I blame Orhan Pamuk for my love of small museums. (Of course, I didn’t say that when I had the honour of meeting him last year).
Specifically, The Museum of Innocence – a rich, intricate story to immerse yourself in, with textures of Istanbul, layering of details and the human flaws and obsessions of Kemal. This was my first Pamuk and I’ve since gone back to read all of his books – My Name is Red is another favourite. It features beautiful works of art in miniature – Pamuk as a former artist and architecture student describes these with intelligence and sincerity, without being over-bearing.
A part of The Museum of Innocence which always resonated was Kemal’s odyssey to find private museums: collections built by individuals and reflecting their idiosyncracies. These often give an insight into lives on a human scale, rather than seeing objects held by large government institutions. Pamuk conceived of the novel and a museum (of Kemal’s collection) simultaneously, and has opened the Museum of Innocence in Istanbul. I saw some exhibits from it at Somerset House this year and dream of visiting it and the city.
So now I think of Orhan Pamuk whenever I visit small museums. Sir John Soane’s Museum is mentioned in the book and blew me away when I went recently. It was the house of Sir John Soane, architect, and is meticulous, surprising and a beautifully designed space with a reverence for architecture, Rome, sculptures and the absurd (he had a Monk’s Parlour where he would take guests after dinner, to sit amongst the skulls).
In the Frick Collection in New York, you can wander through Henry Frick’s home and chance upon Hans Holbein’s portrait of Thomas Cromwell which, after reading Wolf Hall by Hillary Mantel, is like spotting a celebrity.
In Melbourne I love the Heide Museum of Modern Art, preserved as it was when John and Sunday Reed hosted artists there in the 1930s, 40s and 50s, and with a superb collection of Australian art. It is wonderful to see the works of Charles Blackman, Joy Hester and Sidney Nolan (to name just a few) in the setting where they were conceived or created. Emily Bitto’s The Strays (2015 Stella award winner) is inspired by this period; it’s on my shelf at home and high on my must-read list (= the never-ending TBR).
In Denmark in 2014 we took the wrong ferry – yes, we actually drove onto a ferry and discovered at sea 40 minutes later that we were lost – and a catastrophe ensued which was only redeemed by a visit to Finn Juhl’s House just north of Copenhagen. It is as cosy or hygge as you would imagine and inspiring for any designer or indeed anyone with no design capability (like me) but who wants to live simply and well.
This week as part of our school holiday activities, we visited Kenwood House on Hampstead Heath, recommended by the excellent Richard the Third of London Walks. It’s rather large for a family home, but houses the private art collection of William Murray (later Lord Mansfield) and is glorious. All rooms have volunteer guides with interesting tidbits of history – like the time the house was nearly burnt down because of Lord Mansfield’s Catholic background a local publican waylaid the would-be arsonists with drinks.
I have library envy:
The ceilings are by Antonio Zucchi. There are also some works in the next room by Angelica Kauffmann, who was his wife. In another room I came across The Guitar Player by Vermeer, a Turner hung casually on another wall and watching over them was a Rembrandt self-portrait.
The kids dressed up in the Orangerie and Zoe declared she could happily live there. That makes two of us!
Do you have a favourite small museum?