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P. Saunders (2014)
‘The Choicest, Best-Arranged Museums I Have Ever Seen’: The Pitt-Rivers Museum, Farnham, Dorset, 1880s–1970sMuseum History Journal, 7
K. Gunsch (2013)
Art and/or Ethnographica?: The Reception of Benin Works from 1897–1935African Arts, 46
Michael Thomspson, C. Renfrew (1999)
The catalogues of the Pitt-Rivers Museum, Farnham, DorsetAntiquity, 73
dialogue General Pitt-Rivers and the Art of Benin Jeremy Coote I much enjoyed Kathryn Wysocki Gunschâs historiographical discussion in African Arts 46 (4) of the reception given to objects from Africa in the early twentieth century (Gunsch 2014). There is a huge amount of work to be done to reassess the work of our predecessors, whichâaside from the intrinsic interest of such workâhelps us reassess our own efforts, our own assumptions and preconceptions; and Gunschâs article demonstrates what can be done when the available resources are put to good use. Although I do not necessarily disagree with Gunschâs general conclusions about the differences between the reception given to African art in Germany and the UK, however, I do want to draw attention to an aspect of her thesis thatâI should argueâis in need of revision. Part of Gunschâs argument consists of a comparison between the work of Felix von Luschan (1854â1924) in Germany and that of Augustus Henry Lane Fox Pitt-Rivers (1827â 1900) in England. Gunsch provides a convincing account of von Luschanâs work, supported by references to the relevant literature, but her account of Pitt-Riversâs work is unreferenced and misleading. Gunsch writes: âIn the largest British collection
African Arts – MIT Press
Published: Jun 1, 2015
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