A Day at the National Art Library and the British Libary

Now I’ve the piece and the essay title sorted it’s down to the hard graft of research. I’ve joined the National Art Gallery (NAL) at the V&A and also have a British Library (BL)Readers card. Both institutions have on line ordering which means your books are ready when you arrive. Good as it means you start work instantly with the books once you arrive . Bad if you find another book as you read that would be good to refer to as it takes time to retrieve (if they have it on site) BL – 70mins, NAG up to 2hrs.

I had the opportunity to visit both in one day so it was a chance to compare them first hand.

Rules

NAG and BL are two very different institutions with their own idiosyncrasies. Neither allows bags in, both offer transparent plastic bags to carry your stuff. The BL is very formal – need your card to get in and bag check to get out of its reading room. The NAL just walk in obtain a seat and your off, you do need your card to get your books like the BL.
In the BL no eating (I was told off for chewing) and pencils only ( I saw a reader being told off for using a biro, by what can only be described as a floor walker whose job was make sure we readers were using the books appropriately). NAL not so rigorously policed – I’m sure they are watching you but not so obviously.

Photocopying and Photographing



The BL inspects all books before you can use the photocopier if they think it’s too big or small or delicate or whatever to copy you have to let them to do it for you and this takes time (days!). Absolutely no photographing at the BL, NAL is a bit more relaxed, you can photograph in fact they offer excellent stands, book supports and weights (see picture) to let you photography – photographing seems positively encouraged.



Book Covers



The BL only gives you the book only – no jacket , the NAL gives you the book with its jacket! This is real joy as this how I discovered the image of St Maurice in Cologne on the cover Vol2 of the Black Image in Western Art. Also makes the book more of a book when it has its jacket. Having said that the NAG doesn’t bind the cover in plastic so it’s taking a risk of the cover being destroyed by handling.

Lunch

Both have splendid out door spaces to have lunch – if you like water the NAG has a lovely paddling pool but it is surrounded by the weirdest green plastic things. The BL has a great plaza in front of it , very roomy.

Hard to say which is the best – BL has a bigger choice of course as it says this is ‘the world’s knowledge’ while the NAL is only about art. On balance I liked the NAL as you could photograph the books and take your stuff with you there and then!

Much closer to the final question

The making, locating and viewing the Black presence in an early sixteenth century Devonshire Rood Panel - The Adoration and of the Magi Panel catalogue number W.54-1928.

I like this as it follows the course and gives structure with a background. I'll present this at the IE outline review tutorial this morning to see if it works:

This outline should last a maximum of 5 minutes and typically covers your working title, your chosen work to be viewed first hand, the course theme(s) you will address and the key questions you will be investigating. You may also wish to comment on available literature. This will be followed by 5 minutes of feedback from myself and other students.

Themes

Making

• Panel painting
• Gothic structure cf altar pieces
• Devonshire Rood screens
  

Locating

• The origin of the black magi
• Movement of the idea across Europe
• Germany > Antwerp > England
  

Viewing

• purpose images on panel screen

That'll be the core essay structure upon which I'll build. I might even try writing the conclusion first then the introduction. That was a tip from the IE preparatory CD.

Still working on the question

I'm not happy with:

The making, locating and viewing of an early sixteenth century Devonshire Rood Panel - The Adoration and of the Magi Panel catalogue number W.54-1928

too dull, very boring, far too matter of fact but it does give the essay structure.

I'm leaning towards:

What is the purpose of Black Magi in the early sixteenth century Devonshire Rood Panel - The Adoration and of the Magi Panel V & A catalogue number W.54-1928?

Sets the scene right upfront. I'll think about it. My plan is to close on the question by tomorrow in time for the tutorial.

Off Topic But What the Heck...

I saw this face on the cover of The Image of Black In Western Art. It stopped me in my tracks. a black CRUSADER!!..that's like a black cowboy they simply don't/didn't exist as we never see them. Right? Wrong! They - the black crusaders and black cowboys - were there as blacks got and get everywhere. So, why not a Black Crusader? Great Picture.

It's St Maurice in Magdeburg Cathederal you can see him here and find out more about him here.

The Piece and the Question

Well I think I'm there here's my piece and my question.....sure of the piece however, the question looks a bit bland but it does cover the course which is the name of the game. I'll sleep on it. The piece I'm really sure I will use it - the four different leaves clinched it for me. The question I'm not so sure. So here's the piece (a bigger picture) and the question:

The making, locating and viewing of an early sixteenth century Devonshire Rood Panel - ‘The adoration and of the Magi Panel’ catalogue number W.54-1928.

The Ear Ring

I was so excited to see him face to face and to see his earring wasn't just a blob of paint but clearly recognizable as an ear ring - just fantastic.

This is my piece...now my IE question. I don't wont to compare it with anything as it's not a good picture but discussing how and why it was made , what it represents and it's purpose seems reasonable basis for the IE.
So, I was thinking of..

What was the function of the Black in the early sixteenth century Devonshire Rood Screen from the V&A collection ?

....or something thing like that as I'd like to link a discussion of Gothic Rood screens (LOCATING/MAKING Renaissance Art ) and the Black (VIEWING).

Alabaster Magi Out

At the AA315 V&C study day at the V&A I had the chance to have a close look at the Alabaster Magi. I don’t like it. Further there’s something not quite right about the polychrome. The worn gilding on the left edge looks real – aged by time and some mis-use but the green background and the black magi …..don’t look original to me. The colours perhaps were a later addition to enhance the piece and make it easier to sell.

That black – not only is his colour ‘wrong’ but the facial characteristics are too European. On the last point I know it may have been sculptured by someone who had never seen a real Black and was working within the Magi iconography in which a black is there to represent Africa. So, having not seen one he simply sculpts a European featured face and then paints it black. See for your self in the close up

So tomorrow’s the big day I get see the Rood Screen

All Turned Around

Suddenly its all come good on access to the work. The folks at the V&A have been outstanding; I’m seeing both pieces – The Screen and The Alabaster - next Monday!

With the Rood Screen I’m even getting to see the documentation before I see the work. I’m attending a Study Day at the V&A this Saturday so I’ve arranged for them to leave copes of primary and secondary source stuff on the Rood Screen at reception for me to collect.

So now I’ve two nice pieces to look at the challenge is to close on an essay title.

What purpose does the Black presence play in the form and function on the Rood Screen?

OR

What purpose does the Black presence play in the form and function on the Alabaster Piece?

Cold feet.......

I’m starting to get cold feet on the Rood Screen – no feedback fromV&A , not a great deal on Rood Screens and nothing on this particular one

Hmmmm so this could bring me back to the begining.

There again I could do Magnificence and the Moors head…….

What is the significance of the Moors head in The Martrdom of Saint Sebastian by the Pollaiuolo brothers

OR

What does the Moors head in The Martrdom of Saint Sebastian by the Pollaiuolo brothers reveal about 1thth century Florentine magnificence ?


I'll give it till the weekend then decide.

Some background on Rood Screens

The Rood Screen served to separate the clergy from the masses or really the non-elites aka them/not us / the unwashed etc. ect. Seems if you had the power and or money you could get beyond the screen. In fact Philip the Bold has his own prayer box beyond the screen.

Spent some time to trawlling JSTOR for artiles on the V&A piece - couldn't find any. Broaden the search ro Rood Screens in general found some even some pictures of one or two screens at a very informative site

Medieval Creation and Re-Creation

which produced a bibliography :

Lasko, P and Morgan, N.J., Medieval Art in East Anglia, Norwich 1974
Anderson, M.D., Drama and Imagery in English Medieval Churches, Cambridge 1963
Pevsner, N. and Wilson, B., The Buildings of England: Norfolk 1, London 1997
for further study.

News.....well sort of...

I received a reply form a very pleasant lady who told me subject to being 'safel accessible' I may be able to see it on the 18th June or 2nd July. Which is mixed news - GOOD I can see it BAD it's to late - my tutorial's 21st June so no time to prep.

Having said that the issue is documentation and provenance if I have both then I’m sorted.

She promised to get back to me on the amount of supporting documentation there is with The Rood Screen. I spent sometime explaining to her (and myself!) the IE is an investigation, it is not research it is not synthesis it’s more analysis so I will tread an established path.

She promised to get back to me Monday…. fingers crossed or thumbs pressed as they say I Germany.

Heard Nothing.....But Found Something...

Nothing back from the V&A as to whether or not I can see the Rood Screen. The lady on the phone who advised I need to 'write in' didn't insprie me with confidence. TMA 3 - the Independant Esay (IE) description with outline and biblography needs to be in by the end of the month and right now I've nothing.....

Hmmm...

Have I put too much trust in the V&A ?....

On the plus side found a great source.....

Journal of Medieval and Early Modern Studies

for the medieval black prescence - it had a whole issue on race so the day's not lost. The 'issue' now is what to write about!

Still not there...

I’ve been corresponding with the V&A, free lance author and an academic for more detail.

Asked the V&A to see the Rood Screen as it’s not on display. Received a prompt informative reply from the author. The academic also replied with some information, sadly not all I wanted. Finding a piece along with primary sources is proving to be challenging.

If the Rood Screen is the one then it’s The Back Magi still, I like the Black Servant as I admire the Carpaccio so much. Decision time is looming!

I could still do The Germany Stained Glass Black Magi and Attendant which would cover both - would this be a bit to much ??

Needs some thought....

And then there was one...

Sad to say I've been told I can't see the della Robbia quoting from an email redceived today from the V&A

I'm afraid to say that, at present, the Della Robbia altarpiece is in 12 sections having been dismantled from a previous location where it was set into the wall. It is now in an object store which is currently inaccessible to the public due to health and safety reasons as conservation work and treatments are being carried out there. It is due to have its second phase conservation later this year for the forthcoming Medieval and Renaissance Galleries, which will open in November 2009, but is sadly not possible to view until then.

So now I'm left with only the Rood screen

Now There's Two

Now it’s a two horse race – the della Robbia or the Rood screen I can’t help but express a preference for the former. Why?

Well The Rood screen has a well worn topic – the Magi – there is no ‘white’ magi piece I particularly like to compare it with it . Both Northern with the proliferation of Black magi and Italian Magi /Nativity are ,for me, a bit dull. There is however one Northern Black Magi I really like that’s the on a piece of stained glass in the V& A. I saw it the other day. The colours are truly magnificent. Colour ideally dramatic, vivid ,colour , is an important part of the art I like. Yes, I know as an historian one should be agnostic but this is my IE so, I’m going to have ‘colour’ in it in both senses of the word! That Magi has both two chances for me to use it

1 The Black Magi – the noble king complete with slave referencing earring
2 The Black servant or attendant - the little fellow at the front

As my essay is to be a comparison I want a counterweight to the piece I chose. So, this could be that counterweight. But that would mean comparing the Rood Screen to Black Magi possible but not so much fun as Rood Screen with Breughel’s Adoration or Gozzoli's magnificent fresco for the Medici place in Florence

I’m leaning towards the The Black Servant angle as I know the counterweight piece I want to use, it’s Carpaccio’s The Exorcism . There’s so much I like about this work. Firstly, the colours are just excellent lively, vivid saturated were needed and overall balanced and harmonious; follow the red around to see how Carpaccio uses colour so well. Next there’s the Black Gondolier centre stage and not the topic of the picture! Then there’s all those characters, I like pictures full of images there’s no shortage here. So,I’d love this is to be the counterweight to the piece I choose but I need to close on the main piece.