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To celebrate Vikings Live, we have replaced our Roman alphabet with the runic alphabet used by the Vikings, the Scandinavian ‘Younger Futhark’. The ‘Younger Futhark’ has only 16 letters, so we have used some of the runic letters more than once or combined two runes for one Roman letter.

For an excellent introduction to runes, we recommend Martin Findell’s book published by British Museum Press.

More information about how we have ‘runified’ this site

 

The other side of the medal: how Germany saw the First World War

9 May – 23 November 2014
Free, Room 69a

As part of the centenary commemorations of the outbreak of the First World War, the British Museum is examining the German experience through a display of art medals. ‘The other side of the medal: how Germany saw the First World War’ displays medals made by artists who lived and worked in Germany between 1914 and 1919. Challenging and at times deliberately provocative, a number of these medals were intended to influence popular opinion against Germany’s enemies. Others, however, provide a more universal criticism about the futility of war and waste of human life.

Initial enthusiasm for the war quickly descended into horror at its scale and brutality. Reflecting upon this, German medallists revived the medieval Dance of Death motif to present an almost apocalyptic view of the conflict. Death stalks the battlefield, sea and the sky on such medals, hacking down soldiers, sinking ships or manipulating giant Zeppelin airships. The figure becomes an active malevolent presence and indiscriminate force of destruction. Elsewhere, recent movements such as Expressionism were a powerful influence on the design of medals. This led to the depiction of vulnerable stick-like figures, dominated by giant war machines in scenes that strip humanity of its individualism. German medallists were also keen to consider the collateral effects of war, depicting refugees displaced by invasion or people starving as a result of food shortages. By doing so they engaged with the totality of the First World War in a way that eluded most of the allied medals that were produced.

German medallists were unique among the warring nations, both in the volume of medals they produced and in the breadth of styles they embraced. Some of the smaller struck medalets were mass-produced, but the larger cast medals, which mainly comprise this exhibition, were produced in comparatively small numbers. They were mostly cast in iron because bronze was required for the production of shell casings. The medals were unusually modernist in style, at least in comparison with the more decorative French tradition, serving to emphasise the brutality of the conflict. French medals were typically made in an Art Nouveau style, full of allegorical allusions to the war. Unlike German medals, they did not tend to question the moral implications of the conflict or confront its human cost. Meanwhile, very few British medals were produced in connection with the war.

The medals, whilst not officially produced or sanctioned, nevertheless caused considerable controversy when they first appeared. ‘Lusitania’, by Karl Goetz, depicts the sinking of the passenger liner of the same name by a German U-boat in 1915. The German argument for the sinking was that the ship had been carrying munitions and Goetz' medal depicts the stricken vessel laden with armaments. The reverse shows Death selling tickets to passengers alongside the caption ‘Business as usual’. British copies of the medal were even made and sold during a fierce propaganda campaign that attempted to incite public opinion against Germany.

In consideration of some of their propagandist qualities, wartime Britain regarded these medals with outrage. In response, Sir Arthur Evans, archaeologist, numismatist and British Museum trustee, organised a prize competition of £100 in 1916 for the best British medal about the Battle of Jutland. The winning design features in this exhibition.

Realising the significance of German art medals as historical documents, the British Museum was highly proactive in acquiring them even before the end of the war. A century on, this display of medals from the collection offers a fresh perspective to our understanding of life and death during the First World War.

Notes to editors:

The other side of the medal: how Germany saw the First World War
9 May - 23 November 2014
Free, Room 69a

Opening hours 10.00–17.30 Saturday to Thursday and 10.00–20.30 Fridays.

Events

The other side of the medal: how Germany saw the First World War
21 May, 13.15-14.00
Gallery 69a
A gallery talk on the exhibition by curator Thomas Hockenhull of the Brtiish Museum.
Free, just drop in

The other side of the medal: how Germany saw the First World War
8 August, 13.15-14.00
Gallery 69a
A gallery talk by Thomas Hockenhull, British Museum.
Free, just drop in

German art medals of the First World War
17 July, 13.30-14.30
Stevenson Lecture Theatre
Thomas Hockenhull, Curator of the British Museum display The other side of the medal: how Germany saw the First World War, discusses the Museum's amazing collection of First World War German art medals. These powerful pieces reject formal commemoration in favour of expressive statements about the horrors of war and suffering of mankind.
Free, booking advised

Gerrmany: the memories of a nation
16 October 2014 - 25 January 2015
Room 35

In a year of many German anniversaries this exhibition uses the 25th anniversary of German reunification to address the significant knowledge gap about German history and culture in Britain, providing visitors with a new insight into Germany’s contribution to world history.

The exhibition will draw on objects from a 600 year period to explore the landscape, history, and culture of Germany from the height of the Holy Roman Empire and the age of Gutenberg through to post Cold-War contemporary Germany. Loans from across Germany will reflect the extraordinary shifts of borders and frontiers that define German history, its great, world-changing achievements and its devastating tragedies. The exhibition will feature the work of great German artists, from Riemenschneider, Durer and Holbein to Kollwitz, Barlach and Baselitz, as well as a wide range of objects that includes prints and maps, coin and medals, spectacular metalwork from clocks to armour, Meissen porcelain and Bauhaus furniture.

For further information
please contact the Press Office on 020 7323 8522 / 8394 or communications@britishmuseum.org High resolution images and caption sheet available at https://www.dropbox.com/sh/fmfeg7eb9gnialx/6l5OZUx0YA?m=
For public information please print britishmuseum.org or 020 7323 8181