Augustus Butler - View of the British Museum from Great Russell Street, 1853
Thomas Hosmer Shepherd - The Royal College of Surgeons, Lincoln’s Inn Fields, London: the interior of the Hunterian Museum, 1841-1844
Thomas Hosmer Shepherd - Bullock’s Museum, Piccadilly: the interior. Coloured aquatint,
The complex history of Bullock’s Museum is set out in The survey of London, XXIX, pp.266-270 1810.
François Courboin - À la bibliothèque, 1906
George Cruikshank - “Life” among the connoisseurs;or, Dick Wildfire & his friends in the Grand Gallery of the Louvre.
Series: Life in Paris
Drawn & engraved by Mr George Cruikshank/ Published June 1 1822 by John Fairburn Broadway Ludgate Hill, British Museum
Elise, guide-conférencière au Musée du Louvre et au Musée de l’Orangerie dans Le Sens de l’humour de et avec Marilyne Canto (2013)
Du petit musée d’enfants au grand Louvre
Catherine Meurisse - Les Grands espaces, 2018
Le petit musée avorté de Catherine Meurisse et sa sœur
Catherine Meurisse - Les Grands Espaces, 2018
Fritz Henle - Cleaning lady in Museum of Modern Art, NYC, 1948
S’échapper dans la beauté pour retrouver sa légèreté
Catherine Meurisse - La Légèreté
Catherine Meurisse, après les attentats de Charlie Hebdo, à la recherche de la beauté dans les musées italiens
Catherine Meurisse - La Légèreté
West’s Picture Gallery, Newman Street, London
illustration to the ’Magazine of Fine Arts’, after George Cattermole, 1821
Museum Scene : Le Musée des Beaux-Arts de Montréal interprétant la maison de vente aux enchères londonienne Turner & Sons dans Les Invasions barbares de Denys Arcand (2003)
George Scharf -
Although founded in 1753 as the world’s first public museum, the British Museum for a long time resisted allowing the general public in to view its collections of antiquities, books and also, at that time, naturalia. This policy changed when the liberal and reformist Whig party came into power in 1832. Under influence of such lobby groups as the Useful Knowledge Society museum going in the nineteenth century became a popular pastime as collections became accessible to the middle class, and even working class, public – if they were correctly attired! By the 1840s and people flocked to see the British Museum’s collections. So much so that on one occasion Scharf was forced to complain in his journal: ‘35,000 persons are said to have visited the British Museum this Whit Monday. I felt very much annoyed by the noise of so many people going continually in and out, talking etc. whilst I drew there’. This drawing, one of Scharf’s more well-known works, forms part of a series he undertook in the 1840s recording the exterior and interiors of Old Montagu House which housed the collections of the British Museum and which stood on the site of the present Museum. It had been built in the seventeenth century for Robert Hooke, First Duke of Montagu, and the Ambassador of Charles II to France. As a result, the interiors showed a marked French taste and much of this earlier, beautiful decoration survived in the rooms that were adapted to house the collections of the British Museum, such as the main staircase, which Scharf has shown here. The stuffed giraffes are shown beneath a painted ceiling; the illusionistic balustrade with putti is clearly visible. Further putti adorn the pediments above the doorways leading off the landing. The German Prince Pückler-Muskau compared the two animals to ‘stuffed guards’ and declared them to be ‘…emblems of English taste…’. Scharf chose to document old Montagu House as it was being pulled down in order for the present edifice by Sir Robert Smirke (1780-1867) to replace it.
John Buck - The Hall and Stair Case, British Museum, illustration to the ‘Microcosm of London’, 1808
Sempé - Quelques romantiques
Museum Scene : le Musée Louis Cyr à Saint-Jean-de-Matha, l’homme fort qui fait peur même à la pluie
Michel Rabagliatti - Paul à la pêche, 2006
‘Don’t buy them Daddy! we don’t want Stones. Give us Bread! Give us Bread! Give us Bread!’
George Cruikshank - The Elgin Marbles! or John Bull buying stones at the time his numerous family want bread, 1815
Louis Philibert Debucourt (1755–1832) d’après Carle Vernet (1758–1836) - Les Amateurs de plafonds au Salon, 1824
George Scharf - View of the Townley Gallery, 1827
Le 4 novembre 1966, l’Arno décuple de force et déborde de ses rives, inondant Florence. Le documentaire Un mois après, à Florence revient sur les ravages subis par la ville et ses habitants, notamment sur les dégâts dans les caves du Musée des Offices, un travail de sauvetage de plus de quinze ans.
William Chambers - The Sculpture Collection of Charles Townley in the dining room of his house in Park Street, Westminster, 1794