Between Two Heads: executions, burials and disinterment, 1649-1960: Delaroche, Cranch, Cromwell and Charles 1st at the Musee de Beaux-Arts de Nimes.

两个头之间：处决、埋葬和发掘，1649-1960 年：德拉罗什、克兰奇、克伦威尔和查尔斯一世在尼姆美术博物馆。

• 批准号: AH/E006027/1
• 负责人: Peter Seddon
• 金额: $ 2.09万
• 依托单位: University of Brighton
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2007
• 资助国家: 英国
• 起止时间: 2007 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FE006027%2F1
• 关键词: Between; Two; Heads; executions; burials

This is both practice-based fine art research and an historical research project. Its context derives from a 'genre' of art practice which has emerged over the last fifteen years; that of artists intervening into, researching and rearranging collections or objects in the public spaces of museums; thereby creating a collision between the contemporary and the old, generating through a mixed genre of art practice and curatorship new knowledge, perceptions and meanings about the past, the museum and the way in which images and objects are displayed and used in history and over time.The context of this project is a large salon history painting in the Musee des Beaux-Arts in Nimes painted by Paul Delaroche in 1831 depicting Cromwell contemplating and gazing at the beheaded corpse of Charles 1st in his coffin in Whitehall after execution and prior to his burial. The painting was presented to Nimes in 1834 where it still is on display. This depicted incident is described by a number of authors among them Dickens and Guizot (an historian, French government minister and friend of Delaroche) and in the memoirs of Sir Thomas Herbert, personal groom and servant to Charles 1st.One aim of this 'intervention project' is to present, opposite or next to the Delaroche picture, a digital projection of Cromwell's own head as it appears in photographs taken of it in the 1950's. (Cromwell, after his death and burial in 1658, was disinterred at the restoration of 1660 and posthumously executed. His head was displayed in a number of places, eventually becoming a curiosity. It was painted in 1799 by an artist called Cranch, and photographed both in the 1930's and 1950's, eventually being reburied in a secret location in the grounds of Sidney Sussex College, Cambridge in 1960. This exhibition presents a collision not only between two different art media (a digital projection and a 19th century painting) but also between the image and history of two heads, hence the main title of this project Between Two Heads. Through this use of visual artefacts and display, a further objective is to reflect on a series of dates between 1649 and 1960 central to this bizarre narrative and its history. Items from the Muniment Room in Sidney Sussex Cambridge and the Museum of London will be used and placed in the gallery with the video projection and Delaroche's painting. Two items in particular will be displayed, Cranch's painting of Cromwell's head made on the occasion of its display in rooms off Bond Street in 1799 and an anonymous painting of the 1660's depicting Charles 1st with his head sown back on accompanied by grieving female allegorical figures representing England, Scotland and Ireland.In addition a small publication is planned consisting of four essays and a small number of illustrations. This publication is part of the exhibition but, rather than being a catalogue, will accompany the exhibition and develop in more discursive ways the themes and ideas presented in visual form. The publication will consist of an introduction and essays by different authors, the maximum length of each essay being approximately 5000 words. They will cover the history and historiography of Cromwell's head, the iconography of heads and gazing, the tradition of relics, the practice of museological interventions and curation, literary influences and an analysis of Delaroche's picture and approach to history, particularly British history. It will be presented in separate English and French volumes and accompanied by a CD of the publication texts and illustrations of the exhibition. The research project will contribute to the use of curatorial devices by artists within a fine art museum in order to question and redefine the historical constructions and aesthetic assumptions normally found there and will demonstrate historiographical practice in the spaces and institutions of the art museum/gallery.

这既是一个以实践为基础的美术研究，也是一个历史研究项目。它的背景来源于过去15年来出现的艺术实践的“流派”：艺术家介入，研究和重新安排博物馆公共空间的收藏品或物品;从而在当代和旧时代之间产生碰撞，通过艺术实践和策展人的混合类型产生关于过去的新知识，感知和意义，博物馆以及图像和物体在历史上和随着时间的推移被展示和使用的方式。这个项目的背景是美术馆的一个大型沙龙历史画-1831年，保罗·德拉罗什（Paul Delaroche）在尼姆的艺术中描绘了克伦威尔在白厅的棺材里沉思和凝视查理一世的尸体。在他被处决和埋葬之前。这幅画于1834年在尼姆展出，至今仍在展出。这一事件被许多作家描述过，其中包括狄更斯和基佐（一位历史学家，法国政府部长和德拉罗什的朋友）和在托马斯赫伯特爵士的回忆录中，他是查理一世的私人马夫和仆人。这个“干预项目”的一个目的是，在德拉罗什画像的对面或旁边，这是克伦威尔本人头部的数字投影，就像他在20世纪50年代拍摄的照片一样。（克伦威尔在1658年去世并下葬后，在1660年复辟时被挖出，并在死后被处决。他的头被展示在许多地方，最终成为一个好奇心。它是由一位名叫Cranch的艺术家在1799年绘制的，并在20世纪30年代和50年代拍摄，最终于1960年被重新埋葬在剑桥西德尼苏塞克斯学院的一个秘密地点。这个展览不仅展示了两种不同艺术媒介（数字投影和19世纪世纪绘画）之间的碰撞，也展示了两个头部的形象和历史之间的碰撞，因此这个项目的主要名称是“两个头部之间”。通过使用视觉艺术品和展示，进一步的目标是反思1649年至1960年之间的一系列日期，这些日期对这一离奇的叙述及其历史至关重要。来自悉尼苏塞克斯剑桥和伦敦博物馆的弹药室的物品将被使用，并与视频投影和德拉罗什的绘画一起放置在画廊里。特别是将展出两件物品，一件是1799年在邦德街附近的房间里展出的克伦威尔头像，另一件是17世纪60年代的一幅匿名画作，描绘了查尔斯一世的头像，旁边是代表英格兰的悲伤的女性寓言人物，苏格兰和爱尔兰。此外，还计划出版一份小型出版物，其中包括四篇论文和少量插图。这本出版物是展览的一部分，但不是目录，而是伴随展览，以更话语的方式发展以视觉形式呈现的主题和思想。该出版物将包括介绍和不同作者的文章，每篇文章的最大长度约为5000字。他们将涵盖克伦威尔头部的历史和史学，头部和凝视的图像学，文物的传统，博物馆学干预和策展的实践，文学影响以及对Delaroche的图片和历史方法的分析，特别是英国历史。该展览将分英文和法文两卷，并附有一张载有出版物文本和展览插图的光盘。该研究项目将有助于艺术家在美术馆内使用策展设备，以质疑和重新定义通常在那里发现的历史建筑和美学假设，并将展示艺术博物馆/画廊的空间和机构中的史学实践。