Amgueddfa Blog

Beth sydd ar droed yng nghanol Dinas Caerdydd?

Pwy (neu beth?!) sydd wedi difrodi cerflun Thomas H Thomas ac achosi anhrefn ar hyd strydoedd Caerdydd?! 

Os oes gennych unrhyw wybodaeth neu luniau all ein helpu, rhannwch nhw gyda ni drwy drydar a defnyddio #DeinoYnDianc cyn i’r sefyllfa droi’n fwy brwnt bythtag.

Mae’r stori’n newid o hyd a byddwn ni’n rhannu’r newyddion diweddaraf â chi yma.

Artist Catrin Llwyd worked with National Museum Cardiff's Youth Forum to discuss the amazing Gillian Ayres exhibition. The group experimented with using paint in different ways - thinking about texture and colour and trying to paint without using a brush!

First of all though we wanted the group to look at Gillian Ayres' paintings in detail, so we spent quite a bit of time discussing her work and coming up with words that described the paintings or words that described our thoughts and feelings when looking at the paintings.

I loved some of the words and thoughts they came up with - put together some of them are like cut-up poems.

Movement, nature, feeling, loud, childish?, texture, grafitti, complex.

Hills by the sea, Stream by rocks, colours of fields, washing in the stream, trees at night, enter the party, spice the reaped veggies.

Bodily Void, tacit, bold, rhythmic, encompassing.

Broad in strokes - almost dramatically, serene in a simple context, could it be based on some musical tune?

Painting, emulates, colour, palette

The shapes and colours have caught my interest.

Biology, nature, microbes, petri dishes, flowers,  oil spill, slick, leech, leak

Swish, stroke, splash, squiggle, swoosh, colour, video games, fireworks, graffiti, rivers, tripipy, unconstrained, free, flowing, flowers, fields, libearl, splodge, neon, bold, trees, sheep, bright, colourful, kaleidoscopic, happy, uplifting, free.

 

The first dinosaur footprints found anywhere in Europe

One sunny evening in September 1878, Welsh artist and naturalist Thomas Henry Thomas was wandering around the small village of Nottage, just outside Porthcawl. The rays of the setting sun were shining across a large slab of rock placed on the edge of the churchyard. The local villagers told him that the five strange markings on the rock were the footprints of the devil as he strode across the slab. The rock had lain between the church and the village pub for years, and was a local curiosity.

Thomas was a well-educated man, born in Pontypool in 1839, and had studied Art at the Royal Academy, before returning to Wales. He was a key member of the Cardiff Naturalists Society, and a well-respected artist as well. On discovering the footprints, illuminated by the setting sun in the churchyard, he was struck by the similarity between these markings and newly found dinosaur footprints in North America. He quickly sketched the prints and informed various local geologists. John Storrie, curator of the Cardiff Museum, visited the site and made a cast of the trackway.

The President of the Cardiff Naturalists Society was Colonel Turbervill, who arranged for the rock to be brought to the Cardiff Museum for safe-keeping.

Thomas H. Thomas wrote a short paper, in January 1879, describing the footprints and also his attempts at Bristol Zoo, to persuade a suspicious Emu to walk across modelling clay, for comparison! He described the footprints as "Tridactyl Uniserial Ichnolites", but left it to Professor W Sollas of Bristol University to publish a formal description, with the name Brontozoum thomasi. We now know that these footprints were made 220 million years ago by a medium-sized meat-eating dinosaur, similar to Megalosaurus which evolved later.

The original footprint slab was around 6' 6" long and 5' 6" wide, and about 6 inches thick, although excess rock was later removed to make it easier to handle and display. When the collections of the old Cardiff Museum were transferred to the new National Museum of Wales in 1907, the footprints were one of its most important acquisitions. Currently the fossil is on display in the Evolution of Wales gallery, as befitting the first dinosaur footprints found anywhere in Europe.

Wales has an important place in the evolutionary history of dinosaurs; not only this early set of footprints, but also another major trackway site near the town of Barry, which is one of the most significant sites of its age in Europe. The rocks of this area were laid down around 220 million years ago, at a time when Wales was a low-lying desert, similar to those in the Arabian Gulf today, and dinosaurs had just evolved. Over the next 20 million years, the sea-level rose and the deserts disappeared underwater. However the dinosaurs living on higher ground continued to diversify into different species, one of which was Dracoraptor, the small theropod dinosaur found near to Penarth in 2014, and now on display at the National Museum Cardiff.

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.

For the Royal Horticultural Society’s Flower Show in Cardiff this year, we decided to build on previous experience of creating real botanical windows. We wanted something that would form an eye-catching backdrop to the collections on display within Amgueddfa Cymru's woodland-themed marquee.

The botanical windows began in 2015 with our Museum in a House exhibit for the Made in Roath festival. We wanted a display that would reflect aspects of our Museum work as well as to represent the herbarium itself. We pressed plants following the standard method for creating herbarium specimens as shown below. In this way, plant specimens last for hundreds of years on conservation grade card and out of light in herbarium cupboards.

Method for pressing plants for long-term storage in the botany collections:

  1. Select a plant showing as many characters as possible – fruit, flowers, roots.
  2. Place between blotting paper, arranging the plant at the same time, to limit the amount of overlapping material.
  3. Place in a plant press and tie as tightly as possible.
  4. Place in a drier between 20 and 30oC.
  5. Change the blotting paper initially every day, and then less often until the plants are completely dry. This will take about a week.
  6. Attach plant to conservation-grade card (for example made from cotton) using small strips of adhesive cotton tape. Place the tape strips strategically on the plant’s stems and leaves to hold it safely on the card. This technique allows for some flexing of the card without damage to the plant and for easy removal of the plant from the card for study.
  7. Store out of light in an environment with humidity between 40 and 60 RH.

After pressing, we attached the plants to large sheets of tracing paper using small pieces of transparent tape strips (rather than the conservation grade materials we would normally use for the botany collections). The tracing paper was then wrapped carefully for transport to the site of the exhibit and then taped to sunny windows in the living room.

For the RHS Flower Show in 2016, we built on the initial idea but had the added complication of having to create our own windows to install in the marquee. We had nine 80 x 60 cm sheets of 2mm thick acrylic cut, with holes drilled into each of the corners for hanging. We attached the plants to these sheets using small transparent tape strips. Once at the Flower Show, we attached strong metal rings to the corner of each panel and hung the panels from the cross bars of the marquee by looping fishing line (the type strong enough to catch a 60lb fish!) through the metal rings. The only worry now was whether the ranges of temperature and humidity in the marquee would be too much for the transparent tape and we would arrive the next day to find the plants on the floor! We certainly would never subject pressed specimens from the collection to this environment. We were relieved to find that the panels held well the whole weekend – and with much praise from visitors.

In 2017, we planned to recreate the botanical windows for the Flower Show, but with a slight twist. We had a woodland theme, so we chose Welsh trees for each panel: Oak, Beech, Hazel, Hawthorn, Holly, Scots Pine, Yew and Lime. To make the display really stand out, we printed a silhouette of the tree with its Welsh, English and scientific name onto transparent material for the backdrop. We taped the transparencies onto the acrylic and then taped the pressed plants onto the transparencies as before. Unfortunately, this year was particularly warm weather – the transparent tape holding the pressed plants did not last as long on some of the panels, so remedial work had to be carried out to keep the display looking good.

 

Read about the RHS Flower Show in 2017:

 

Find out more on our Made in RoathMuseum in a House’ installation in 2015 and the RHS Flower Show in 2016