Radio Rackham: Spider-Man No More!

I denn e episode krydser vi linjen og samarbejder med vores søstercast, Supersnak! Vi har nemlig selveste “Marvel-Morten” Søndergård i studiet til en granskning af The Amazing Spider-Man #50, med den klassiske historie “Spider-Man No More!” af Stan Lee, John Romita, Mike Esposito, Stan Goldberg, mv.

Episoden er på mange måder noget særligt, men ikke mindst fordi den også (momentant?) markerer Henry Sørensens tilbagevenden til castet efter godt halvandet års fravær. Det var en udelt fornøjelse, så vi arbejder på at det bliver mere end en enlig svale!

Lyt her og læs mere på Nummer9.

The Venetian Renaissance at the National Gallery

Over the past months, I’ve been working with colleagues across the National Gallery, particularly my two curatorial colleagues Maria Alambritis and Charlotte Wytema, on a new temporary presentation of a selection of the Gallery’s Venetian paintings from Giovanni Bellini to Titian, roughly. The display was conceived to inaugurate the newly – and beautifully – refurbished room 29 as part of our bicentenary NG200 celebrations. It is poignant, I think, that room 29 which first opened in 1930 was originally designed precisely for the Venetian paintings.

Although a collection display, our presentation is organised like a exhibition, presenting the story of Venetian painting in the period, the lives of the artists, the social, religious and political context with a view to elucidating why it was so pivotal in the development of Western painting, collected so assiduously in Britain (and elsewhere) in the nineteenth century and thus why it is so core to the National Gallery’s collections.

In the video above, my colleague Carlo Corsato introduces a number of the key players in the organisation of the display, including of course yours truly. Do come have a look if you’re in London and let me know what you think!

Sebastiano and Raphael: graffiti artists?

A bit late to announce this here, but I contributed an article, entitled “The Chigi Graffiti”, on the graffiti on the walls of the loggia di Galatea at the Villa Farnesina in Rome, under the famous fresco by Raphael, the Triumph of Galatea (c. 1512-13), as well as the somewhat less famous one of Polyphemus by Sebastiano del Piombo (1511). These comprise a range of caricatured figures and heads as well as more naturalistic drawings and, some clearly by Sebastiano and some possibly — even probably — by Raphael.

I examine these closely in my article, which was published in the catalogue for the recently closed exhibition at the Farnesina, Raffaello e l’antico nella villa di Agostino Chigi, curated by my friend and colleague Costanza Barbieri. It was a great show, which brought back to the Farnesina a number of the antique sculptures that were in the collection of the villa’s original owner, the hugely wealthy banker Agostino Chigi, from the collections in which they’re dispersed today.

My examination of the graffiti is the latest in a number of articles I’ve written focusing on caricature and doodling by some of the great artists of the renaissance. You can get the catalogue here.