Category Archives: Barber Institute

Curating Research: Rachael Yardley, co-curator of Lasting Impressions: 20th Century Portrait Prints, talks about her fantastic experience of working on the postgraduate exhibition at the Barber Institute

There is nothing like the feeling of walking into an exhibition that you have worked towards for nine months and seeing a crowd of animated people engaging with the works that they are encountering. These works were chosen, researched and carefully arranged by myself and eight other History of Art postgraduate students from the department, as part of a module called Curating Research. The months that preceded the private view of our exhibition, Lasting Impressions, were challenging at times, but also so much fun! We all learnt a great deal and we have come away with the fantastic experience of working as a team to transform academic research into an exhibition that we hope will captivate the Barber Institute’s audience.

Rachael standing proudly in front of the bustling Lady Barber gallery at the private view of Lasting Impressions

Rachael standing proudly in front of the bustling Lady Barber gallery at the private view of Lasting Impressions

We were given the opportunity to work on the exhibition as part of the ‘Curating Research’ module offered by the University of Birmingham’s MA programme in Art History, Film and Visual Culture. The academic year began with module leader, Dr Richenda Roberts teaching us about the history and evolution of museums and galleries around the world from private collections to public institutions, including various current issues that affect them today. Gaining theoretical and historical knowledge on museums and exhibitions was fascinating and is important for anyone hoping to work in the museum sector. However, we were itching to get down to the practical aspect of the course. One of the wonderful things about the module is that we were taught not only by experienced, knowledgeable University of Birmingham staff, but also by members of the team from the stunning Barber Institute of Fine Arts. Sessions were led by the Marketing, Learning and Access, and Exhibitions and Loans departments.

The Barber worked in partnership with the National Portrait Gallery, which provided many of the exhibition loans for Lasting Impressions. As part of the exhibition planning, we went to the National Portrait Gallery to see the prints up close and personal and to make our selection of loans. This was a great opportunity to delve behind the scenes. It is not surprising that almost everyone doing an Art History MA in 2013-14 took the Curating Research Module!

Lead image for Lasting Impressions, Self Portrait, Michael Rothenstein (Coloured woodcut, 1981)

Lead image for Lasting Impressions, Self Portrait, Michael Rothenstein (Coloured woodcut, 1981)  © National Portrait Gallery, London

However, it was not all fancy trips and talks. The course has also been a lot of hard work. The incredible prints on offer to us somehow needed to be narrowed down, the themes had to be worked out, and it all had to live up to the Barber Institute’s excellent reputation. (And, of course, the visitors had to like it!) Met with a whirlwind of new information and exciting prints it was easy to get caught up and forget the most important part – what would become Lasting Impressions, the exhibition itself.

Previous student-led exhibitions had all done something a little different and we wanted to follow suit. Our earliest ideas ranged from abstract themes, like arrangement by colour, to more specific ideas, like displaying only artists’ self-portraits. It was only upon visiting the National Portrait Gallery for the first time and looking around and seeing the works available to us that we decided upon our focus: printmaking as an artistic, expressive form. The twentieth century saw numerous artists produce prints, many of whom were experimenting with different, and sometimes unusual, printmaking techniques, combining different methods or using new materials. The works we chose were all fascinating individually and captivating aesthetically – we thought they would certainly make a ‘lasting impression’ on our visitors! I fell in love at an early stage with the portrait of Robert Plant by David Oxtoby. The print is vibrant and expressive of Plant’s musical passion (I confess to being a big Led Zeppelin fan).

A visitor looking at David Oxtoby’s portrayal of Robert Plant © Simon Hadley

A visitor looking at David Oxtoby’s portrayal of Robert Plant
© Simon Hadley

The works we chose were diverse and, as such, the resulting exhibition juxtaposes prints such as a 1907 etching of William Booth by Francis Dodd, a wonderfully vibrant and technically fascinating self portrait by Michael Rothenstein (1981, coloured woodcut), and a group portrait of politicians at the House of Commons by Chris Orr (1986, aquatint and etching). Within the exhibition, works such as these provide an overview of British portraiture in print during the twentieth century, and highlight the various techniques and styles used to develop the expressive potential of printmaking.

We wanted to make this exhibition as accessible as possible, and knew from our own experience that the technical aspect of printmaking can sometimes be a bit of a mystery. On display in the Lady Barber gallery, alongside the prints, we have included a selection of printmaking tools as well as an information sheet outlining various printmaking techniques. You can even try out drypoint with Birmingham Printmakers at the Barber Institute’s workshops.

Co-curator and Art History student, Annette Eldridge discussing the printmaking tools display with Exhibition and Loans Officer, Katie Robson

Co-curator and Art History student, Annette Eldridge discussing the printmaking tools display with Exhibition and Loans Officer, Katie Robson

Alongside that of the National Portrait Gallery, we were also given the opportunity to explore the fantastic collections here at the University of Birmingham, including the Research and Cultural Collections and the Cadbury Research Library. In fact, the visit to the Research and Cultural Collections led to the loan of my favourite work in Lasting Impressions – a charming plasticine print by Hans Schwarz (1922 – 2003). Schwarz was an experimental artist and this self portrait with his wife expresses perfectly his sense of humour and innovative style.

Hans Schwarz (1922 -2003) Happy Couple I Undated, plasticine print A1060, © Research and Cultural Collections

Hans Schwarz (1922 -2003) Happy Couple I
Undated, plasticine print
A1060, © Research and Cultural Collections

It was exciting to reach the point of having chosen the works and established the theme, but our work wasn’t over. The chosen works would need to make their way onto the walls and into the cases. But before that, we had to summarise all the research we had carried out about the artists and sitters into a one hundred word label – possibly the hardest task in curating an exhibition. And all of these tasks had to be done to a deadline. To me, though, this is just another reason why the module is so fantastic – it doesn’t just teach you ‘exhibitions in theory’, but it teaches you how to overcome the real life challenges you must inevitably deal with if you wish to put on an exhibition. As an aspiring curator, the knowledge and practical experience I gained during this module has been invaluable.

Thankfully, we did manage to get everything on the walls and in the cases, and we even managed to write the labels! With a big thank you to Dr Richenda Roberts and all of the Barber Institute staff that gave us so much help – we are all incredibly proud of what we have achieved, and could not be happier with how the exhibition has turned out. You can see it for free at the Barber Institute until the 28th September.

The History of Art MA students from left to right: Gerda Van Wyk, Alice Peters, Mik Escolme, Annette Eldridge, Erin Shakespeare, Yang Yang Zhou, Rachael Yardley and Anne Russell. © Simon Hadley

The History of Art MA students from left to right: Gerda Van Wyk, Alice Peters, Mik Escolme, Annette Eldridge, Erin Shakespeare, Yang Yang Zhou, Rachael Yardley and Anne Russell.
© Simon Hadley

If you’re interested in studying the MA in History of Art and the Curating Research Module click here to find out more.

Oliver McCall, one of our previous MA graduates, has reviewed Lasting Impressions here.

Mortar boards, pins, heels, wine, prizes and speeches: it’s Graduation 2014!

It’s that time of year again when campus is buzzing with excited (and slightly nervous) students, proud parents, and lecturers dressed as you’ve never seen them before! Graduation is a time to celebrate all our History of Art students have achieved during their time at Birmingham, not just on their degree programme but also as members of our department, the Barber Institute, UoB and the city itself. As a department we are pleased to be able to give out two prizes each year – the Sam Beighton Prize for the best dissertation, and the Emily Rastall Prize for the best overall contribution to the department. Competition is always stiff and there are more worthy candidates than there are prizes: every year, many of our students give generously of their time and energy in volunteering for various events, helping to run open days, applicant visit days, and workshops, and offering peer support. The department really appreciates this because it helps to make the department what it is – friendly, fun, and a great place to study.

Here we’ve put together a selection of photos from the ceremony on July 11th when Single and some Joint Honours History of Art Students graduated. You can read about about our prize winners and also see David, one of the department’s founding members, being given the by-now traditional ‘lift off’!

Dr Richard Clay with Tayler, Alice and Olivia at our pre-gown reception

Dr Richard Clay with Tayler, Alice and Olivia at our pre-gown reception

 

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Senior lecturer David Hemsoll and Dr Fran Berry at speech time

 

Students and parents at speech time

Students and parents at speech time

 

This year, the Emily Rastall prize, awarded in memory of a student who sadly passed away just after her finals in 2012, was shared by French and History of Art student Holly Wain and History of Art student Caroline Hetherington for their overall contribution to the department.

On receiving the prize, Caroline said: ‘Receiving the Emily Rastall prize was a little surprising (and embarrassing!), but I was very pleased to get it. Being recognised for contributing to the department made me think back over the three years of my course and remember the exciting things I was able to accomplish. It definitely reminded me that there was a lot more to my degree than the final mark.’

How did she feel at graduation? ‘Graduation was a lovely opportunity for all of us to be excited and proud after all the nerves of results day, although for me the best part of the day was my parents turning up about two minutes before we went on stage to receive our degrees.’

Is there anything she’ll miss now she’s graduated? ‘I will miss actually studying art history the most, as especially in final year I have loved the amount of research and interesting conversations that have taught me so much more about the subject. Alongside this, writing a dissertation about a previously unstudied sculpture probably gave me the most satisfaction.’ But, Caroline’s not going very far: ‘I am not leaving the University yet – I’m now a graduate trainee in Professional Services, working on different placements over the next year. I don’t know where I’ll go after that, but I’m pretty sure I’m not done studying yet.’

 

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Holly (left) and Caroline standing by the tree planted in Emily’s memory in the Barber grounds

 

Holly said, ‘I feel very honoured to be receiving the Emily Rastall Prize as it means the department can continue to celebrate the commitment and enthusiasm Emily had for Art History at the Barber. It also gave me the chance to reflect on my past four years in the History of Art department and how much I enjoyed contributing to projects like the Golovine Blog.’

How was graduation for her? ‘My graduation day was fantastic because I could share all the relief and happiness with my family and friends. My favourite moment was walking out of the Great Hall after the ceremony and feeling proud and excited for the future!’

What is her favourite memory of her degree? ‘My best memory of studying art history at the Barber is working with my tutor Liz for my dissertation. I loved researching using primary sources in archives because I felt like I could genuinely contribute something new and different. I enjoyed it so much that I am coming back to the Barber in September to do a research masters in History of Art.’

 

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Cheers! Drs Fran Berry and Camilla Smith on the Barber steps with Caroline, Tayler, olivia, Alice and Nelle

 

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It all happened here! Holly, Hang, Emma and Caroline with Dr Liz L’Estrange on the Barber steps

 

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Relieved that no-one fell up or down the stairs! Claire, Louisa, Connie and Grace after the ceremony

 

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Milling around outside the Barber

 

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Hats off!

 

And now for the most traditional event of the day…

 

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Ready…

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…steady…

 

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…wave, David!

 

And now for something more sensible (well, depends what you make of the lecturers’ outfits):

Outside the Barber Institute of Fine Arts

Outside the Barber Institute of Fine Arts

The Sam Beighton Prize for the best dissertation was this year awarded to Joint Honours History of Art and English student, Sarah Cowie. Here she tells us a bit how she felt receiving the prize about the  dissertation that she wrote.

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Prize-winner Sarah on graduation day

 

How did she feel getting the prize? ‘I am very pleased to have been awarded the Sam Beighton Prize this year, as I know there was much competition! It is a nice recognition of my efforts with the dissertation, and I am extremely grateful to my supervisor for guiding me in the right direction.’

How was graduation? ‘My graduation day was lovely, although as a Joint Honours student I graduated on a different day to some of my  History of Art peers, but Josh and I did still manage to have a photo shoot in front of the Barber though!’

What was her best memory of studying at Birmingham? ‘Aside from the second-year study trip to Rome, I think my best memories are of the Barber. It is such an inspiring environment, with amazing research materials in the library and galleries, and always a great venue for lunch with concert music playing in the background!’

Any plans for the future? ‘My plans for the future are yet to be made – I wasn’t very good at thinking ahead in final year! At the moment I’m considering doing a law conversion in Bristol, after travelling this year.’

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Sarah with fellow JH History of Art and English student Josh

 

What was it like researching and writing a dissertation? ‘In the same way as with any research, my dissertation topic adapted, evolved (and unfortunately considering the word count, expanded!) the more I read around the field of study. What began as an interest in Kurt Schwitters’ association with the German Dadaists gradually became a study of exile and anti-nationalism during the Nazi regime; a subject area that complimented my final year special subject, German Modernisms of the Body.

The dissertation explores national identity and the concept of Heimat in Kurt Schwitters’ (1887-1948) assemblage, Picture of Spatial Growths/Picture with Two Small Dogs, which was produced in Hanover in 1920 and then reworked by the exiled artist nineteen years later in Oslo. The dramatically different cultural climates of these two completion dates – which bridge together post-World War One Germany and pre-World War Two Europe – have invited interpretations of the work that place special emphasis on Schwitters’ increasingly diminished sense of German national identity under the Nazi Regime. However, considering the irreparable damage left following Germany’s defeat in 1918 and the anti-nationalist sentiments outlined in the artist’s essay ‘Nationalitätsgefühl’ (National Sentiment) from 1924, the current study questions the extent to which Schwitters had a fixed sense of national identity, or any kind of investment in the Volksgemeinschaft even during these earlier years.

 

Kurt Schwitters, Picture of Spatial Growths/Picture with Two Small Dogs, 1920/1939. Oil, paper, cardboard, wood, fabric, and ceramic on board (97 x 69 x 11 cm) London, Tate Collection.

Kurt Schwitters, Picture of Spatial Growths/Picture with Two Small Dogs, 1920/1939. Oil, paper, cardboard, wood, fabric, and ceramic on board (97 x 69 x 11 cm) London, Tate Collection.

 

In challenging the reading of Spatial Growths as evidence of German or Norwegian national identity, the central tenet of the dissertation explores how Schwitters’ sustained use of found materials (themselves fragments of a disordered reality) is symbolic of a wider process of ordering exile. Indeed, the concept of Merz – a label which encompasses Schwitters’ innovative creative practices and a name which he adopted for himself in the 1920s – sheds light on the artist’s understanding of a transnational Heimat; signalling Schwitters’ desire for a more flexible identity in the midst of political discourses on national purity. Approached thus, the fusion of two nationalities in Spatial Growths cannot be considered a visual enactment of the artist’s loss of German national identity. Rather, through its palimpsest qualities and the incorporation of domestic materials, it alludes to Schwitters’ prolonged search for a stable Heimat in an unstable existence; contributing to a narrative of homelessness that defined the life of this artist.  

Detail of Schwitters' Spatial Growth

Detail of Schwitters’ Spatial Growth

 

Despite moments of panic when I thought I might not be able to actually view the work (it was touring Germany for much of the year), writing the dissertation came to be as rewarding as it was challenging. The opportunity to study one work of art in such depth, whilst drawing on the expertise of my supervisor, Dr Camilla Smith, enabled me to form a research topic that interested me greatly, and that I felt had not been fully explored before.’

 

Well done again to all our graduates this year – you have done us proud! You can see interviews with some of our students on graduation day here.

 

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Why I like this module… Inside the Gallery: Histories, Theories, and Practices of Museums and Galleries

If you’re heading into Year 12 or 13, now is the season of Open Days and all things Uni-related. As part of that season, we’ll be showcasing a few of our modules here on The Golovine to give you a sense of what they involve and what our students make of them. First up, Romy and Sophie give us their views on the second year module, Inside the Gallery: Histories, Theories, and Practices of Museums and Galleries.

Inside the Gallery’ was one of the most interesting modules that I took in my second year. The module looks at the role of museums and galleries and the practicalities of exhibiting art works. Over the course we visited various museums across Birmingham and had talks by individuals working within fields such as curating and restoration. The assessment of the module requires the group to create their own hypothetical exhibition, using the knowledge gained to plan out an exhibition in its entirety, from loan requests and installation procedures to budgeting and marketing the show.

Romy, Second Year, BA History of Art

Romy, Second Year, BA History of Art

I really enjoyed the active basis of the course that required me to think about art differently. As I am very interested in the possibilities of working with art, meeting those people who have incredibly exciting roles has given me insight into where I may take my future career.”

 

This second year module:
•draws on the expertise of our own gallery, the Barber Institute
•explores other collections in and around Birmingham
•offers an insight into museums’ curating, marketing, education and finance departments
•is assessed by a virtual exhibition

 

Barber Institute of Fine Arts

Barber Institute of Fine Arts

 

 

 

 

 

 

 

 

“I recently had a great opportunity to put the skills I learnt from taking ‘Inside the Gallery’ into practice when I worked with South African artist Cathy Layzellto develop and organise an exhibition of her work. After securing the venue, the exhibition had to be marketed, the artwork organised for display and priced. The exhibition was a huge success, with Cathy selling much of her work and it was an enjoyable day for all.

Sophie, finalist, JH History of Art and History

Sophie, finalist, JH History of Art and History

I am so grateful that I had the opportunity to take this course, which just shows the range of topics available to students of Art History at the University of Birmingham. Not only is there great diversity in the type of art that we study, but we also learn how to apply our knowledge in the modern day art world.”

 

To find out more about Inside the Gallery and other courses on offer, click here.

If you want to get a real feel for studying History of Art with us amongst the fantastic collections of the Barber Institute, come along to our History of Art Taster Day on 20th September – find out more here and check back for the full programme soon!

Professor Lisa Jardine and Excavating Early Modern Women’s History, 18th June

Professor Lisa Jardine

in conversation with IAS Distinguished Visiting Fellow Dr Nadine Akkerman

Challenges for Early Modern Women’s History

 Wednesday 18th June 2014

 Barber Institute of Fine Arts 4.30- 5.30pm

 Jardine

 

The University of Birmingham

Institute of Advanced Studies (IAS)

Archival research has dramatically altered women’s studies. It has confirmed the fact that early modern women writers published not chiefly in print, but mostly in manuscript. Since the 1980s English literary scholars have discovered hundreds of manuscripts penned by female authors in widely-dispersed libraries and repositories. Anthologies and digital projects such as PERDITA have made access to these texts easier for researchers and students alike. But while in this way more female authors (letter-writers, poets and playwrights) have been able to capture our attention, the political dealings of Englishwomen, even those of the highest status, have continued to be neglected. Apart from the correspondence of Elizabeth I, for instance, none of the letters of royal Englishwomen, whether queens-consort or regnant, have been collected or edited. Nor have these textual traces been scrutinised for evidence of the writers’ real historical importance. Jardine and Akkerman will offer exciting new research opportunities for excavating early modern women’s history.

There will be opportunities for questions and a reception.

Lisa Jardine CBE is Professor of Renaissance Studies at University College, London, where she is Director of the Centre for Interdisciplinary Research in the Humanities and Director of the Centre for Editing Lives and Letters.

 

The event is free but booking is essential.

Ain’t no party like a Bauhaus party . . .!

Bauhaus

Students from the Art History department and the Barber Association have organised a summer soirée for everyone in the department to celebrate the end of the year, the end of exams(!), and to see off our finalists with a bang!

It takes place on Monday 9 June from 7-10pm in the Barber.

The theme is Bauhaus, and fancy-dress is welcome, encouraged, even – time to don your thinking caps, perhaps take cue from the above photograph of Oskar Schlemmer’s  Bauhaus costumes from the 1920s! Otherwise, dress in metallics.

Tickets cost £18, with a reduced ticket price of £15 for Barber Association members. The event will include:

- Drinks on arrival

- Light buffet

- Photographer

- Live music

…and last but not least…

- A photo booth  (for flaunting all those ace Bauhaus-esque outfits!)

You will be allowed to bring some alcohol with you, as long as it is not spirits or red wine. So feel free to bring along some white wine or fizz to celebrate another year’s hard work!

Tickets can be purchased from the Barber reception or from your year reps. Plus ones are more than welcome. The Facebook event can be found here.

 

 

Calling all HoA Graduates…Barber internships are now available!

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MUSEUM INTERNSHIPS 2014/15

The Barber Institute is offering six museum internships over the coming year. The internships are designed to provide work experience for graduates with a degree in History of Art or a related subject, who are seeking a career in museums and galleries. Internships last twenty weeks and start in either September 2014 or February 2015. Interns work 21.5 hours per week and will be paid at a rate of £7.53 per hour.

To get an idea of what an internship can involve, read Sophie Rycroft’s post about her time working as a Collections in term.

 

The Barber Institute of Fine Arts

The Barber Institute of Fine Arts

 

1)        Collections Internships

 We are offering two internships working with our Collections team. Interns will gain experience in all aspects of curatorial work, including research, documentation and the planning, organisation and installation of exhibitions. They will also be given the opportunity to curate a small display of prints and drawings and to give gallery talks.

2)        Learning and Access Internships

 We are offering two internships working with our Learning and Access team. Interns will gain experience in all aspects of the planning, organisation and delivery of learning activities, which encourage the study of art and enable our visitors to enjoy, understand and reflect upon the Barber’s unique collection of paintings, prints, drawings, sculptures and decorative arts.

 3)        Communications and Marketing Internships

 We are offering two internships working with our Communications and Marketing team. Interns will gain experience in all aspects of the planning, organisation and delivery of targeted marketing, social media, media relations, public relations and other communications campaigns aimed at encouraging different sectors of the community to visit the Barber and participate in its events and activities.

How to Apply

Applicants should be able to demonstrate a strong interest in, or knowledge of, History of Art, preferably supported by a formal academic qualification. In addition, they should have excellent communication and computing skills and a commitment to working in museums and galleries.

For further particulars and an application form, please visit the University of Birmingham’s website http://www.birmingham.ac.uk/staff/jobs. The closing date for applications is Monday 9 June 2014. Interviews will be held in the week starting 23 June 2014.

The Barber Institute’s Internship Programme 2014/15 is sponsored by NADFAS (through the Patricia Fay Memorial Fund), the Chris Gait Endowment Fund and the Patrons of the Barber Institute.

 

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Curating Art History Colloquium – Programme

UoB crest

 

There’s still time to buy tickets for this year’s Departmental Colloquium. Tickets can be purchased from the online shop. Students from the Department of Art History, Film and Visual Studies can confirm their attendance by emailing Faith Trend directly at: FCT357@bham.ac.uk.

The programme has now been finalised and is available below. With a truly international billing–our keynote is coming all the way from Australia–, besides speakers from closer to home, the colloquium promises to be a fascinating exploration into the worlds of museum curating and academic art history, and we hope to see lots of you there!

 

Curating Art History: Dialogues between museum professionals and academics

7th and 8th May 2014

 The Barber Institute of Fine Art, The University of Birmingham 

 

PROGRAMME

 

DAY 1 (7th May)

14:00 – 14:45 Registration and refreshments (Barber Institute Foyer)

14:45 – 15:00 Welcome and Introduction (Barber Lecture Theatre)

Erin Shakespeare (UoB); Nicola Kalinsky (The Barber Institute)

 

PANEL 1: ETHNOGRAPHY AND CURATING NATIVE ART (Barber Lecture Theatre)

Respondent: Nicola Kalinsky

15:00 – 15:50 KEYNOTE: The Hang and Art History

Catherine De Lorenzo (University of New South Wales, Australia)

15:50 – 16:10 Contemporary Native Perspectives: Dialogue and Exchange in Artistic Practices and Curatorial Methodologies

Helen Shaw (University of York)

16:10 – 16:30 t.b.c.

Bryony Onciul (University of Exeter)

16:30 – 17:00 Response and Questions

 

19:00 – 21:00 Conference dinner (venue to be confirmed)

 

DAY 2 (8th May)

9:30 – 10:00 Registration (second day attendees) (Barber Institute Foyer)

 

PANEL 2: KNOWLEDGE EXCHANGE AND DEVELOPMENT (Barber Lecture Theatre)

Respondent: Clare Mullet (UoB)

10:00 – 10:20 Art detective: creating collection knowledge through public engagement

Andy Ellis (Public Catalogue Foundation)

10:20 – 10:40 Cross-talking in Engage Journal 

Karen Raney (University of East London)

10:40 – 11:00 Response and Questions

 

11:00 – 11:30 Coffee break (Barber Institute Foyer)

 

PANEL 3: EXHIBITIONS THAT CHALLENGE CURATORIAL PRACTICE AND ART HISTORY (Barber Lecture Theatre)

Respondent: Richard Woodfield (Journal of Art Historiography; UoB)

11:30 – 11:50 Post-humanist Desire: Visualising Cyborgs and the Hybridised Body

Ming Turner (National Cheng Kung University, Taiwan)

11:50 – 12:10 [Re]Exhibiting Impermanent Art

Vera Carmo (University of Maia, ISMAI, Portugal)

12:10 – 12:30 Between a Rock Drill and a Hard Place: Researching and Curating Sir Jacob Epstein (1880-1959)

Elin Morgan (UoB; The New Art Gallery Walsall)

12:30 – 13:00 Response and Questions

 

13:00 – 14:30 Lunch (Barber Institute Foyer)

Time to look at the Faith and Fortune exhibition in preparation for the afternoon’s paper (Coin Gallery, Barber Institute)

 

14:30 – 15:00 Exhibiting coins as economic artefacts: Faith and Fortune: visualising the divine on Byzantine and early Islamic coinage (Barber Lecture Theatre)

Chairs: Jamie Edwards and Faith Trend (UoB)

Rebecca Darley (The Warburg Institute) and Daniel Reynolds (UoB)

 

15:00 – 16:00 Roundtable AHRC Iconoclasms Network (Barber Lecture Theatre)

A cross-disciplinary debate and Art Under Attack: Histories of British Iconoclasm at Tate Britain

Chair: Lauren Dudley (UoB)

Richard Clay, Henry Chapman, Leslie Brubaker (UoB); Stacy Boldrick (The Fruitmarket Gallery, Edinburgh); Simon Cane (Birmingham Museums Trust)

16:00 Closing Remarks

Jutta Vinzent (UoB)

 

16:30 – 17:30 Drinks reception (Barber Institute Foyer)

 

The Big Wide World of Miniatures by second year art historian Sarah Theobald

I was asked to do a Gallery Talk to members of the public on Tuesday 4th Feb on a collection of miniature paintings that are currently on show in the Barber’s Print Bay in The Beige Gallery. This exhibition, based on the theme of ‘Family Circles’, contains a wonderful range of miniature portraits mainly on loan from the Daphne Foskett Collection.  It’s a great display, including works by some well-known names such as George Engleheart and Sir William Charles Ross and featuring much-loved miniatures such as Isaac Oliver’s Henry, Prince of Wales of 1612 which became the face of the National Portrait Gallery’s 2012-13 exhibition The Lost Prince (and where the miniature took on much larger proportions on the banners).

From miniature to massive: Isaac Oliver's portrait of Henry on the National Portrait Gallery's front door

From miniature to massive: Isaac Oliver’s portrait of Henry on the National Portrait Gallery’s front door

I teamed up with the Collections Assistant at the Barber, Sarah Beattie, who introduced the collection. I then discussed the technique used for traditional miniature painting, which I know a fair bit about because I still use the same technique today for my miniature paintings.

The beautifully diverse collection of miniatures on display allowed me to effectively describe the stages of traditional miniature painting. Contrary to what might be thought, the technique itself is a lot more complicated and time consuming than just painting something in small scale. The word miniature in this case does not even derive from its size. It comes from the Latin word Minium, the name for the red lead paint used in medieval manuscripts, which is where miniature painting started. The display shows a progression of style from the miniatures on vellum through to ivory. Today ivorine or polymin is used as a substitute for ivory. Apart from the support, the technique for painting miniatures today is the same traditional method and it is not what you would expect when using watercolours. Even though it is called watercolour, the paint is not applied as a wash. The paint is actually applied using a process called ‘stippling’ and what is amazing about miniatures is that every part is made up of individual dots.

Sarah delivering her talk

Sarah delivering her talk

Miniatures are so delicate that paint cannot be applied thickly and neither can the dots be overlapped, because this would cause the paint to flake off. Colour has to be built up by filling in the gaps between the dots. The watercolour as a medium is not used as is. The paint is watered down and left to dry to thin out the pigment. Miniatures are based on colour density, not colour intensity. A great example of this can be seen in the background of Peter Oliver’s, Frederick V, Elector Palatine and King of Bohemia, 1623. Peter Oliver has used lines instead of dots, however the top of the background is lighter and where more lines have been applied, the background gets darker.

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Peter Oliver, Frederick V, Elector Palatine and King of Bohemia, 1623

Another fascinating point about miniatures is that the white seen in paintings is not paint, it is the support. Whether on vellum or ivory, miniatures are very delicate. Antique works have to be conserved carefully or they will be lost forever. You have to paint with your hand resting on a bridge over the painting because even the touch of a hand can smudge the work. This is used as an advantage to painters because anything that is applied can be taken away. Look at the image of Portrait of a Lady, called Mary Queen of Scots (1720) on display to fully appreciate this.

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Bernard Lens, Portrait of a Lady, called Mary, Queen of Scots (1720)

It is almost like Bernard Lens was painting backwards. Using this technique of lifting off the paint, to achieve a white colour, paint is taken off leaving the ivory to shine through. Only the highlights on the white are painted on using gouache (or Bodycolour). The difference can be seen in the collars of James Scouler’s two juxtaposed paintings Self Portrait and Alexander Scouler, the Artist’s Brother.

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James Scouler (1741-1812), Self Portrait Painting a Miniature, 1763

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James Scouler (1741-1812), Alexander Scouler, the Artist’s Brother, 1771

At the end of the talk some antique miniatures from my own collection were passed around and my paintings were on show with step by step pictures to illustrate the process.

This is only a dot on the surface of the process for miniature painting, there is a big wide world of miniatures out there that is not thought about in much detail. Hopefully this will help people to look closer at miniatures in the future.

Stages of miniature painting

Stages of miniature painting

The exhibition Family Circles is on at the Barber until 26th May 2014. Find out more here: http://barber.org.uk/family-circles/

If you would like to know more feel free to email Sarah at miniaturesbysarahtheobald@hotmail.com or visit www.facebook.com/miniaturesbysarahtheobald

The miniature paintings and merchandise can also be found in the Barber gift shop or commissioned via Sarah.

If you’re quick, you can catch Sarah doing a talk about another miniature at the Art History Speed Workshop on Weds 19th March at 2pm in the Barber

The Department of Art History, Film and Visual Studies Annual Colloquium: Curating Art History

UoB crest

Tickets are now on sale for this year’s Annual Art History Colloquium, organised in conjunction with the Journal of Art HistoriographyTickets, priced at £10 for students and £20 full price, can be purchased from the Online Shop here.

“Curating Art History: Dialogues between museum professionals and academics” will take place on the 7th and 8th May 2014 at The Barber Institute of Fine Arts.

KEYNOTE SPEAKER:

Catherine De Lorenzo

(University of New South Wales, Australia)

AND:

Helen Shaw (University of York); Andy Ellis (Public Catalogue Foundation); Karen Raney (Engage Journal); Ming Turner (National Cheng Kung University, Taiwan; Vera Carmo (University of Coimbra, Portugal); Elin Morgan (The University of Birmingham; The New Art Gallery, Walsall); Rebecca Darley and Daniel Reynolds (The Warburg Institute; The University of Birmingham); Richard Clay, Henry Chapman, Leslie Brubaker (The University of Birmingham); Stacy Boldrick (The Fruitmarket Gallery, Edinburgh); Simon Cane (Birmingham Museums Trust)

THEMES:

Ethnography and curating native art:
Australian art history and Aboriginal art; curating Native American art

Knowledge exchange and development:
Providing specialist knowledge to public art collections; gallery education and curatorial strategies

Exhibitions that challenge curatorial practice and art history: 
Post-humanist desire: Innovative research and methods of display; Crash Music: re-exhibiting impermanent art; Jacob Epstein’s Rock Drill: a creative curatorial opportunity

Case study at the Barber Institute:
Exhibiting coins as economic artefacts: Faith and Fortune: visualizing the divine on Byzantine and early Islamic coinage

Round table – International Iconoclasms network:
Cross-disciplinary debate and Art Under Attack: Histories of British Iconoclasm at Tate Britain

The poster is available here: Curating Art History Colloquium 7th and 8th May 2014

Picture of the Month – the student’s choice: Rossetti’s Blue Bower (1865)

As members of the Barber Association and the Department of Art History, Film and Visual Studies, our students get involved in the Barber Institute’s Picture of the Month Scheme.

This month (March), second year student and artist in her own right, Sarah Theobald picked Dante Gabriel Rossetti’s Blue Bower which was painted in 1865.

Here is what she says about it:

“This painting is the reason why I chose to attend the University of Birmingham.  I joined ‘The Pre-Raphaelite Society’ when I was fourteen and the thought of being able to study in the same building as this exquisite Rossetti, and see the painting as much as possible, was just too enticing.

The image is a truly striking example of the Pre-Raphaelites’ desire to achieve excellence in the minutest of detail.  Rossetti himself said that it was filled with ‘opulence, sophistication of hue, and beguiling decoration.’

For me, it is one of the Barber’s triumphal acquisitions.”

The Blue Bower, 1865 (oil on canvas), Barber Institute of Fine Arts

The Blue Bower, 1865 (oil on canvas), Barber Institute of Fine Arts

You can find out more about the Blue Bower here and see it up in the Barber Galleries (Mon-Fri 10am-5pm and Sat-Sun 11am-5pm).

Watch this space for Sarah’s report on her gallery talk for the Barber’s display of miniatures!

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