Porcelain and Revolution: Johan Munthe and the Chinese collection in Bergen, Norway

by Jorunn Haakestad, Peter Cripps (Translation), Dag Fosse (Photographs)

Johan W.N. Munthe (1864-1935) lived an intrepid life in China during a period of upheaval and rebellion. He was a general in the Emperor's army, then, after the fall of the empire, an adviser to the Chinese Ministry of War during the early years of the republic. All the while, he was building up a massive collection of art objects, most of which he eventually donated to the West Norway Museum of Decorative Art in the town of his Bergen, Norway. Today, the museum and Munthe's magnificent bequest, the Chinese collection, are part of KODE Art Museums and Composer Homes. In Porcelain and Revolution, Jorunn Haakestad introduces us to the life of this fascinating man. Drawing on new sources, she adds further dimensions to Munthe's story, presenting him not just as a soldier and art collector, but also as a bank director, amateur poet, and religious contemplative. Thus she brings us closer to answering the enigma of who Johan W.N. Munthe really was. Jorunn Haakestad (born 1950) is an art historian with a PhD from the University of Bergen. From 1997 to 2007 she was director of the West Norway Museum of Decorative Art. Since the museum became part of KODE - Art Museums and Composer Homes, she has been principal conservator, with responsibility for the China collection. Jorunn Haakestad has contributed essays to many exhibition catalogues and specialist journals, and has edited several books on arts and crafts. [ Art History, Art Studies, Biography, Chinese Studies, Porcelain, Scandinavian Studies]

252 pages, Hardcover

Published January 30, 2018

Reviews

[Dean X · Rating 3 out of 5]

Thin on archival materials and focuses almost exclusively on Munthe, when compared to Bickers' Empire Made Me. For instance, the reader would be begging for definitive answers to whether there was any contact between Munthe and other collectors, particularly those from the Nordic regions.
On the other hand, the work offers insightful observations regarding the impact of the Arts and Crafts movement on the development of applied science museums in the West. It also highlights the differing attitudes toward artifacts between the East and the West. The book would have been a more valuable reference for general readers if it included a section summarizing the latest research on Munthe’s collections, as hinted at in the text. Such a summary would have provided a better understanding of Munthe’s legacy and the broader history of collecting.