Amgueddfa Blog: Amgueddfeydd, Arddangosfeydd a Digwyddiadau

Dyn wedi ymddeol, Dawns Perchnogion Car MG 1967 Hawlfraint David Hurn Magnum Photos
Dyn wedi ymddeol, Dawns Perchnogion Car MG, 1967. D.U. ALBAN, Caeredin. © David Hurn/MAGNUM PHOTOS

Mae Amgueddfa Cymru wedi derbyn rhodd anhygoel gan y ffotograffydd Magnum, David Hurn. Mae Hurn yn un o ffotograffwyr dogfennol mwyaf dylanwadol Prydain. Ac yntau bellach yn byw ac yn gweithio yma yng Nghymru, mae wedi dychwelyd at ei wreiddiau Cymreig – ac yma y bydd ei gasgliad o ffotograffau’n aros diolch i’w rodd hael.

Mae’r casgliad yn rhannu’n ddwy ran, sef tua 1,500 o’i ffotograffau ef ei hun sy’n cwmpasu ei yrfa o dros drigain mlynedd fel ffotograffydd dogfennol; a thua 700 o ffotograffau gan ffotograffwyr eraill o’i gasgliad preifat. Wrth sôn am ei rodd, dywedodd Hurn:

“Fy atgofion gweledol/diwylliannol cynharaf yw ymweld â’r Amgueddfa pan oeddwn i’n bedair neu’n bump oed. Dwi’n cofio’r cerflun drwg – y Gusan gan Rodin – a chasys yn llawn stwff oedd pobl wedi ei roi. Wel, bellach mae gen i gyfle i dalu rhywbeth yn ôl – bydd rhywbeth gen i yno am byth. Mae’n fraint o’r mwyaf.”

Detholiad Diffiniol o Waith Oes

Dros y ddwy flynedd ddiwethaf, mae David wedi bod yn dewis ffotograffau o’i archif ef ei hun sy’n ddetholiad o waith ei oes. Mae’r casgliad o tua 1,500 o brintiau newydd yn cynnwys gwaith a wnaed yng Nghymru, Lloegr, yr Alban, Iwerddon, Arizona, Califfornia ac Efrog Newydd.

Mae’n cynnwys rhai o’i ffotograffau enwocaf, fel Dawns y Frenhines Charlotte, Barbarella a Grosvenor Square.

Fodd bynnag, ei ffotograffau craff a gofalus o Gymru yw prif ffocws y casgliad. Yn dilyn rhodd hael David, Amgueddfa Cymru yw ceidwad y casgliad mwyaf o’i luniau yn y byd.

Y Promenâd yn Ninbych y Pysgod 1974 Hawlfraine David Hurn Magnum Photos
D.U. CYMRU. Dinbych y Pysgod. Y promenâd yn nhref glan y môr Dinbych y Pysgod, De Cymru. 1974 © David Hurn/MAGNUM PHOTOS

Casgliad Cyfnewid

Drwy gydol ei yrfa hir, mae Hurn wedi bod yn cyfnewid llun am lun â’i gyd-ffotograffwyr, llawer ohonynt yn gydweithwyr iddo yng nghwmni Magnum.

Mae’r casgliad pwysig ac amrywiol hwn o tua 700 ffotograff, sydd hefyd yn dod i law’r Amgueddfa, yn cynnwys gweithiau gan ffotograffwyr blaenllaw’r 20fed a’r 21ain ganrif.

Yn eu mysg mae Henri Cartier-Bresson, Eve Arnold, Sergio Larrain, Bill Brandt, Martine Franck, Bruce Davidson a Martin Parr, Bieke Depoorter, Clementine Schneidermann a Diana Markosian. Henri Cartier-Bresson, Eve Arnold, Sergio Larrain, Bill Brandt, Martine Franck, Bruce Davidson a Martin Parr, a ffotograffwyr sy’n dod yn amlycach megis Bieke Depoorter, Clementine Schneidermann a Diana Markosian.

Bydd detholiad o ffotograffau o gasgliad preifat David yn cael eu harddangos am y tro cyntaf yn Amgueddfa Genedlaethol Caerdydd o 30 Medi 2017 ymlaen. Bydd Llun am Lun: Ffotograffau o Gasgliad David Hurn yn lansio oriel ffotograffiaeth newydd yr Amgueddfa.

Casgliadau Ffotograffig yn Amgueddfa Cymru

Mae casgliadau ffotograffau Amgueddfa Cymru’n unigryw am eu bod yn cwmpasu cynifer o feysydd a phynciau, gan gynnwys celf, hanes cymdeithasol a diwydiannol a’r gwyddorau naturiol.

Mae hefyd yn cynnwys ffotograffau pwysig iawn, fel rhai o’r ffotograffau cynharaf i gael eu tynnu yng Nghymru gan y ffotograffydd arloesol John Dillwyn Llewelyn a’i deulu. Bydd rhodd David yn gweddnewid casgliadau ffotograffiaeth yr Amgueddfa ac yn creu cyfleoedd cyffrous i ehangu’r casgliadau mewn ffyrdd newydd.

Grwp ffitrwydd yng ngymuned ymddeol Sun City, Arizona 1980 Hawlfraint David Hurn Magnum Photos
UDA. Arizona. Sun City. Grwp ffitrwydd y tu allan ben bore yng nghymuned ymddeol Sun City. Ras can metr 50 eiliad i bobl rhwng 60 a 94 mlwydd oed yn y Senior Olympics. Roedd teimlad o hwyl a chymdeithas i'w deimlo'n gryf yno. 1980. © David Hurn/MAGNUM PHOTOS

Bydd yr arddangosfa yn Amgueddfa Genedlaethol Caerdydd yn dilyn cyflwyniad o waith David Hurn yn Photo London, y digwyddiad ffotograffiaeth rhyngwladol a gynhelir bob blwyddyn yn Somerset House, Llundain. Wedi’i churadu gan Martin Parr a David Hurn, mae arddangosfa Photo London, David Hurn’s Swaps, yn dathlu pen-blwydd Magnum Photos yn 70 oed.

This is the second post on the Cymru Yfory exhibition, the first can be read here.

The range and imagination of the stands on display at this 1969 exhibition were vast, they included ideas and plans for the Cardiff of the future, for the valleys, for the Severn Estuary and for housing and schools. Some were realistic but most were fantastical and frivolous – especially exhibits illustrating clothing, furniture and domestic habits of the future. A major contributor was General Industrial Plastics Limited, manufacturers and designers of plastic products who made the magnificent inflated ceiling display, pieces of air filled furniture and the plastic carrier bag provided with the official catalogue. Cardiff College of Art, the National Coal Board, the City of Cardiff, the General Post Office and British Rail also contributed stands.  

As part of the fun atmosphere, a spoof contributor named Kumro Kemicals Corporation was created. The catalogue states they were established in 1999 (bear in mind this event took place in 1969!) and that their products were “the result of the most intensive research programme ever undertaken by any corporation in the Western Hemisphere…” As part of their contribution, Kumro produced sealed envelopes bearing the following message, DO NOT OPEN UNTIL 1999 - and the Library still holds one of these that remains unopened!

When publishing images, copyright issues need to be considered and a number of these photographs are stamped on the reverse with either Hylton Warner & Co Ltd or Giovanni Gemin [Whitchurch Road, Cardiff]. Internet searches brought up a little information on Hylton Warner but nothing current and no information at all was found concerning Giovanni Gemin. Therefore, a notice was placed on the Photo Archive News website requesting communication from anyone who might be familiar with these two photographers. After some time, we were contacted by the son of Giovanni Gemin. Award-winning author Giancarlo Gemin was kind enough to grant permission to publish the photographs and also tell us the following about his father:

He was an industrial and commercial photographer based in Cardiff from 1961. He worked regularly for BBC Wales, and was one of the official photographers at the investiture of the Prince of Wales. He was awarded the Chartered Institute of Incorporated Photographers (AIIP) and an Associate of Master Photographers (AMPA).

As well as items of ephemera such as the official catalogue, carrier bag, stickers etc. we are fortunate to hold two volumes of comments books. These are a fascinating record of visitors’ thoughts and the majority are very positive but, not everyone appreciated looking to the future instead of a classical past and to end this post, here are just a few that have made us smile:

BW, Rhwibina - Awful

RM, Rhondda - Not as good as the British Museum

MB, Cheltenham - Baffled!

MD, Durham - I prefer the face of OLD WALES proud and noble not false and plastic

CS, Cardiff - Needs dusting

SL, Cardiff - Rubbish, waste of good museum space!

TO, County Cork – TRASH

The Investiture of the Prince of the Wales at Caernarfon Castle made 1969 a particularly exciting year in Wales. And an exhibition held at National Museum Cardiff reflected the patriotic fervour of the investiture with the wonder and excitement of the first humans on the moon during the Apollo 11 mission with Cymru Yfory – Wales Tomorrow. It was held in the Main Hall and was the museum’s official contribution towards the celebrations of Investiture Year.

As the forward in the catalogue put it:

If a National Museum chooses to open its doors to contributions from the designer’s studio, the market place, the planner’s office or the research laboratory, no precedent is necessary. The Victoria & Albert Museum did these things excitedly in 1946 in the exhibition, Britain can make it . We saw then, after many drab years, a splash of enterprise and colour and an unexpected promise for the future.

For its main contribution to the year of the Investiture and of Croeso ’69 [a year long campaign to promote Welsh tourism and business built around the Investiture], the NMW has chosen deliberately to look beyond its ordinary boundaries and also to look into the future.

It has invited contributions from organisations of all sorts and the brief has been simple: that the ideas presented should be imaginative and for the future. They are not promises; they may not even be pleasant, but at least they refer to aspects of a possible future…

The exhibition represented a major break with the traditions of the Museum, it was showing that it had an interest not only in the past, but in the life of the community in the present and the future. The whole of the Main Hall was used – isolated from the rest of the Museum by hanging drapes and a magnificent inflated plastic ceiling. For the first time professional designers were commissioned to design and plan the exhibition; Alan Taylor [Senior Designer, BBC Wales TV] and John Wright [Principal of Newport College of Art] co-ordinated the design of exhibits contributed by over twenty organisations. The results were spectacular, an immediate surprise to every visitor who had known the Main Hall as a dignified setting for classical sculpture.

 

 

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The Voices from the Archives series is based on recordings in the Oral History Archive at St Fagans National History Museum. Connected to the agricultural activities, demonstrations and displays at the Museum - they provide an insight into the lives and histories of farming people, the agricultural practices in the past, how they developed into contemporary agriculture.

Lambing in Pembrokeshire, 1984

March is lambing time at Llwyn-yr-eos Farm, the Museum’s working farm. Lambing in the past and present was described by Richard James, Portfield Gate, Pembrokeshire, south west Wales, in a recording made in 1984. Aged 79, he recalled lambing in an interview about his life in farming, but also described how it was being done on a farm in the area in the year of the interview. The following short clips are from the recording.

Pembrokeshire born and bred, Richard James had farmed at Lambston Sutton in the south west of the county. It stood between the large county town of Haverfordwest a few miles to the east, and the coastline of St Bride’s Bay to the west. The lowland coastal areas, warmer climate and lower rainfall made agriculture more diverse than in many other parts of Wales, with the keeping cattle and sheep and the growing of early potatoes and cereal crops. The coastal areas could be exposed to the winds and rain from the Atlantic Ocean though, and weather conditions could strongly influence lambing, to which Richard James refers in the first clip:

Richard James, Portfield Gate, Sir Benfro

When lambing was to take place was decided by when the ewes were put to the rams. Up until then the rams on the farm had to be kept separate from the sheep. It was always a concern that rams might break through a poor fence or hedge and cause lambing to start at the wrong time. Also, a ram of poorer quality or a different breed from another flock could also result in poorer quality lambs and reduced income. After mating, a ewe is pregnant for between 142 and 152 days, approximately five months or slightly shorter.

In this clip, Richard James describes at what time of year lambing took place on a local farm, and how it was being done by a farmer using a former aircraft hangar.

Richard James, Portfield Gate, Sir Benfro

The final clip is about working the day and night shifts:

Richard James, Portfield Gate, Sir Benfro

 

Ym Medi 2017 bydd Institiwt y Gweithwyr Oakdale yn dathlu ei gan-mlwyddiant. Wedi ei adeiladu yn ystod y Rhyfel Byd Cyntaf, mi roedd unwaith yn ganolbwynt gymdeithasol bwysig i drigolion pentref Oakdale. Symudwyd yr adeilad i’r Amgueddfa yn 1989 ac i nodi penblwydd yr adeilad eleni, mae’r Amgueddfa wedi lawnsio prosiect #Oakdale100. Bwriad y prosiect yw ail-ddehongli’r adeilad a’i ddod yn fyw unwaith eto gyda lleisiau’r gymuned.

Fel rhan o’r gwaith paratoi, mae staff yr Amgueddfa wedi ail-ymweld ag archifau’r adeilad, gan dynnu ynghyd ffotograffau, cyfweliadau hanes llafar a gwrthrychau perthnasol. Dwi wedi bod yn edrych ar y casgliad ffotograffau yn benodol. Gyda chymorth yr Adran Ffotograffiaeth, rydym wedi digideiddio cannoedd o ddelweddau a oedd gynt ar gael ar ffurf negatifau yn unig. Mae’r ffotograffau hyn yn dangos ystod y digwyddiadau ar gweithgareddau a oedd yn cael eu cynnal yn y Stiwt – o ymweliad y Tywysog Albert yn 1920 i berfformiadau dramatig y 50au. Maen nhw hefyd yn dogfennu pensaerniaeth yr adaeilad a manylion yr ystafelloedd mewnol. Fy hoff lun i yw hwnnw o’r bachgen yn ei arddegau yn pori silffoedd y llyfrgell.

Yn ogystal â digideiddio’r deunydd sydd eisoes yng nghasgliad yr Amgueddfa, rydym hefyd wedi bod yn brysur yn ymgysylltu gyda’r gymuned yn Oakdale heddiw. Llynedd cynhaliwyd gweithdy galw-heibio yn y pentref i annog trigolion yr ardal i rannu storiau ac i sganio eu ffotograffau ar gyfer archif yr Amgueddfa a Casgliad y Werin.

Yn ddiweddar, rydym hefyd wedi agor tudalen Facebook ar gyfer y prosiect ac mae’r ymateb wedi bod yn anghygoel! Mae llu o bobl wedi cyfrannu eu hatgofion, gadael sylwadau a rhannu delweddau ar y dudalen. Yn ddi-os, mae Facebook yn adnodd gwych i ail-gysylltu gyda’r gymuned.

Os oes gennych unrhyw storiau neu ffotograffau sy’n gysylltiedig â Stiwt Oakdale, cysylltwch â ni. Byddem wrth ein boddau i weld unrhyw ffotograffau o bartion neu gigs yn y Stiwt yn ystod y 1960au-80au.