019) will include artworks from the Arts Council Collection and National Museums Liverpool’s own collection.

More than 30 portraits by artists including Frank Auerbach, David Bomberg, Milena Dragicevic, Ken Kiff, Marie-Louise von Motesiczky and Philip Sutton will feature in the exhibition, which takes place in Room 9 at the Gallery. Read more…

Sir Francis Seymour Haden: Breaking Up of the Agamemnon, No 1 (1870)

24 August 2018 by Ha-il Kim

Breaking Up of the Agamemnon, No 1 (1870), by Sir Francis Seymour Haden, Walker Art Gallery

As a volunteer at the Walker Art Gallery, I have been helping Exhibition Curator, Alex Patterson, to digitise works related to the Whistler and Pennell: Etching the City exhibition, currently on display at the Lady Lever Art Gallery. This exhibition explores the role that James McNeill Whistler and Joseph Pennell played in the Etching Revival (1830-1940) in Britain. It also shows how their contemporaries, such as Sir Francis Seymour Haden (1818-1910), Charles Méryon (1821-1868), and William Strang (1859-1921), were influenced by their art.

One of the etchings that really caught my interest was Breaking Up of the Agamemnon by Sir Francis Seymour Haden, which was one of three works by him included in the exhibition. It shows a large hulk of a vessel being demolished. The vessel is HMS Agamemnon, the Royal Navy battleship moored at the Naval Arsenal at Deptford on the River Thames, seen against the setting sun. Launched in 1852, the 230-feet long Agamemnon was one of the most intimidating of all wooden warships and the first British steam-powered flagship. The Agamemnon saw action in many battles, including the Crimean War, and was the predecessor of iron-hulled ships, which were introduced in the 1860s.

Breaking Up of the Great Eastern, No 2, 1890, by Sir Frank Short, Walker Art Gallery

Breaking Up of the Agamemnon reminded me of another etching, Breaking Up of the Great Eastern, No 2 (1890) by Sir Frank Short (1857-1945), also in the Walker Art Gallery collection. I came across the etching when I was researching scenes of Liverpool Docks. Both ships had illustrious histories, and I felt that the images of their breaking up expressed a deep sense of loss and sorrow.

Haden’s etching of the Agamemnon was a spontaneous response to what he saw on the Thames one day in July 1870, but it became the most important subject of his career, which he continued to work on over the next 16 years.

Early in 1870 the art scholar, artist and etcher Philip Gilbert Hamerton (1834-1894) asked Haden to etch a plate to be published in the first edition of his new art journal, The Portfolio (1870-1893). The journal, named after a folder in which collectors often kept valuable prints, championed etching as original art, rather than a reproductive medium. This concept played an instrumental role in the British etching revival during the second half of the 19th century. Haden, like the French Impressionists, always tried to work directly from life, and for this purpose, he always carried prepared copper plates wherever he went. He drew directly onto the plate to capture the movement of the light and its reflections in the sky, clouds, and water. The demolition of the Agamemnon may not have been a traditional subject for a study of ambiance, but Haden must have been entranced by its grandeur and spectacle.

In a letter to Hamerton, dated July 3, 1870, Haden wrote of the Agamemnon etching: “. . . I had thought of making the sun set behind the old hulk and the distant cupolas of Greenwich and of using the sinking luminary as typical of the departing glories of both . . . .” This shows that Haden indeed drew the initial sketch for Breaking Up of the Agamemnon, No 1 directly onto the copper plate. The sun is setting between the ship and Greenwich, conveying a poignant majestic reference to the glorious history of the Agamemnon. The rays of the setting sun rippling through the clouds are echoed on the stirring water in the foreground. Named after Agamemnon, the King of Mycenae who led the united Greek army to the Trojan War, the ship proudly displays the figurehead wearing a Roman centurion’s plumed helmet pointing towards the sun. The Agamemnon almost appears as if ready to set sail once again into the distant horizon. Although she is now tethered to a much smaller barge, with her ribs exposed and only one of three masts standing, the Agamemnon still looks magnificent. The image highlights the ship’s immense scale and power, but it also conveys a sense an ending.

Breaking Up of the Agamemnon was a very complex project for Haden. He said he had “never undertook a more perplexing job.” The initial spontaneity of etching was followed by many attempts at adding and deleting small details throughout the composition, resulting in 11 states (versions of the print) being made in total. However, the main image of the ship against a shimmering evening sun remained largely unchanged.

Breaking Up of the Agamemnon, No 1 was an artistic and commercial success. The plate was unfortunately too large to be printed in The Portfolio and instead was later published by Frederick Goulding, and sold through Colnaghi’s, bringing Haden a huge financial reward. The plate was so popular that he produced a second version of the subject Breaking Up of the Agamemnon, No 2 (1886) in mezzotint.

As for the etching Haden promised to Hamerton for the first edition of The Portfolio Hamerton instead selected another of Haden’s prints, entitled A Brig at Anchor (1870), which is also in the Walker Art Gallery collection. He etched it from nature by moonlight on the Thames.

A Brig at Anchor (1870) by Sir Francis Seymour Haden, Walker Art Gallery

To discover more about the art of etching and to enjoy Haden’s intricate works at first hand don’t miss Whistler and Pennell: Etching the City at the Lady Lever Art Gallery until 7 October and the fascinating video made by Liverpool John Moores University School of Art and Design explaining the process of etching.

 

 

 

Martin Greenland – the earlier years

24 August 2018 by Andrew

Martin Greenland’s Before Vermeer’s Clouds, winner of John Moores 24, 2006.

Cumbria-based artist Martin Greenland won the John Moores Painting Prize in 2006 with his painting Before Vermeer’s Clouds. It was not his first time in the exhibition, having been selected for the John Moores several times before that. Here, Martin tells us about those earlier paintings, and how it felt to get through. His thought-provoking blog is an insight into the emotional responses an artist can face, even upon selection.

Read more…

Exciting location filming projects Hosted by National Museums Liverpool

19 July 2018 by Eleanor Webster

agatha-christue-filming-courtroom

Source: Twitter @agathachristie. One of the courtrooms at County Sessions House was used as a location for BBC’s Agatha Christie drama ‘The Witness to the Prosecution’.

Did you know that National Museums Liverpool’s venues frequently appear in films and on television? While you may have spotted us on the evening news or recognised one of our museums or galleries during a trip to the cinema once or twice, its unlikely most visitors are aware of how often we play host to camera crews and production companies.

While many projects, including collections-related documentaries and news programmes, are managed by our in-house press team, commercial filming projects – such as blockbuster films and drama series – are looked after by our multi-award-winning events team, Hosted by National Museums Liverpool. Events Sales Manager, Hanna Ghariani, has worked with a number of clients on commercial location filming as part of her role. She tells us more about her experiences…

Read more…

And the winner is…

12 July 2018 by Andrew

Jacqui Hallum, John Moores 2018 first prizewinner

Over 2,700 artists entered the John Moores Painting Prize 2018, of which only 60 are exhibiting after a lengthy process that saw each work judged anonymously. Opening 14 July at the Walker Art Gallery, this year the Prize celebrates 60 years as Britain’s longest running painting competition, and today, the John Moores 2018 first prizewinner was announced.

Read more…

Sean Scully’s ‘Red Light’ returns to the Walker, 46 years after John Moores Painting Prize success

6 July 2018 by Felicity

Sean’s Scully’s ‘Red Slide’ (1972) is installed at the Walker Art Gallery

We’re excited to announce that an exhibition of paintings by Sean Scully, renowned globally as the master of post-minimalist abstraction, will be held at the Walker Art Gallery from 14 July to 14 October 2018. Sean Scully:1970 opens in line with Liverpool Biennial and the John Moores Painting Prize, in which Scully was a prize winner in 1972 and 1974.

The exhibition will present Scully’s paintings from 1969 to 1974. They demonstrate the remarkable confidence of his work at this earliest stage of his career. They also reveal the beginnings of the artist’s continued fascination with stripes, and the spaces in between, which have come to define him. Read more…

John Moores 2018 prizewinners’ shortlist announced

22 June 2018 by Andrew

Shanti Panchal, The Divide Beyond Reasoning

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.

Billy Crosby, Quilt

Read more…

Learn the painting secrets of the masters and have a go yourself!

12 June 2018 by Simon Birtall

Blackberry Gathering (1912), Elizabeth Forbes, Walker Art Gallery

The Walker Art Gallery’s painting collection spans a broad spectrum of work from the Renaissance to the modern era. It includes artwork made in an engaging variety of contrasting styles, from the refined tempera paintings of the early Renaissance to the painterly, expressive brushwork and bold colour of the Impressionist era, to abstraction and beyond. Taken together, the collection illustrates the development in painting technique over eight centuries of artistic practice.

Read more…

The Shape of Water

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.

Fournier’s ‘The Funeral of Shelley’

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.

Read more…



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Welcome to the National Museums Liverpool blog! Written by our staff and volunteers, we’ll give you a peek behind the scenes of our museums and galleries.

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We try to ensure that the information provided on our blog is accurate and that appropriate permissions to use images have been sought. The opinions in each blog are very much those of the individuals writing.