The Ephemeral Museum re-visited

When I heard about the NG of Scotland's project of touring Titian's canonical mythology- Diana and Actaeon, in America, I immediately thought of the late Francis Haskell's book The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition, published at the start of the decade. That was the name Haskell gave to permanent collections temporarily depleted by loans to exhibitions. In a memorable foreword, Haskell described a world shrunk by travel; the author envisaged airlines crowded with planes carrying precious artistic cargoes of Titians, Velasquezes, Poussins and others. The serious point about the increase in shows and the concomitant risk to art was made with humour and eloquence.

Almost a decade later I wonder what Haskell would be saying about the new trend, initiated by the Louvre in 2007, of lending paintings for a year or more to museums like the High and others? Haskell was voicing his concern about the increased traffic in art at a time when museums were not feeling the pinch as much as they are today. I mean, back in 2001, would you ever have thought that the Getty, the Getty, mark you, would cut their acquisition budget? I still couldn't believe that when I read it. A sign of the times!

Today, the ephemeral museum is much more of a reality. If a masterpiece- or several works of art- can reside in museums on the other side of the world for 6 months or more, then its home collection cannot be regarded as permanent, not on your life. I don't want to launch into a tirade about lending art outside the U.K. I'm glad that the folks who'll visit the museums will get the chance to appreciate the beauty and genius of these pictures; but several things should be borne in mind as they go off on their merry way.

1. As the Art Newspaper gently intimates: it's surprising that the Titians are leaving so soon after they came into public ownership. According to the article, the scheme was hatched in 2008 during the campaign to save the Titians, so this global tour must have been on the cards for a long time. I also agree with the M.P. Ian Davidson who says "it's bizarre when such a large amount of public and lottery money was raised to keep the painting in Britain."

2. The 'Diana and Actaeon' isn't in perfect condition. As the NG of Scotland says in the catalogue for 'The Age of Titian' exhibition of Venetian art in Scottish collections of 2005, there is craquelure in the section by Actaeon's hand; it's visible to the naked eye, even in reproductions. I know it's been restored, but the problems of restoration aside, taking it in and out of crates can't be good for the picture's health.

3. This sets a dangerous precedent for U.K. museums. After this more cash-strapped museums are inevitably going to follow this extended loan period arrangement. I know the NG of Scotland is forced to this cause of action because of the huge debt built up during the Titian campaign, but there are risks in touring old master art on this scale. I'm sure Francis Haskell would have agreed.

All of these thoughts will be passing through my mind when I look at the Titians in the NG London, in a few weeks time. I shall drink them in before they start their long trek north and west, an itinerary comprising Aberdeen, Glasgow, Dundee, Atlanta, Minneapolis, Houston, Cardiff etc.

Comments

[Davidikus]

IMVHO you raised the main problem: conservation. I have no issue with seeing the Venus of Milo out of the Louvre for an extended period of time (especially since it resides in one of the most bizarre parts of the Museum). On the other hand, chances are that the Venus will come back with a chip or an increased need for repair. This is what famously happened with La Liberté guidant le Peuple, which was almost destroyed in its last trip to Japan. Think about it: conservators refused to move the Delacroix from one room of the Museum to another because of its fragile state and they had to agree to send it on a plane trip!

It's all very good that more people the world over can see masterpieces - not at the cost of preventing future generations from seeing them.

http://davidikus.blogspot.com/

[Art History Today]

Thanks for your comment.Yes, its ultimately about conservation. Im sure that the curators at the NGS have their doubts about these paintings going on planes all the time.
Good examples you provide. I didnt know about the Delacroixs Libertys narrow escape. It just goes to show.BestDavid 

[Suz Sippel]

I feel conflicted about viewing traveling masterpieces. We don't have many of the "big guns" in Houston, but I know that my attendance just encourages traveling exhibitions. Do I skip it to make the point, and hope I can travel to them one day - if they are even "at home" of course.

[Art History Today]

I know what you mean. That's why I said I was glad that more people would see them.

I'm more concerned about the expanded loan period for such fragile masterpieces- david

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