Beguiled by bronze

There are nearly 160 bronze sculptures ranged throughout the Royal Academy’s main galleries in Bronze, a glorious exhibition (until 9 December) covering a period of 5,000 years — effectively the entire history of the medium. The progression of this durable and universal art form is laid out at a relaxed pace in an exhibition that spans both grandeur and intimacy. Some people have complained about the installation, finding it difficult to follow or too competitively arranged, but I enjoyed it tremendously. This is a remarkable survey of a fascinating subject and the Academy must be congratulated on entrusting it to the capable hands of David Ekserdjian, Professor of History of Art and Film at the University of Leicester. Attentive readers will know Professor Ekserdjian’s name as he regularly reviews books for this magazine. His skills as a curator may be less familiar but they are amply demonstrated by this spectacular exhibition. It’s one of the best shows I’ve seen for a long while.

The only thing that worries me slightly — and in retrospect, not as I wandered enthralled through the galleries — is the dimness of the lighting. Exhibitions of paintings, and particularly watercolours and drawings, are usually held in a reverential atmosphere of gloom, for the simple reason that paper and pigment is often light-sensitive, and some colours are so fugitive that they fade horribly quickly in direct sunlight. But the same cannot be said of bronze. Metal sculptures, even when patinated, are tough enough to withstand the seasons in the open air, so there is no question of physical deterioration (except perhaps with the most ancient and fragile objects) being accelerated by natural light. No, the issue is not one of conservation but of interpretation. Undoubtedly the low lighting is intended to increase the visitor’s sense of awe, and the churchy atmosphere designed to lead us towards admiration and respect.