Development of the British Museum and the National Gallery - Essay Example

HOW UNDERSTANDING HISTORY AND CHANGING MUSEOLOGICAL IDEAS EXPLAINS THE FOUNDATION AND EARLY DEVELOPMENT OF THE BRITISH MUSEUM AND THE NATIONAL GALLERY By Name Course Tutor’s Name Institution Date Introduction Development of museums in the United Kingdom has undergone periods of transition over the years both in the manner in which they are organized and their cultural roles. While these changes have been along such lines as political, social and economic, they have enhanced the accessibility of museums and/or galleries to the public, enabling people to embrace contemporary art and heritage. Fraught with historical developments regarding their inception and transformation from paltry collections from physicians and early paintings to the iconic structures that hosts princely art collections, the British Museum and the National Gallery offer phenomenal cultural industries that form the pride and identity of the people of the United Kingdom. Given that museums reflect cultural ideologies, these institutions have undergone changes that to some amounts to distortion of what should have been held so dear, and to others, the changes have resulted in better safekeeping avenues for the kind of artifacts that they harbour. In order to have rationally informed understanding of contextual relevance of these two iconic institutions, an in depth analysis of the impacts of history and changing museological ideas have had on them is necessary. Background of the British Museum and the National Gallery The British Museum owes its inception to the will and determination of Sir Hans Sloane, a physician, naturalist and collector, whose ambition of seeing his collections preserved, according to Edwards (2011), formed the basis for the foundation of the museum. The initial collections of this museum consisted of manuscripts, books and natural specimens. In addition, other relics such as coins, medals, paintings and drawings were also available among the collections. Housed at Montagu House, it became accessible to the public in 1759, majorly drawing attention from curious individuals, and entry was free to all persons. During the period covering the 19th century, the museum received enormous expansion, both in space and in the array of collections, with such artifacts as ethnological and archeological materials from Europe and as far as Syria being incorporated. To this present moment, the museum has continually expanded its antiquities and currently includes artifacts from all round the world, from Chinese ceramics to Egyptian Tomb-Chapel of Nebamun. Currently, the museum is looking forward to building the World Contemporary Exhibition Centre that will offer an additional temporary display space (The British Museum, 2015). On the other hand, The National Gallery came into existence when the British Government bought a collection of paintings in 1824. According to Britain Express (2015), the space occupied by the gallery in Trafalgar Square has undergone numerous adjustments over the years, mainly due to the need for more space to accommodate the ever increasing number of painting collections. The array of paintings in display at this gallery include Arnolfini Portrait by Jack van Eyck painted in 1434, Turner’s the Fighting Temeraire painted in 1839, Leonardo da Vinci’s The Virgins of the Rocks painted about 1508, to name but a few (National Gallery London, 2009). Currently the collections at the National Gallery stand at 2500 in total, a figure much less since most of British paintings were moved to Tate Gallery. It is worth noting that access to the gallery is free, although some small amount of charge is levied for special exhibition, which occurs upon request. Museum history and the new museology Over the years, the roles and expectations within the confines of culture have broadened, especially with regards to organization and operational practices of museums. While many researchers observe that the term museology came about due to a desire to introduce a new mode of operability that centers on the functions of the museums, it is apparent that this quest has resulted in complete change of how the society perceives and relates with the museums. The modern trends as observed are a culmination progressive changes that historically transformed the institutions. For instance, Lim (2015) notes that the period spanning 1920s and 1930s was marked by an emphasis on conservation of the available heritage with limited interest on preservation functionality. Conservation being of prime importance became a profession, an event that made it possible for interest groups to conduct research on and find solutions to the effects of dwindling bronze reserves and other artifacts. To this effect, museums were tailored towards the provision of cultural artifacts, focusing mainly on collection of such, and their preservation for public display. To broaden the variability of collections, In Lim notes that museums and galleries adopted scientific approaches both for preservation methods and to enable them monitor the effects of environmental conditions on the stability of cultural heritage. Prior to the above-mentioned period, there was a growing concern that most Britons had little or no interest on art, and much less for their preservation. As documented in an article by The National Gallery (2011), Sir Eastlake, 1793-1865 faced noted the same and resisting to nbe carried away by the idea, embarked on a journey of restoration. Being a trained painter with great passion for art Eastlake travelled the world over collecting art pictures and fervently supported the idea that there was need for the gallery to acquire pictures that would later provide a representative account of what would be the history of European art. This move led to physical action in the sense that most people started appreciating the essence of collecting and having the artifacts preserved. Paul (2011) observes that even with the transformation of private collections into public museums, the aristocratic founders of these possessions continued to have authority over them. However, this was not the case with The British Museum and The National Gallery. Regarding these two institutions, Paul notes that with the purchase of the possessions from their initial ‘owners’ by the government, ownership was completely transferred and they eventually became public property. Jostled into action by the ever-increasing need for tourist attractive sites for both the common public as well the royalties across Europe, and coupled with the rise interest on European art, it became essential for the government to take the initiative of preserving the artifacts, hence the change in ownership. Paul also notes that there were periods that the National Gallery, as a means of fostering art, invited artists to the gallery not only to have a look at the available collections and their enormous creativity, but to make their own drawings as well. The 20th Century saw remarkable changes in the operation of these institutions. To begin with, the agricultural crisis resulted in the sale of many privately owned paintings. Hourihane (2012) notes that due to government suspension of funding to the British National Collections, the institutions faced fierce competition from American interest groups, a situation that led to the introduction of a scheme termed the National Art Collection Fund, founded for the sole purpose of discouraging the transfer of art pieces from Britain to the United States. The establishment of this scheme led to the purchase of several paintings including 42 Italian Renaissance pieces of art. On the other hand, the British Museum experienced a period an active period of continued improvement both in the structure of the building and in amassing collections. Alexander and Mary (2008) observe that throughout this century, the museum made several acquisitions, of which treasures from as far as Mesopotamia were acquired. However, the two also note that marking the period were radical changes in the managerial aspect of the institution. Simon Suzanne and Sheila (2007) elaborate on these historical managerial changes and how they are a basis for the current trends observed in the two institutions. Though considered by many as mere historical occurrences, the changes formed the basis for fulfilling outcomes in the social, political and economic realms of Britain, in addition to fostering the cultural aspect that has been the tradition. As can be observed, the changes had a wider and more comprehensive goal of making museums and galleries achieve greater cohesion among people in addition to the traditional preservation-oriented goal. Based on the resultant developments, a number of factors have been noted as worth evaluating to demonstrate the level to which historical transformation and developments have impacted on the operation of the British Museum and The National Gallery. These factors include the available professionalism, the nature of hierarchical stages incorporated, changes in policies and roles, as well as implementation of policies in the early stages of their development. Available professionalism and its organization Traditionally, museums and galleries were manned by curators who were responsible for the collection of the artifacts, provision of content, as well as giving an elaborate interpretation of the heritage materials. While it is evident that generic management is healthy for the success of any organization by focusing on such aspects as the orientation of the stakeholder and generation of value (Baumgartner, 2005), it is the associated success of this approach that led to the development of these institutions to their present status. The presence of formal allocation of roles and duties played an integral function both in the acquisition and preservation of artifacts kept in these institutions. In addition, managerial roles were properly, a situation that ensured that all workers, curators and collectors alike, plus the acquisition modes were duly managed. Additionally, the idea of having curators with vast knowledge regarding their scope of work is a manifestation for this management. A case on point regarding the efficiency of these styles of management was during the World War periods, both the first and the second, in which safety measures were put in place that ensured not artifacts were lost during the course of the wars. Nature of hierarchical stages incorporated Unlike today when curators are found at the bottom of the totem when it comes to management of museums and galleries, initially these curators were at the frontline of management of museums as they were the individuals upon which much of the knowledge regarding the artifacts was bestowed. Saunders (2015) observes that it is of great importance not only to involve the lower echelons in the management of museums, but also to hire non-professionals as well. She notes that the involvement of non-professionals and the low-level employees in the conservation and management of museums ought to be either in decision-making or implementation of management plans. She posits that this practice dissolves any virtual boundaries between heritage professionals and the citizens, thus revealing the profession’s social utility. Historical curators showed great passion towards their work and always showed their pleasure with the nature of their engagements and thus identity. Changes in policies and roles Practical trends in the development of museology dictate that opportunities for upward mobility and social inclusion form an integral part of all workers. As a result, there is an overall expectation from museum workers that they should be able to deliver on almost all requests. To ensure this is achieved, adoption of policies that allow for reporting of issues that are work-related, as well as performance assessment avenues aimed at deterring laxity in the work place. Historically, such practices limited in museums, and curators worked in an environment that supported their well-being unconditionally. Mclean (2012) notes that these new practices have given museums a new identity “as places where meaning-making is imaginatively but responsibly managed.” This has been the trend in the these two institutions and to an extent the foundation for the success and sustainability that we see today. Implementation of the policies Characteristic to the early stages of museum inceptions were policies that fostered the curators wellbeing and the delivery of services. Implementation of these policies had no ambiguous requirements; neither did the policies incorporate abstruse statements. Policy making and implementation have also undergone massive transformation that among other things include the introduction of policies aimed and deterring the transfer of artifacts from these institutions while at the same time fostering the acquisition of new ones. In addition, The National Gallery for instance, adopted policies that allowed artists to use their facilities for carrying out their artistry, as well as opportunities to learn from other artists, or just by observing the preserved paintings to enhance their creativity. Marty and Jones (2012) observe that the management trends in museums have always been tailored to develop and promote policies that are capable of creating a productive connection between the museum, the users and the workers. A means of achieving such integration is through adoption of elaborate policies as opposed to the ambiguous ones, and ensuring that workers are accorded the opportunity to serve in a friendly environment, typical to the one in which earlier curators served in. Conclusion Traditional museological practices had a myriad of impacts on the management and development of museum and gallery practices. Even though this study adopted The British Museum and The National Gallery as case examples, the findings represent the wider picture that was characteristic of all public museums and galleries in their inception and early development stages. Historical transformations within these institutions were imperative for their development and survival to this date. The adoption of policies that encourage the preservation of social heritage as well as the development of such artistic professionalism as painting have received positive feedback from the public within and outside Europe. To this effect, it is worth noting that these historical developments have played a crucial role in the current development of the institutions. Reference Alexander, E. P., Alexander, M., & American Association for State and Local History. (2008). Museums in motion: An introduction to the history and functions of museums. Lanham: AltaMira Press. Baumgartner, J. R. (2005). Generic management: a basis for omplementing sustainable business management. Britain Express. (2015). The National Gallery. Retrieved from http://www.britainexpress.com/London/national-gallery.htm Edwards, E. (2010). Lives of the founders of the British Museum: With notices of its chief augmentors and other benefactors, 1570-1870. Cambridge, England: Cambridge University Press. Lim, H. L. (2015). Handbook of Research on Recent Developments in Materials Science and Corrosion Engineering Education. Hourihane, C. (2012). The Grove encyclopedia of medieval art and architecture. New York: Oxford University Press. National Gallery London. (2009). Mosman: IMinds. Marty, P. F. & Jones, K. B. (2012). Museum informatics: people, information and technology in museums. Britain, Routledge. Mclean, F. (2012). Marketing the museum. Britain, Routledge. Paul, C. (2012). The first modern museums of art: The birth of an institution in 18th- and early-19th-century Europe. Saunders, Jill. (2015). Conservation in museums and the inclusion of non-professionals. Retrieved from http://www.jcms-journal.com/articles/10.5334/jcms.1021215/ The British Museum. (2015). History of the British Museum. Retrieved from http://www.britishmuseum.org/about_us/the_museums_story/general_history.aspx The National Gallery. (2011). Art for the nation: Sir Charles Eastlake at the National Gallery. Retrieved from http://www.nationalgallery.org.uk/about-us/press-and-media/press-and-media/press-releases/art-for-the-nation Read More