June Mostra 2018 / Meet the artists… Damien Meade

As we approach the June Mostra, our third exhibition of this academic year, we will be publishing a series of blogs taking a closer look at the individual practices of our seven resident artists. Our next interview is with Damien Meade (Abbey Fellow in Painting).

28017869908_48671df26f_b (1)

Photo Antonio Palmieri

Your work involves processes that evolve over a period of time. Tell us more about your method of working…

It is a long drawn-out process – from researching imagery to a finished painting, it can be an extended period of time, sometimes even a year or more.

I usually start with clay, with which I make objects and surfaces that I use as props for my paintings. Sometimes what I do with the clay is informed by a sketch, other times it is a notion, idea or feeling. I use clay as a way of sketching in 3D, a method of processing ideas or images.

I try to embrace the formlessness of the clay, in that I often stop short of any refinement or any full realisation of any intention. This part of the process constantly throws unexpected results back at you. Sometimes when you turn to what you have made, often what you were expecting to see is transformed just by the shifting of an angle.

The objects and surfaces that I make are not necessarily interesting in-and-of themselves, it is only when they are lit or viewed from a certain angle that they can give me an image that provokes a painting. I’ll spend a month or so working with clay and building a bank of images, editing as I go. When I have a series of images that hold my attention, that’s when I begin to pursue them in painting.

I set to painting for a number of months at a time. Each actual painting can take anything from just a few days to a few weeks, and I generally work on multiple things simultaneously. Things that aren’t working will be turned to the wall and forgotten about, until one day I see them anew, with greater objectivity, and I’ll work into them again, making changes until they make me want to look at them again.

d5

Untitled, 2018, Oil on panel, 65 x 49.5 cm

 

You mention that you start working with a clay model that over time becomes the painting. How do you recognise the completion of the model?

I don’t really. The sculptures are made quick and fast. Like I say, some hold my attention and others don’t. All I look for is that. Sometimes it is only when I am midway through the process of painting, or I have even spent weeks on it, that I lose interest in it and it is gone.

It is about settling on an image that sustains persistent looking, that keeps me there and holds my attention in that way. There is always an element of doubt throughout the entire process, will the image survive this degree of interrogation. But as finished paintings, when they work, they still have this effect on me.

 

While you have been in Rome have you encountered anything specific that you can imagine coming into your work?

I thought I came here to look at paintings, but it is the sculptures and objects that have really affected me – ancient Greek and Roman in particular.

dam 2

Ancient sculpture from inside the Vatican Octagonal court

It’s hard to talk about it beyond cliché, but of course with these relics its all about an extreme sensuality, and something uncanny – one thing invested with the qualities of another. In a kind of substitution of matter, you almost begin to see these relics as the ancients did – as alchemical in nature. And how this all permeates through time, through flesh as ruin. And the city itself – all that mediated matter and stratified layers of human activity. Like that sense of vertigo you get when you stagger between what was then and what is now, you start to see the city as one colossal archaic object, succumbing to entropy.

dam 3

‘Statue of Aphrodite, so-called charis’ Hadrianic period (AD 117-138), after original of the 5th century BC

In terms of how this will affect my work, I don’t know. As I say, evidence of the mediation of matter is everywhere here, and that’s precisely what I do as a painter and sculptor. Clay, like paint, is matter (or mineral) bound by fluid, and so in making paintings of clay, mineral mimics mineral. It interests me the role that minerals played in the genesis of life; that micro-instant when in a vent at the bottom of the ocean, geochemistry first became biochemistry. This perceived shifting of properties, between the animate and inanimate, the profane and the divine, is everywhere in this city. But maybe the influence of Rome is already in the paintings I have been working on for this coming Mostra. It’s all been getting under my skin a bit. It is a much broader and more immersive experience than just the influence of a singular work.

Damien’s work will be exhibited alongside the six other resident artists in the June Mostra. The opening will take place on Friday 15 June 18.30-21.00. Opening hours 16.30-19.00 until Saturday 23 June 2018, closed Sundays.

Interview by Alice Marsh (Communications & Events). Photos by Damien Meade.

 

 

 

 

Advertisements

June Mostra 2018 / Meet the artists… Yusuf Ali Hayat

As we approach the June Mostra, our third exhibition of this academic year, we will be publishing a series of blogs taking a closer look at the individual practices of our seven resident artists. Our fourth interview is with Yusuf Ali Hayat, Helpmann Academy Resident.

28076132868_4fd11ec6b3_o

Photo: Antonio Palmieri

You were born in England to Indian parents and now live and work in Australia. How has movement across these cultures influenced your work?

A lot of my art practice has been preoccupied with ideas about being and longing and be(long)ing. Growing up in England, there is the big mainstream culture, then there are other cultures (which I grew up in and around). When I started to move out of the security of family and community I became more acutely aware of my distance from the dominant cultural centre. I think many people, especially second and third generation migrants, experience a hypersensitivity to all forms of exclusion and discrimination. There is an awareness that you (not coming from the dominant culture) might not always be represented in a lot things – and the things represented, are not reflective of your experience. In Australia too, I am aware of this ‘otherness’, I can also see trends that open up the mainstream without fetishizing and exoticising minority cultures. Difference is good!

I’m interested in the history of intercivilisational contact. If you think of cultures as fixed, bounded entities then there is no room for engagement. Culture is more dynamic, we need to create a dialogue, to try to keep finding ways to penetrate the established centre. Because of my perceived distance from the settled cultural centre that’s the position from which I negotiate my relationship with it. This distance creates a critical space that, for me, is also the creative space.

_IGP0606 (1)

Through interaction there is room for re-negotiation, the settled centre shifts and mutates in some way. I don’t necessarily have to find the equivalent in the mainstream culture but I might find something familiar then appropriate and reassemble. A lot of what I make comes from within this constant cultural translation. Instead of assimilating into the centre, maintaining a sense personal agency gives importance to the things I grew up with, that I value and help me make sense of the world.

yusuf2

You work in a variety of different mediums. Tell us more about the processes you have been exploring while here in Rome?

I love learning new things and experimenting with materials and processes. I enjoy seeing how different materials behave and the potential for communicating something. I think about mediums and materials in terms of language. As with language and words, materials can carry meaning too. Jumping between different mediums I am looking for how I can best communicate. Sometimes this is also about reaching the limits of my technical skill and experience with the medium.

TheEmperors Old Clothes (2)

I come across this problem often with my limited Italian and try a Spanish or English word or phrase. Some words don’t readily translate or don’t have an equivalent in the other language. This can lead to unusual phrases that can be exciting through being interpreted differently. I used to work at a residence for asylum seekers whilst their claim for refugee status was being processed. Someone came to say that their light was not working. He couldn’t find the right word for bulb, he instead said ‘there is no sunshine in my room’. It wasn’t a place many people would stay out of choice and I felt empathy for him which might not have happened in the same way if he had simply reported the bulb in his room needed replacing. This is what I mean by switching between languages (and mediums) new expressions are found, trying to say the same thing using different words.

The medium I have been working with here comes from looking around Rome and how most people I see engage with the city.

View from the Ganges (5)

I’ve spent a lot of time around Piazza Navona, I kept gravitating towards the depiction of the river Ganges in Bernini’s Fontana dei Quattro Fiumi. A lot of visitors to Rome pass by there and nearly everyone takes a photo.

View from the Ganges (1)

It’s pretty likely that some people’s experience of the fountain is mediated through the screen and the photo they take away of themselves there. Photography felt like an appropriate medium to communicate something of how most visitors engage with Rome.

Photography is about time, a medium that is caught up in the register of time. This is relevant in a place such as Rome, where you are surrounded by the gravity of history, its weight and the build-up of time. I’m also aware of the physical build-up of time here and how that is visible in the depth of excavations!

Conventional photography is often about the snapshot – ‘the decisive moment’. The photographic technique I am working with abandons some of the conventions of photography — i.e. where there is a single perspective and time is constant across the frame.

yusud1

In the work for the Mostra the register of time across the image has shifted. The images are more an impression of the process and duration of making rather than a stamp of the moment in front of the lens.

Yusuf’s work will be exhibited alongside the six other resident artists in the June Mostra. The opening will take place on Friday 15 June 18.30-21.00. Opening hours 16.30-19.00 until Saturday 23 June 2018, closed Sundays.

Interview by Alice Marsh (Communications & Events). Photos by Yusuf Ali Hayat

 

 

June Mostra 2018 / Meet the artists…Oona Grimes

As we approach the June Mostra, our third exhibition of this academic year, we will be publishing a series of blogs taking a closer look at the individual practices of our seven resident artists. Our interview is with Oona Grimes, our Bridget Riley Fellow.

 

oona 1

Photo by Antonio Palmieri 

Tell us about your journey in Rome so far and what you have experienced this term?

The story board rolls on…

oona 3

‘roman sKandals’, 75x110cm

I came to Rome with a selection of films playing in my head – from the Neorealists to late Fellini. Particular scenes and actions began to haunt me, sequences with particular relevance to the time and the place.

oona 7

Still from ‘coming soon : Stromboli’s bucket’

The Piazza Rotunda was one of my daily morning walks –  just to be in Rome – early, before the crowds, to watch the road sweepers and the shop keepers setting up. I began learning specific filmed actions, initially concentrating on the scene from Umberto D when he is reduced to begging outside The Pantheon – rehearsing and repeating his actions in order to Know them, drawing them physically, drawing myself into the film.

oona 2

Umberto D. Script (Photo: Rocco Sciaraffa)

I continued filming with Mozzarella in Carrozza, drawn from Bicycle Thieves – focusing on the excruciatingly painful scene in the restaurant Antonio and his son, Bruno can’t afford – a scene of misplaced pride, disillusion and the vivid class divide between them and the diners.

oona 6

Still from ‘coming soon’ : mozzarella in carozza [Bicycle Thieves]’ i.phone rushes : 3’07”

Now, ‘u.e u’. from Pasolini’s Uccellacci e Uccellini, filmed in Garbatella. Bird calls haunt me in the studio, their repetitive song invades my dreams.  ‘u.e u.’ is a sublime dance of miscommunication, mistranslation, absurd jumpy hands gestures referencing both gestures from paintings and everyday communication. Using 16mm film cut with iPhone clips I chased language – both the learning and losing of it – the omissions, the torn, the discontinuity, the patches, the bad repairs.

I spent a day at Cinecitta with an incredible fake Sistine Chapel and Chapel of Tears, the reality and the illusion madly muddled into un Papa in acqua pazza. A visit from the Vatican press intensified the hallucination as dog collars and papal gowns munched pizza over lunch.

oona 5

The ‘real’ Sistine Chapel (Photo: copyright free image)

oona 4

Spot the difference… the Sistine Chapel re-created at Cinecitta

Parallel Pantheon worlds… Bishops and Monsignors… drapes and folds and hand gestures, rituals and roses.

Walking, watching, hand gestures, the sign language of hands, mis-translation and mis-communication, bird language, silent language.

Drapes and folds pleats and drapes fabric fashion folds.

 

In your exploration of Italian Cinema, have you found a female character to feature in your work?

I’ve been looking at Liliana Cavani and Ketty La Rocca, Laura Betti and Silvana Mangano but the story board embraces a motley and disparate bunch of characters none of whom take starring roles – they are more the underdogs and background extras.

 

Last term you spoke about your first experiences in Rome as “a sea of visual treats…felt like a veritable tartan sea sponge, a kid who has overdosed on candy floss”. Has this also been the case this term or have you been focusing on specific themes?

The sponge gets bigger!

oona 8

‘angelo del fango’, 75 x 110cm

The six months have made an Enormous difference. Initially I was too ravenous, greedily devouring and collecting. Now it has been amazing to re-visit collections and spend time with just one work. Daily there are new discoveries and long lists for future explorations.

This term I have enjoyed watching the light change and the city fill up with visitors. The drapery, the folds, the fabric has etched itself into my brain… Folds n flocks, soft squidgy marble folds….

Stay tuned… ‘coming soon e.u e.’ …

 

Oona’s work will be exhibited alongside the six other resident artists in the June Mostra. The opening will take place on Friday 15 June 18.30-21.00. Opening hours 16.30-19.00 until Saturday 23 June 2018, closed Sundays.

Interview by Alice Marsh (Communications & Events). Photos by Oona Grimes, unless otherwise stated.

 

June Mostra 2018 / Meet the artists…John Rainey

As we approach the June Mostra, our third exhibition of this academic year, we will be publishing a series of blogs taking a closer look at the individual practices of our seven resident artists. Today’s interview is with John Rainey, our Arts Council of Northern Ireland Fellow.

26495314247_2c0c79e619_b

Photo: Antonio Palmeiri

You recently participated in EVA International. Tell us more about this experience…

EVA is an international biennial that takes place in Limerick, in the west of Ireland. For this year’s EVA I was commissioned to create a new piece of outdoor sculpture – an architectural intervention onto the facade of a Georgian building called the Hunt Museum.

A0B751DF-DF80-4D0A-AB27-66C961467A91

John Rainey, ‘Going to ruin (you)’, 2018. EVA International installation.

The commission demanded much of my attention in the first 3 months of my BSR fellowship and was finally delivered in mid-April. There were a lot of new approaches for me with this project, including working on a much larger scale, and working with a steel fabricator in Ireland, while I was based here in Rome. This kind of remote management of the project was a challenge, but ultimately good experience.

At the end of March I returned to Ireland to do the final stage of the fabrication, and was based in a studio at the Irish Museum of Modern Art in Dublin, where I had a short production residency. The finished work was a staging of a section of the building’s façade falling into ruin, so the development and production periods coinciding with my fellowship in Rome felt especially relevant. My time spent at ruined sites around the city, particularly thinking about fragmentation, destruction and conservation practices are still influencing my planning of new work.

46CF5947-F155-4757-B33B-92AEA92E3AAE

John Rainey, ‘Going to ruin (you)’, 2018. EVA International installation.

Will the work you show in the June Mostra be connected to the work you presented in Ireland?

Not directly, though it will share some of the thinking about control, destruction and imitation with the ruins project. This time I’m picking up on a dialogue with classical statuary form.

John Rainey 4

“Variants (Addendum)” (detail), 2017. Image: Simon Mills courtesy of Golden Thread Gallery, Belfast

In visiting collections in the Museums of Rome, my existing interest in the copy has narrowed in on ideas about repetition, states of repair and provenance. Specifically copies of Polykleitos’ Doryphoros, one of which I saw recently at the National Archaeological Museum in Naples. I will be presenting a series of variations of this form on a reduced scale, developed through 3D printing and traditional casting processes.

60D99C8C-465C-45BF-AE53-43EEC4D9E3DA

Doryphoros at National Archaeological Museum, Naples.

I am working with new materials in Rome, such as silicone, jesmonite and printied vinyl (as with the interior ruins piece I showed in the March Mostra), so the work in the upcoming June Mostra will feature a combination of these.

F1A71348-BB75-4965-9A0B-1505424E2CCF

John Rainey, ‘Going to Roman ruin (you)’, 2018. BSR March Mostra. (Photo: Roberto Apa)

 

You recently visited the excavations at Pompeii, as you were particularly interested in the plaster cast bodies. Explain how this trip affected you?

The Pompeii casts are especially interesting for me because casting in one of the main processes I use in my work. I create moulds to cast into, but at times I’m also casting from life.

More aligned with the tradition of death casting, the cavities created by the bodies in Pompeii acted as ready made moulds after the decomposition of soft tissue. The results of this natural casting process (following the intervention of Giuseppe Fiorelli who filled the spaces with plaster) are artefacts that resist classification – part artwork and part corpse.

639A2BD2-8E86-46DB-9555-B95D6FDDA8DB

Pompeii plaster casts

Similarly, seeing the artefacts first-hand is not a singular experience – they’re beautiful and horrifying at the same time. This dual experience is something familiar to a lot of the corporeal work that I make.

1045x587_315677

Pompeii plaster casts

JR-58-2

John Rainey, “Face Off”, 2016

There’s another significant resonance between the Pompeii bodies and my practice in terms of the use of digital scanning processes. In recent years the bodies have been subject to CT scanning which has revealed the skeletal remains and other matter that lies inside the solid forms.

Pompeii Cat scan on casts of the victims of the eruption of Vesuvius

Pompeii plaster cast, 3D scan and CT scan. (Picture by: NApress)

This information has really expanded our knowledge of the society they represent, while also correcting long-held assumptions about the victims, such as the causes of death, gender, and social status. This example of material and digital technologies rendering the human past with greater lucidity, when applied to this historical, real-world investigation, has been useful for thinking about the wider context of the processes I use.

John’s work will be exhibited alongside the six other resident artists in the June Mostra. The opening will take place on Friday 15 June 18.30-21.00. Opening hours 16.30-19.00 until Saturday 23 June 2018, closed Sundays.

Interview by Alice Marsh (Communications & Events). Photos by John Rainey.

June Mostra 2018 / Meet the artists…Murat Urlali

As we approach the March Mostra, our second exhibition of this academic year, we will be publishing a series of blogs taking a closer look at the individual practices of our seven resident artists. Our first interview is with Murat Urlali, our National Art School, Sydney, Resident

40139466700_0711147bac_z.jpg

The decorative motifs of the Cosmati mosaic floors that you saw in San Clemente have begun to appear in your work. These mosaics take inspiration from the Eastern Byzantine tradition overlapping with the Western Classical. How are ideas of cross-cultural exchange explored in your work?

The cross-cultural exchange or interculturalism is a really important for me and for my art.

The Quebec philosopher Charles Taylor says that multiculturalism encourages the Ghettos and Ghettoism in a country. But interculturalism emphasises the integration, which is exactly what I agree with. Multiculturalism requires equal rights for different cultures, but there is no requirement for them to interact with each other, except through a common spoken language in a country. But interculturalism promotes interaction, understanding and respect: integration between different cultures and different ethnic groups.  Exploring cross-cultural exchange is, I suppose, at least part of “my thing”!!!

murat 2

What is important to mention here is that I do not come from a Judea Christian background. When I decided to study art, at the National Art School, Sydney, I suddenly found myself plunged into a world of assumed knowledge of tradition and experience of a Biblical narrative – this was a real cultural shock!!  I suppose that exploring cross-cultural exchange is my way of coming to terms with this.

Before I came to Rome, much of my practice was informed by trying to connect the idealised Western imagery, which is traditional painting, with the spiritual symbolism of the Islamic world. Thereby creating a dialogue between the Western and Eastern viewers of my work. Considering the times in which we are living this dialogue is both useful, and I believe necessary.

In Rome you spend so much of your time looking up; to intricately decorated ceilings and to breath-taking sculptures in the Galleria Borghese. These little squares that I have made, inspired by the Cosmati floors, remind you to look down – to see down to what you are walking on. These mosaics are so beautiful and so much work has gone into these cut marble floors. This is what I have tried to reflect in my small squares, my tondi.

murat

 

murat 5

You work on a variety of different subjects in your paintings. Tell us more about what you have been exploring while here in Rome?

As an artist who embraces the kitsch and camp, Rome provides such a rich source of inspiration. Even, if you ask me, the Vatican City and the Catholic Church — so theatrical with so many colours.

I have been using my time here sensibly to explore churches, galleries and Museums taking the opportunity to get up close and personal with works of my artistic heroes.  I have visited some galleries quite a few times. One church, Santa Maria del Popolo — I honestly can’t remember how many times I have been there — every time I head back to the BSR I pop in and look at my two favorite Caravaggio’s.

This is my first time in Rome and I am trying to look-up and embrace as much as I possibly can!

The tondi ‘Same sex intimacy’ and the ‘Medusa’, I have completed while I have been here.  I think it is clear that I have viewed Michelangelo’s and Caravaggio’s work through a rather Camp lens.  For the third tondo that I am working on now, I found inspiration at Porta Portese in Trastevere. This market is so big and the streets are so full. I was walking in the market, I saw this Venetian mask and thought, YES — this is what I have to do! I love the mask idea as it lends itself to my practice, letting me reflect on mystic and mystery as well as intimacy and ambiguity. This is why I started to focus first on the eyes of the figure.

Looking to the small works again, I have been fascinated by the patterns that you can find all over Rome. Especially interesting, to me are those that have been influenced by Eastern art, the Cosmati Mosaic floors.

Some people may view working on very precise, geometrically exact and the repetitive patternation as restrictive, but I certainly do not! I have found it quite liberating. By creating these multi textural bejeweled surfaces, that make a density and are dazzling in the light. I hope to capture a light dance and sense of liberation about them. I am trying to invite the viewers to intimately engage with the details and examine the works in detail.

murat 4

Do you think that you shall take these tondi designs back to Australia?

Certainly, indeed when I go back to Australia I am planning to use some Cosmati patterns in my work. But in Australia I shall work on a different scale 2m in height.

One thing that I know is that I shall be coming back! I don’t know how after all these years I have not been in Rome, I shall be back very soon!

Murat’s work will be exhibited alongside the six other resident artists in the June Mostra. The opening will take place on Friday 15 June 18.30-21.00. Opening hours 16.30-19.00 until Saturday 23 June 2018, closed Sundays.

Interview by Alice Marsh (Communications & Events). Photos by Murat Urlali (excepting church of San Clemente, copyright free image). 

BSR Library Special Collections. Gift from Mark Getty, BSR Chair of Council.

Professor David McKitterick introduces a selection of the latest addition to the BSR Library’s Special Collections.

Quite apart from its modern collections, the BSR owns a remarkable collection of early printed books, many of them from the library of Thomas Ashby, to which other benefactors have given since. But the BSR has not been able to add to these for a long time. When in February the collection of books about Rome assembled by Sergio Rossetti came onto the market in Milan, there was an unprecedented opportunity to enrich the library.

Rossetti’s four-volume bibliography of Rome was published in 2000-4, and he built up his own remarkable collection alongside. Thanks to the imagination and prompt generosity of Mark Getty, the BSR was able to acquire over a hundred volumes at the auction, dating from the early sixteenth century to the late nineteenth.

28166249718_c0a3ea804e_z

Mark Getty with Director Stephen Milner and Librarian Valerie Scott

Some were magnificent illustrated books, such as Pietro Castelli’s volume of engravings of rare plants in the Farnese gardens (1625), or Pietro Ferrerio and Giovani Battista Falda’s engravings of palazzi (c.1660) many of which have now disappeared, while the great etchings in the folio Rovine del castello dell’Acqua Giulia (1761) show Piranesi’s interests as simultaneously antiquary, architect and hydraulic engineer.

41249165265_ff9f8c933e_z (1)

Engraving from Pietro Ferrerio, Palazzi di Roma di più celebri architetti, Roma [1655-70]

42103282732_23489d3491_z

Engraving from Giovanni Battista Piranesi, Le rovine del castello dell’Acqua Giulia situato in Roma presso S. Eusebio…..…, Rome 1761

The copy of Giacomo Lauro’s collection of views Antiquae urbis splendor (1637) is in an impressive gilt binding with the arms of Pope Urban VIII. A group of sixteenth-and seventeenth-century books about the Tiber focusses , not surprisingly, on the periodic floods. An illustrated volume by Nicolai Alemanni on the Lateran palace (1637) focusses on Pope Leo III’s grand new ninth-century dining room, or triclinium, decorated with mosaics and only some of which survives.

At the core of this wonderful accession is a large group of guidebooks, in Latin, Italian, French and English, to be added to the already notable collection of these already on the shelves in the BSR. While such books are obviously reflections of local identity and are invaluable for anyone trying to unravel the history of ownership of works of art, they are also some of the closest ways we can come to seeing the world through the eyes of earlier centuries.

Just to read the ever more detailed guides, meeting the needs of seventeenth-century tourists such as John Evelyn or John Milton, or a host of eighteenth-century visitors, is not only to begin to see with their eyes, but also to wonder at the energies of people who (if they followed some guidebooks’ instructions) were expected to see Rome sometimes in as little as three days: the Vatican and Trastevere could easily be dealt with in just one. But these guidebooks tell us more.

DSC_8627

Frontispiece from Pompilio Totti, Ritratto di Roma antica……….., Roma 1645

Pompilio Totti, the much-printed author of the best of the seventeenth-century guides, showed how Rome could be divided into antica and moderna.  By the time we come to read his even more popular successor, the archaeologist Antonio Nibby (first published shortly after the Napoleonic wars and widely available in Italian and French) there are new concerns, arising from the ever-more revealing excavations. How should ruins be preserved, and how should they be shown off? These remain no less topical questions today.

DSC_8626

Frontispiece from Pompilio Totti, Ritratto di Roma moderna……….., Roma 1645

Of the later books, one further might be selected among these prizes. Matthew Dubourg’s  Views of the remains of ancient buildings in Rome and its vicinity  (London, 1820) has become rare because so many copies have been broken up for the sake of the lovely hand-coloured illustrations. But the text is worth reading as well, influenced by the fashion for gothic novels and written by a person informed by the dramatic paintings of Salvator Rosa. This is the Rome of the romantics, published just a few months before Keats died. Not surprisingly, Byron is quoted on the Colosseum: ‘a noble wreck, in ruinous perfection’. All these books invite further study, and all are being added to the union catalogue URBiS (www.urbis-libnet.org).

DSC_8629

From Matthew Dubourg, Views of the remains of ancient buildings in Rome and its vicinity…………, London 1820

Meanwhile, a selection is currently on display at the Entrance Hall of the BSR.

Text by David McKitterick, Emeritus Honorary Professor of Historical Bibliography, Trinity College, Cambridge.

 

David visited the BSR and gave a fascinating talk to staff, residents and award-holders about the new arrivals.

DSC_8553.jpg

DSC_8575.jpg

The research potential of our Special Collections has been enhanced by this remarkable gift and our aim now is to seek funding for specific BSR Library awards to generate more opportunities for research projects based on our rich collections.

Text by Valerie Scott, Librarian

Photos by Antonio Palmieri

Ashby Adventures 2018

Last week we hosted our Ashby Patrons visit to Rome. This is always a very special weekend in the BSR’s calendar when we welcome our Ashby Patrons to the BSR for an action-packed few days of adventures both inside and outside the city. This year was no exception with a full and expertly tailored programme of excursions!

Always an important part of the weekend, is the opportunity for the Patrons to speak with resident award-holders and to visit the studios of artists resident at the BSR. This year was no different. On arrival the group were treated to a visual feast (indeed, a sneak preview of what is to come in next month’s June Mostra) by three of our artists in residence – Murat Urlali (National Art School, Sydney, Resident), John Robertson (Abbey Scholar in Painting) and Oona Grimes (The Bridget Riley Fellow). After visiting the studios the group joined BSR residents and staff for dinner.

murat

Murat Urlali (National Art School, Sydney, Resident) in his studio

The first full day began with a visit to the Venerable English College, the Catholic seminary in Rome which trains priests from England and Wales.

IMG_2915.JPG

After a hearty welcome from Ryan Service, a Seminarian from the Archdiocese of Birmingham, the group had the privilege of being led around the college, current exhibition and the archives, by Archive Coordinator and BSR Research Fellow Professor Maurice Whitehead. This visit was also an opportunity to explain to the group the British School at Rome’s ambition to work in collaboration with Venerable English College to open access to their archives, facilitating the opportunity to bring UK scholars to Rome to study them.

IMG_2920.JPG

Sustained by a fine lunch, the group progressed to the second visit of the day, a guided tour of Palazzo Pamphilj (situated within Piazza Navona and now home to the Brazilian Embassy in Italy) led by Assistant Director Tom True.

IMG_2927.JPG

Within the Ashby group we were lucky to have BSR Former Chair of council Timothy Llewellyn, expert on the frescoed ceiling of Pietro da Cortona, who explained the story of Aeneas depicted on the ceiling above. We were then treated to a spectacular view from the balcony to the piazza below.

After a day of visual and gastronomic treats, those who had the strength, stomach and courage, rounded off the day with a gelato at Giolitti!

IMG_2943.JPG

Relaxed and refreshed, the second day saw the Ashby group venture out from Rome to Lake Bracciano, to enjoy a guided tour of Castello Odescalchi bathed in sunshine.

IMG_3023.JPG

IMG_3017.JPG

After the tour the group enjoyed a delicious feast comprised of locally sourced ingredients at an agriturismo in Trevignano. Yet, this was not the end of the days programme, upon arrival back to the BSR, Marco Iuliano (member of the BSR Faculty of Archaeology, History and Letters) gave a presentation entitled ‘Notes on the Cartography of Rome’, with particular reference to special holdings from our Library, including a map by Giovani Battista Cingolani della Pergola (1704), which depicts Lake Bracciano.

IMG_3037

The advent of the final day revealed that some of the best treasures had been saved until last. Valerie Scott (Librarian and Deputy Director) presented the Library’s latest addition, a gift of rare books presented to the BSR earlier this year by Chair of Council Mark Getty.

To round off the trip, Director Stephen Milner brought the Ashby’s up-to-date with his vision of the future for the BSR, prompting a lively discussion. As per tradition, the weekend concluded with brunch at Caffè delle Arti with reflections on the activities and success of the weekend.

It was a delight to host the Ashby Patrons, and was a chance to say thank you for their continued support and guidance, which is wholeheartedly appreciated and valued by the whole BSR community.

Roll on next year…!

IMG_3049

Blog and photographs by Alice Marsh (Events and Communications Assistant)