The Meroë Head of Augustus: statue decapitation as political propaganda

British Museum blog

David Francis, Interpretation Officer, British Museum

In his Twelve Caesars, the Roman historian Suetonius describes how the emperor Augustus’ eyes ‘shone with a sort of divine radiance’ and that it gave him profound pleasure ‘if anyone at whom he glanced keenly dropped his head as though dazzled by looking into the sun.’

The Meroë Head. Roman, 27?25 BC (British Museum 1911,0901.1) The Meroë Head. Roman, 27?25 BC (British Museum 1911,0901.1)

The Meroë Head, the only bronze portrait of Augustus to have survived with its original inlaid eyes, perfectly captures the enigmatic gaze of the Roman emperor. Depending on how the light falls, the expression of the head can vary from haughty disdain to melancholic introspection. The whites of the eyes are further emphasised by the dark green sheen of the emperor’s skin and hair. This is a result of the oxidation process that has covered the original bronze surface with a deep marine green patina. This otherworldly…

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Facelift: the new Korea Foundation Gallery

British Museum blog

Sascha Priewe, curator, and Ellie Miles, Interpretation Officer, British Museum

The Museum is re-opening its refreshed Korea Foundation Gallery (Room 67) thanks to a generous grant from the National Museum of Korea. The project gave us the chance to re-think how we talk about and display things from the Korean peninsula. We took into account the collection’s profile, and how our visitors actually use our permanent gallery spaces. Most visitors make their own paths around the gallery, so we took down walls and moved cases to open up the space for them to browse and make different connections between objects. Bringing in colourful case designs and a new lighting design, we hope that the new gallery will give the objects a stronger visual impact, and encourage closer looking than before.

Samramansang Moon Jar #1 by Kang Ik-joong (b. 1960)Samramansang Moon Jar #1 by Kang Ik-joong (b. 1960), USA, 2010?13, mixed media on wood (British Museum 2014,3046.1)

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Beyond propaganda? North Korea in the British Museum

British Museum blog

Sascha Priewe, curator, The British Museum

When the embassy of the Democratic Peoples’ Republic of Korea (DPRK) opened its doors for an art exhibition in November, here at the British Museum we were busy preparing the Korea Foundation Gallery for its re-display, which opens today. Given the curiosity about the mysterious state and the artists working there, it seemed timely to write about the British Museum’s collection of art from North Korea.

Silver coin commemorating the meeting of the leaders of South and North Korea in 2000, Pyongyang, DPRK, 2000. In June 2000 South Korean president Kim Dae-jung (1924-2009) met North Korean leader Kim Jong-il (1941-2011) in the first Inter-Korean Summit in Pyongyang. As one result, working level talks continued between the governments and tourist visits to the Diamond Mountains for South Koreans became possible. (British Museum OR.9666) Silver coin commemorating the meeting of the leaders of South and North Korea in 2000, Pyongyang, DPRK, 2000 (British Museum OR.9666)

In June 2000 South Korean president Kim Dae-jung (1924-2009) met North Korean leader Kim Jong-il (1941-2011) in the first Inter-Korean Summit in Pyongyang, the DPRK capital. It was the time of ‘sunshine’ relations between the north and the south. Although north-south relations have iced over in recent years, this brief period allowed the world a…

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Let’s talk about sex: men and women in Greek art

British Museum blog

Dr Katherine Harloe, Associate Professor of Classics and Intellectual History, University of Reading

Browsing the exhibition Defining beauty: the body in ancient Greek art on a rainy afternoon, an Athenian red-figure mixing-bowl caught my attention. It shows the death of Kaineus, a mythical Thessalian hero who had the misfortune to be present at the wedding feast of Peirithoos, King of the Lapiths, and his bride Hippodameia. The celebrations famously ended in a fracas when the centaurs among the wedding guests became drunken and violent, attempting to rape their hosts’ wives. The ensuing battle, which the Lapiths won, came to stand for the conquest of savagery by civilisation. It features as such on the decoration of important civic and religious buildings, including the Parthenon and the temple of Apollo Epikourios at Bassai. On this vessel, made for mixing wine at a drinking party, it warns of the dangers of overindulgence.

Red-figured mixing-bowl (column-krater). Greek, made in Athens, 480–460 BC, attributed to the Pan Painter. British Museum, London 1846,0925.6 Red-figured…

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Making histories: Captain Cook and Indigenous Australia

British Museum blog

Maria Nugent, Research Fellow, Australian National University

Objects on display in the Indigenous Australia exhibition. Objects on display in the Indigenous Australia exhibition at the British Museum, London

There is a corner (literally) in the BP exhibition Indigenous Australia: enduring civilisation that features the famous British navigator Captain James Cook. It occurs at a pivotal point, where the exhibition’s narrative moves from the hard-to-fathom timescales of the Dreaming (the complex system of beliefs and stories that explain the meaningful creation of the world, and how humans reproduce that system through ceremony, art, storytelling and other meaningful action, which one anthropologist described as an ‘everywhen’) and the 40,000 plus years of human occupation of the continent, to the much shorter and more immediate timespan of the last 245 years since British encounters with Indigenous people there began. While Dutch, Spanish and Portuguese voyagers had visited since the early 1600s, Cook was the first British navigator to explore the region…

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