TURNER ART PROJECT HAILED AS GREAT SUCCESS FOR MALMESBURY

The Athelstan Museum in Malmesbury is celebrating its three-year JMW Turner Malmesbury Abbey Project as a huge success, after a report detailing its impact was completed.

The Turner project began before the Covid lockdowns in 2020 when the museum sought to purchase the painting, “Malmesbury Abbey, Wiltshire”, by iconic artist, JMW Turner. The artwork, which is thought to have been painted c.1827, had not been on public display since 1833 and was at risk of being bought privately and taken abroad if the museum team didn’t act.

After thousands of hours put in by volunteers, the museum managed to secure £150,000 from The Art Fund and a further £275,000 from the National Heritage Lottery Fund (NLHF), allowing them to acquire the painting. 

Eleanor McGrath, Head of Grants at the Art Fund, said the determination of a small, volunteer-run museum such as the Athelstan to acquire the painting was bold and ambitious. 

“It represents the fantastic community behind the work of art itself,” she said.

The Turner Project did not mean simply acquiring the painting, it came with a whole range of activities included a programme of events, activities, exhibitions and outreach for the community. 

This included a formal exhibition opening; Saturday morning sessions to introduce the painting to viewers; partnerships and outreach with local schools; as well as monthly art sessions facilitated by the Museum’s resident artist for people living with dementia and their carers. 

When the Covid-19 pandemic arrived and the lockdowns impacted the public’s ability to visit museums and galleries, some aspects of the project became a challenge to deliver and the Museum team had to rethink some of its plans. 

“Covid meant that, in some respects, the project had to take a different path to that expected,” says Susan Mockler, vice-chair of the Athelstan Museum management team. “However, we remained committed to delivering a worthwhile, interesting and legacy-minded programme that could work with the challenges of the pandemic and we’re thrilled it has achieved significant and, in some cases, unexpected positive outcomes.”

By adapting its programme and relocating a number of its talks and activities online while tweaking others so they could go ahead in different forms, the Athelstan ensured the project remained in keeping with its original intentions and scope.

“It was vital to us that the painting coming to live at the Athelstan equalled a gain for the whole community and the wider general public, not just the Museum,” says Susan Mockler. 

Since the lifting of lockdown, the Athelstan has seen a substantial increase in its visitor numbers because of the acquisition, and a greater number of people than ever before coming from outside the area with 77% of people who visited the Museum in the last year doing so for the first time. This shows the significant part the Turner has played in the growing reputation and standing of the Athelstan. 

Sharon Nolan, Chair of the Museum’s trustees said: 

“Thanks to volunteers Susan Mockler and Sue Poolman, Athelstan Museum's Turner Diversity Programme has been a huge success. In spite of having to adapt initial plans because of Covid and other setbacks Susan and Sue used the Turner watercolour to inspire a diverse range of people to enjoy making their own paintings. 

“They took Turner to people in care homes in the area and Carolyn Brothwood worked with Malmesbury School to organise a programme with students who created their own artwork, some of which we have showcased alongside the Turner in the museum. It has been a positive and memorable experience for all involved". 

The project has developed a long-lasting legacy for both the Athelstan and the local community and the painting is now displayed in the specially renovated mezzanine level of the museum. 

Visitors’ experience has been further enhanced by the museum’s volunteers benefiting from a special training programme to increase their understanding of Turner, the painting and its history; and King Charles III, who was HRH Prince of Wales and patron of the Turner Society at the time, recorded an introduction to the Museum’s series of talks about the painting, which can still be watched on the Museum’s website. 

“The project is nothing short of remarkable,” says Susan Mockler. “The painting has been saved for the nation and put on free, public display; more people are now aware of the museum and more than 30,000 people have visited us since we acquired the piece in 2020. We’ve got wonderfully strengthened partnerships with the local community, including schools and retirement homes; and the Athelstan is in its most robust position for years.”

The report about the success of the project will be published soon. For more information about the Athelstan Museum visit https://www.athelstanmuseum.org.uk