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Renowned artist David Hockney has voiced strong opposition to the proposed relocation of the Bayeux Tapestry from France to the United Kingdom later this year, deeming the plan a “madness” due to the inherent risks involved.
The historically significant embroidery, stretching 70 meters in length and dating back over nine centuries, is slated for display at the British Museum in London starting in September.
However, Hockney, writing in the Independent, argues that this “beautiful as well as historically important” masterpiece faces potential damage during transit, asserting that its relocation to London “will be put in jeopardy”.
In response to these concerns, Nicholas Cullinan, Director of the British Museum, stated: “While we understand these concerns, the museum has a world-leading conservation and collections team who are experts at handling and caring for this type of material.”
The tapestry’s loan to the British Museum, scheduled to last until July 2027, is part of an agreement between the French and British governments. This arrangement coincides with the renovation of its current home, the Bayeux Museum in Normandy.
Certain French art experts have also echoed concerns, suggesting the tapestry’s fragile nature makes transportation too perilous. However, French officials have publicly refuted these claims.
Hockney, now residing in Normandy, recounted his initial encounter with the tapestry in 1967 and revealed he has revisited it over 20 times in the past three years alone, emphasizing its profound impact, “something that has defined my life for more than eight decades”.
“Some things are too precious to take a risk with,” the 88-year-old penned. “Moving the Bayeux Tapestry is one of them.”
“It is nearly a thousand years old, the most complete narrative work of art in Europe and remember it is very long, more than 70 metres in length.”
“It is fragile, which makes it madness to think of moving it. It is too big a risk.”
The artwork, depicting the events leading up to and including the Battle of Hastings in 1066, is set to be insured by the Treasury for £800 million.
However, Hockney dismissed this figure as “meaningless”, asserting: “It is priceless.”
He emphasized that transporting the tapestry for the exhibition entails “significant risk”.
“The linen backing is weakened by age, and the wool embroidery threads are vulnerable to stress,” he elaborated, noting his research into the process.
“Rolling, unrolling or handling it in a new way can cause damage.”
He pointed out that it had been safeguarded “for centuries” in Bayeux, under “tightly-controlled conditions”.
The artwork has already been removed from display and placed in storage to prepare for its journey to London.
Hockney further alleged that the relocation is driven by “the vanity of a museum which wants to boast of the number of visitors”.
The British Museum has affirmed that it is collaborating closely with conservators and specialists in France before transporting the tapestry.
Cullinan noted that they “send and receive thousands of loans each year – including ancient frescoes and textiles which are older than the Bayeux tapestry”.
He stressed that the tapestry’s condition and safety are “always of paramount importance”.
The tapestry chronicles the Norman conquest of England in 1066 and is widely believed to have originated in Kent.
Comprising 58 scenes, 626 characters, and 202 horses, it depicts William the Conqueror’s ascension to the English throne, succeeding Harold Godwinson as the first Norman king of England.
In return, British treasures, including artifacts from the Anglo-Saxon burial mounds at Sutton Hoo and 12th-century Lewis chess pieces, are being loaned to museums in Normandy.
Once dismissed as a failed postmodern utopia, the Sicilian town of Gibellina is being transformed as Italy’s first Capital of Contemporary Art – and inviting travellers to see it anew.
The year-long programme will see artists take part in a mentoring scheme and display their work.
Plymouth’s council says it is entering the competition to showcase the city and help regeneration.
The foundation that owns the prison says it will hold a “multi-disciplinary cultural programme” this year.
South Tyneside Council says it is “an honour” to have the town included in the tour of the painting.
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