Raphael in London, Turner in Paris
Nov 26th, 2004, 03:20 PM
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Raphael in London, Turner in Paris
We scheduled our London/Paris trip so we could visit both of these exhibitions.
Unfortunately, both were plagued by two deficiencies, too crowded and too small identifications. I can accept that many people want to visit these blockbuster shows in the limited time available and the institution must draw huge crowds to defray the costs.
There is no excuse for the tiny descriptions that identify each work. When using the hand-held listening devices it sometimes becomes necessary to rudely elbow your way closer to read the number. In addition, the number for the handset doesn't always agree with the catalog number.
Please join my crusade for larger print size by writing to the museum directors and requesting larger type face.
Unfortunately, both were plagued by two deficiencies, too crowded and too small identifications. I can accept that many people want to visit these blockbuster shows in the limited time available and the institution must draw huge crowds to defray the costs.
There is no excuse for the tiny descriptions that identify each work. When using the hand-held listening devices it sometimes becomes necessary to rudely elbow your way closer to read the number. In addition, the number for the handset doesn't always agree with the catalog number.
Please join my crusade for larger print size by writing to the museum directors and requesting larger type face.
Nov 26th, 2004, 09:10 PM
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jsmith:
Much as I'd love to join your crusade, on this occasion I'd suggest you may have the wrong target on this occasion .
Certainly the Raphael gives everyone, for free, a catalogue with all the descriptions that appear on the wall that certainly works for most of us: there's also a large print version available that even Mrs F can read.
The elbowing problem is as much to do with the fact that the exhibition was padded out by lots of drawings from London's and Oxford's extraordinary warehouses of Old Master cartoons. And these drawings really do have to be looked at close up.
Most of them are actually on public display (mostly for free) all the time: when they're not at one of these blockbusters, they're in little-visited parts of their galleries where they can be inspected, at leisure, without a thousand elbows in your face.
Much as I'd love to join your crusade, on this occasion I'd suggest you may have the wrong target on this occasion .
Certainly the Raphael gives everyone, for free, a catalogue with all the descriptions that appear on the wall that certainly works for most of us: there's also a large print version available that even Mrs F can read.
The elbowing problem is as much to do with the fact that the exhibition was padded out by lots of drawings from London's and Oxford's extraordinary warehouses of Old Master cartoons. And these drawings really do have to be looked at close up.
Most of them are actually on public display (mostly for free) all the time: when they're not at one of these blockbusters, they're in little-visited parts of their galleries where they can be inspected, at leisure, without a thousand elbows in your face.
Nov 26th, 2004, 09:14 PM
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Next month I'll have but a couple hours in London on Boxing Day before the gallery closes for the day, and then the next morning I'm off to Italy. (According to Londontown.com the exhibit will be open that day, but I would be happy to know if anyone knows otherwise.)
I will either devote those few hours to the Raphael exhibit - or to something else. Is the crowding so bad as to make the exhibit unpleasant to attend?
I will either devote those few hours to the Raphael exhibit - or to something else. Is the crowding so bad as to make the exhibit unpleasant to attend?
Nov 26th, 2004, 09:23 PM
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WillTravel
I was at the Raphael exhibit 3 weeks ago and while it was crowded, I still enjoyed the exhibit. I never had to wait more than a couple of minutes to see a painting. Of course, if you still have time you have the rest of the National Gallery to visit. One of my favorite museums. 3 days ago, I bought a miniprint of my favorite painting - "The Ambassadors" for 5 GBP.
I was at the Raphael exhibit 3 weeks ago and while it was crowded, I still enjoyed the exhibit. I never had to wait more than a couple of minutes to see a painting. Of course, if you still have time you have the rest of the National Gallery to visit. One of my favorite museums. 3 days ago, I bought a miniprint of my favorite painting - "The Ambassadors" for 5 GBP.
Nov 26th, 2004, 09:27 PM
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rj007, the thing about the National Gallery is that I start to feel overwhelmed in not too long a time. There's just so much there. And oddly enough, I almost feel guilty if I don't give each painting its due.
But you're right that it's definitely worth visiting again. I found the audioguide to be very helpful.
But you're right that it's definitely worth visiting again. I found the audioguide to be very helpful.
Nov 27th, 2004, 03:09 AM
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The key issue for the Turner/Monet/Whistler show is to get tickets ahead.We went to FNAC and the earliest tickets they had were for "next week".You can get in line at 1pm and hope to get in. But for this one plan ahead. [We didn't so we missed it]
The Raphael when we went was a bit more of a "walk-in" -- our tickets were for half an hour later. It was a nice show, but as someone mentioned, padded. It was also crowded. My policy on these situations is to go where the "holes" are, rather than wait to see each thing in its "proper" order. The show was an interesting thesis about the shift in Raphael's work when he moved to Rome -- a point that could have been made in 2 rooms. And I kept wanting to be in frot of the later ones in Vienna.
My advice to thos caught in the maw of a blockbuster -- see what you can and don't let missing something spoil the memory of what you saw.
The Raphael when we went was a bit more of a "walk-in" -- our tickets were for half an hour later. It was a nice show, but as someone mentioned, padded. It was also crowded. My policy on these situations is to go where the "holes" are, rather than wait to see each thing in its "proper" order. The show was an interesting thesis about the shift in Raphael's work when he moved to Rome -- a point that could have been made in 2 rooms. And I kept wanting to be in frot of the later ones in Vienna.
My advice to thos caught in the maw of a blockbuster -- see what you can and don't let missing something spoil the memory of what you saw.
Nov 27th, 2004, 07:29 AM
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flanneruk, I appreciate your comments that a catalog (American spelling) may have been available for the Raphael but they were all in use when we entered. It is also difficult to support a cane carrying wife while using the audio guide. Adding a catalog to the mix would really be tedious.
My suggestion for larger type was really directed more to the Turner exhibit. There the black type was on mylar against some relatively dark backgrounds. And the French are non too generous in providing English translations for their exhibits.
I would emphasize that getting tickets beforehand is imperative for the Turner. We purchased ours on the web thru FNAC and picked them up in Paris at the store on Rue de Rennes. Our tickets were for the 10:00 AM opening on Nov. 15 and when we arrived the line was about 200 feet long. One of the security guards noticed my wife and her cane and immediately assisted her and me not only to the front of the line but up the stairs and thru the security check.
My suggestion for larger type was really directed more to the Turner exhibit. There the black type was on mylar against some relatively dark backgrounds. And the French are non too generous in providing English translations for their exhibits.
I would emphasize that getting tickets beforehand is imperative for the Turner. We purchased ours on the web thru FNAC and picked them up in Paris at the store on Rue de Rennes. Our tickets were for the 10:00 AM opening on Nov. 15 and when we arrived the line was about 200 feet long. One of the security guards noticed my wife and her cane and immediately assisted her and me not only to the front of the line but up the stairs and thru the security check.
Nov 27th, 2004, 10:48 AM
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jsmith, I agree with you that the numbers on the wall at the Grand Palais were nearly impossible to see from any distance, and it was therefore difficult to use the audioguide in an efficient manner. I would have been happy to stand at some distance from the paintings (usually a better way to view them than right up close) and listen to the guide, but found myself having to burrow through the crowd to see what the number was.
Another peeve for me is the audioguide itself. While it's interesting to know the history of the artists and how they influenced each other, I feel I missed the discussion of the paintings themselves. I'd like to hear more about the technique, the colors, the application of paint, etc. and I rarely find that sort of information on audioguides.
Another peeve for me is the audioguide itself. While it's interesting to know the history of the artists and how they influenced each other, I feel I missed the discussion of the paintings themselves. I'd like to hear more about the technique, the colors, the application of paint, etc. and I rarely find that sort of information on audioguides.
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