Exploring the role of museums, galleries and curators during the upheaval of the Second World War, this book challenges the accepted view of a hiatus in museum services during the conflict and its immediate aftermath. Instead it argues that new thinking in the 1930s was realised in a number of promising initiatives during the war only to fail during the fragmented post-war recovery. Based on new research including interviews with retired museum staff, letters, diaries, museum archives and government records, this study reveals a complex picture of both innovation and inertia. At the outbreak of war precious objects were stored away and staff numbers reduced, but although many museums were closed, others successfully campaigned to remain open. By providing innovative modern exhibitions and education initiatives they became popular and valued venues for the public. After the war, however, museums returned to their more traditional, collections-centred approach and failed to negotiate the public funding needed for reconstruction based on this narrower view of their role. Hence, in the longer term, the destruction and economic and social consequences of the conflict served to delay aspirations for reconstruction until the 1960s. Through this lens, the history of the museum in the mid-twentieth century appears as one shaped by the effects of war but equally determined by the input of curators, audiences and the state. The museum thus emerges not as an isolated institution concerned only with presenting the past but as a product of the changing conflicts and cultures within society.
The Second World War is omnipresent in contemporary memory debates.
Throughout World War II, the British government employed a diverse group of artists to produce a rich visual record of wartime events. But the art from this important collection often...
This volume takes a historical perspective on museums covering the Second World War and explores how these institutions came to define political contexts and cultures of public memory in Germany, across Europe, and throughout the world.
This updated/expanded second edition describes almost 200 WWII sites in Italy.
The Second World War is omnipresent in contemporary memory debates.
Clarissa J. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with ...
Seen in black and white, World War II seems wholly of the past, a story that's being told much more than an experienced that men and women actually lived through. This book will help change that.
Offering insightful contributions on intriguing topics and illuminating the current state of the art in this growing field, this book will be essential reading for all students and scholars of the history and memory of the Second World War.
The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums? And if it does, what objectives and means are involved?
The scientists' work is recorded month by month in their reports to the Museum Trustees.