On April 6 1520 Raffaello Santi (1483-1520) died in Rome; one of the most famous Renaissance artists who indelibly marked the development of the artistic language of his time and shaped the course of Art History for centuries to come. To commemorate the 500th anniversary of Raphael’s death in 2020 and delayed because of Covid restrictions, The National Gallery presents one of the first-ever exhibitions outside of Italy to celebrate the career of the ‘pittore divino’ from Urbino.

In his brief career, spanning only two decades, Raphael became the interpreter of the Renaissance ideal of a culture’s vision of itself, capturing the human and the divine, love, friendship, power, and erudition, and set forth the quintessential images of beauty and harmony in Western culture and civilisation. The exhibition reveals every aspect of his work as a painter and draughtsman. It highlights his widely unacknowledged polymath activity in architecture, poetry, and archaeology, as surveyor of Ancient Rome, as well as his designs for sculptures, tapestry, prints and the applied arts. A legit genius whose work was prolific even during his lifespan, spreading far beyond central Italy, as his talent blossomed out of an intimate and profound love for art. Broadly chronological the exhibition moves from the following premise: to present Raphael’s thriving and multi-faceted artistic enterprise as the result of a complex process of formation whereby the construction of a community and the achievement of civilization is a collective endeavour.

The journey to understand the vastness of the legacy left by Raphael’s prolific work begins with a section devoted to the artist’s early works made in the region of Marche, and the nearby Umbrian cities of Città di Castello and Perugia, in central Italy.  Still a boy, a self-portrait of the artist at the age of 16, already shows Raphael’s considerable skills as a draughtsman; whilst the drawings for an altarpiece of Saint Nicholas of Tolentino exemplify his continuous practice of studying from live models. His precocious ability to combine detailed observation and creativity ensured he soon rose above the level of a ‘local’ artist.

From 1504/5 to 1508 Raphael oriented increasingly toward Florence, the liveliest centre of the elaboration of the new artistic and financial culture of Europe, around which the figures of Leonardo and Michelangelo revolved. His works for private clients include portraiture, altarpieces and numerous depictions of the Virgin and Child.  They demonstrate his ability to absorb the artistic experiences of his time, showing great interest for the animation of the characters painted by Leonardo da Vinci, the dynamic expressiveness of Michelangelo’s figures in motion, and the emotional intimacy captured in the works by the 15th-century sculptor Donatello.

The exhibition far from wanting to reiterate the consolidated agon in the study of art history which sees the dramatic confrontation between past, present and future artists aimed at decreeing the Greatest among the greats. In the dialogue between Raphael’s masterpieces and that of his contemporaries and predecessors there is the echo of a relationship that took place under the banner of originality.  The awareness that the artist’s promotion to the condition of Genius is realised through the development of a conception of art, in which the inventive moment prevails over the operational and practical one.

Arrived in Rome in 1508, Raphael completed his most masterful work, and led the ambitious project of decorating Pope Julius II’s private apartments (Stanze) in the Vatican, now known as ‘le Stanze di Raffaello’. His work over four rooms included monumental, multi‐figure compositions depicting biblical subjects, scenes from the history of the Church, allegories of concepts such as Poetry and the great gathering of philosophers known as the School of Athens (1509–10). The fresco has been recreated in this show as a wall-filling facsimile. Raphael’s monumental work for Pope Julius II exemplify his deep admiration for Man, and the prominence he placed on human connection. Raphael- serene, sociable, enthusiastic about life offers us a pictorial world where harmony, order, and beauty reign.  But this world is not the work of God, but that of men. The humanity depicted by Raphael, suspended between dynamism and softness of the figures, is resolved in the complexity of interaction between his figures. Raphael’s visual approach to human experience is compelling in his extraordinary portrait of an elderly Pope Julius II which transformed the way the powerful were depicted in Western art, celebrating the transience of human life.

Raphael was described as the ‘universal artist’ by the artist and biographer Giorgio Vasari (1511– 1574) in recognition of his dexterity in so many different arts. His interest in other media out-bloomed in Rome. Thanks to the patronage of the Sienese banker, Agostino Chigi, reputedly the richest man in Italy and the principal financial backer to Pope Julius II. The relationship with Chigi is presented in the exhibition as one of the most profitable in Raphael’s career, for he quickly became Raphael’s most important lay client.

The final room exemplifies Raphael’s total devotion to art, through which he could also convey his feelings, desires, hopes, and affection, supremely realised in his ‘Self Portrait With Giulio Romano’ (1519-20). Raphael painted this portrait of himself and his principal assistant as a gesture of their close friendship as evident from the way Raphael’s right forearm seems to merge with Giulio’s right hand, indicating trust and closeness between the two. This is one of the most frank and intimate works and is emblematic of the human connections Raphael not only forged personally, but which his art more broadly sought to galvanize.

More than 500 years after the death of the man who with his art challenged God. ‘Raphael’ at the National Gallery reminds us that the legacy of ‘the divine painter’ is immortal. This great show is a once in a life-time opportunity to once again, fall in love with the creative power of man.

09 Apr 2022 – 31 Jul 2022

The National Gallery Location Room 1-8

Standard admission £24

Monday – Sunday

For more information and to book online visit https://www.nationalgallery.org.uk/exhibitions/the-credit-suisse-exhibition-raphael

Raphael Self-Portrait with Giulio Romano 1519-1520 Oil on canvas 99 × 83 cm Musée du Louvre, Département des peintures, Paris Photo © RMN-Grand Palais (musée du Louvre) / Gérard Blot

Reviewed by Rachele Nizi- After completing her MA in Reception of the Classical World at UCL, Rachele joined Abundant Art as a creative writer. Her British and Italian origins have inspired her to want to study Art History and European Literatures, with an interest in the afterlife of antiquity in the Western tradition.

Actor and singer Danielle de Neise stars as ‘Elle’ in BBC’s rendition of Jean Cocteau’s one-woman play La Voix Humaine. La Voix Humaine is a play that encapsulates the feelings of isolation, desperation and agony love and heartbreak can bring. With only one character, Elle has become confined to her claustrophobic apartment for the entirety of the film. We are made to scrutinise her as she paces and probes throughout her apartment on the phone to her lover, who remains faceless and voiceless but is still presented as the domineering figure within this relationship. We witness talks of nostalgic memories of their past and escalating immense desperation and anguish to keep her lover from ending their relationship – which is to no avail.

Originally written in 1928, Jean Cocteau sought to explore how emerging technology like the telephone impacted relationships. This seems to have more relevance in the modern-day as technology allows us to communicate far and wide instantaneously, allowing us to deliver visceral and heart-wrenching messages whilst avoiding the vulnerability of face-to-face interaction.

Danielle De Neise’s well-known dramatic singing voice, along with her remarkable acting skills (in what is her first film role), perfectly illustrate the psychological trajectory and emotional turmoil that Elle is going through during this fateful phone call. Elle is going on a journey through all stages of grief during this telephone call, hopelessly clawing and grasping at the thin fibres of her relationship that remain. The film is set to an orchestral score recorded at The Royal Opera House which is conducted by Antonio Pappano. All of De Neise’s singing was recorded live on location, a difficult task that makes the outcome of her performance all the more remarkable. The final line “I love you” is sung in a crushing, melodramatic crescendo. Before the call ends, the synthesis of emotion in this final line feels painfully real and a great showcase of De Neise’s talent.

The film adaptation of La Voix Humaine encompasses the audience. De Neise’s performance allows us to feel the intimate and personal emotions that love and its unpredictable fleeting nature can bring. The film is directed by James Kent, with cinematography by Laurie Rose. It is set to premiere on BBC 2  on the 15th of April. The exclusive screening of the new film version of La Voix Humaine was hosted by The Mayfair Theatre on the 31st March –mayfairtheatre.ca   

Reviewed by Lian Lakhope. Lian is a MA Global Media and Communications student at SOAS and a volunteer writer for Abundant Art. Lian has written for a number of different publications, mostly about music, culture and film and she is enthusiastic about expressing her passion for creating art and media.

Radio Ballads centers the ones most often ignored on mainstream platforms – those who receive care and those who give it. The works are difficult and raw, often touching on domestic violence, systemic racism, unemployment, disability and social care. Ultimately, Radio Ballads explores the relationship between art and care – can art provide space for reflection, understanding, sharing experiences… maybe even, healing? 

Radio Ballads, presented by Serpentine and the London Borough of Barking and Dagenham, is the culmination of a three year project embedding artists within social care services within the borough. It focuses on the works of four artists; 2019 Turner Prize winner Helen Cammock, Rory Pilgrim, Ilona Sagar and Sonia Boyce, who will also be representing the UK at this year’s Venice Biennale. Facilitated through the council’s New Town Culture programme, the artists worked with social workers, carers, organisers and government services to produce four new video works and bodies of research. 

In Radio Ballads four moving image works are confined in their own unique rooms, the sounds drift out and talk over one another like in the living room of a large family gathering. This communal space, where the videos meet, is also where the contextual materials sit, showcasing the collaborative nature of the project. Inside, all four spaces feel very different – although it takes a moment to settle into each of them. The videos are lengthy, sometimes over an hour. This isn’t an exhibition to pop into, but more one to invest time into. 

It is truly refreshing to see socially-engaged work platformed at such a large gallery – enabling exploration of the role of artists and cultural institutions in civic and political life. However, although one part of the project is displayed at Barking Town Hall and Learning Centre, it’s worth questioning why the project has been removed from the community it focuses on, to be shown some 5 miles west in Hyde Park. Often, the difficulty with community-led projects is navigating the fine line between the community ‘collaborating’ in the making of the project and becoming the ‘subject’ of the work. The longevity of this project and the feelings evoked when watching the works, suggests it’s gone some way in achieving the former – not an easy feat.

Radio Ballads was curated and produced by Amal Khalaf, Elizabeth Graham and Layla Gatens. The exhibition is co-curated with Natalia Grabowska. Entry is free and you can find out more information here: https://www.serpentinegalleries.org/. Radio Ballads will be showing at Serpentine North until 29 May and Barking Town Hall and Learning Centre until 17 April.

Radio Ballads, Installation view, 31 March – 29 May 2022, Serpentine North Sonia Boyce, Yes, I Hear You, 2022 Photo: George Darrell.

Reviewed by Amy Melling – Amy is a Curator and Creative Producer whose practice is centred around community-led arts projects. Her current research is focused on curatorial methods for exhibiting artworks outside. Amy has a keen interest in the arts and recently completed an MA in Curating and Collections at Chelsea College of Arts, UAL.

“It’s often only the clothes that keep the male or female likeness”- Fashioning Masculinities: The Art of Menswear| V&A

Fashioning Masculinities: The Art of Menswear on display at the V&A explores the artistry, audacity, and ambiguity of male fashion.  Unravelling the history of masculine attire, the exhibition reveals how designers, tailors, artists and their clients and models have helped dress and fashion manliness. Contemporary outfits by legendary designers and cultural icons are displayed alongside treasures from the V&A’s collections and landmark loans. These include classical sculptures, Renaissance paintings, photographs, and film performances. The exhibition features around 100 looks alongside 100 artworks, displayed thematically across three galleries, Undressed, Overdressed, and Redressed. It traces the shifting ways of portraying masculine style: shaping and enhancing bodies, flaunting status and wealth, fabricating and dissecting tailoring norms and finally revealing the man behind the robe.

Historically, clothing almost had the universal function of creating and reaffirming gender and class differences. The exhibition suggests that men’s clothing and fashion present a historical oscillation between two recurring models marked and evident in contemporary Western societies: the playboy with the example of G.B. “Bea” Brummel associated with flamboyance, and the puritan masculinity emblem of moderation which consolidated the end of the 18th century. What emerges from the 19^th century onwards is the progressive genderizing of men’s fashion and the slow but irreversible process of dissolution of class differences.

Clothes and rules of decorum have been imposed on man, tailor-made to measure and challenge his nature often with reference to classical antiquity. Mark Twain suggests that ‘clothes make the man. Naked people have little or no influence on society’. Yet the first gallery challenges this assumption, presenting the male body and underwear alongside plaster casts of the Apollo Belvedere and the Farnese, painted and admired by 18^th century European elite on their Grand Tour in Italy. Since then, references to classical ideals of masculinity have permeated contemporary menswear, perpetuating a tradition of depicting toned and sculptural male bodies whose silhouettes are made increasingly visible under a pleated shirt, creating an in-between state of undress- neither completely nude nor clothed.

The motto ‘dress like you’ve made something of yourself, even if you haven’t’ reiterates the image of winning masculinity linked to social status and rank as well as to the performance of public functions. Between the 16^thand 18^thcentury, sumptuary laws and constraints of complex interpretation codified the elite masculine wardrobe of the European courts, often strongly characterized by flamboyant dressing, ostentatious embellishment, expensive fabrics and intricate patterns coming from all parts of the world. As we walk through the second gallery, we are constantly reminded that the opulence of outfits displayed was not deceiving of the status, wealth, and individuality of the men who wore them, men for whom functionality mattered less than the show. Oversized silhouettes, lavish materials like silk and velvet in daring colours, ribbons and lace, botanical motifs, and make up are only a few of the elements that defined masculine fashions of the time. Paradoxically we will find all these elements in a woman’s wardrobe today. The incongruity is not yet between femininity and masculinity, rather it is about flaunting or concealing social rank and boasting an economic availability that only a few could afford.

The last gallery explores how historic ideas begin to shift starting from the 19^th century, with extensive photography showing changing styles and attitudes. The new male fashionableness, born from the political turmoil of the French Revolution which despised the frenzy and folly of the Ancien Régime, promoted a more austere and rational approach to masculinity, reshaping menswear into the more practical and simple form of the suit. ‘Dressing well is a form of good manners’ became the anthem of the 19th-century man of fashion the Dandy, epitomised by the figure of Oscar Wilde. Industrial milling and mass-production of warm and practical muted wools coming from the English countryside’s tailoring industry, made clothing accessible to all spreading across the working classes of Europe. The greatest evolution of men’s clothing took place in the twentieth century, due to the affirmation of an informal and casual style for men, also informed by military attire.

The slow yet irreversible process of dissolution of class differences is accompanied by an implacable instinct to safeguard what previously belonged to men and the male sphere. A new ideal of man is outlined in opposition to that of woman. No longer the keeper of status and wealth, the modern man finds new life and virility in his gender and sex, in being born a male. All elements indicating fluidity, where the masculine merged with the feminine became a threat. Until recently, a man wearing even just a suit made from soft or draped fabrics would become the object of ridicule.

Deconstructing the idea of masculinity as it has historically been established opens a new perspective on the variety of possible masculinities that have unravelled over the centuries, from the Renaissance to global contemporaneity. The exhibition is certainly motivated by the intention to celebrate the multiplicities of male sartorial self-expression, dressing beyond the binary. However, as Armani reminds us “fashion is not unisex”. The great revolution in today’s fashion is not to be found in the dissolution of the alterity between masculinity and femininity, which would risk ridiculing and debasing both men and women, but in so far as we can choose to dress masculine or feminine. Nevertheless, we should never forget that we are choosing.

Fashioning Masculinities: The Art of Menswear V&A On now until Sunday, 6 November 2022 The Sainsbury Gallery

Buy your tickets here (£20.00)- https://www.vam.ac.uk/exhibitions/fashioning-masculinities-the-art-of-menswear

This exhibition contains some depictions of nudity. Advance booking is recommended.

Image features outfits by Orange Couture, Ahluwalia Studio, Martine Rose and Rahemur Rahman for Aranya Crafts Ltd. The portrait is of Alexander Cassatt by Kehinde Wiley 2017.

Reviewed by Rachele Nizi- After completing her MA in Reception of the Classical World at UCL, Rachele joined Abundant Art as a creative writer. Her British and Italian origins have inspired her to want to study Art History and European Literatures, with an interest in the afterlife of antiquity in the Western tradition.

This year marks the 20th anniversary of one of the ballet industry’s most innovative and enthralling companies ‘Ballet Black’. The celebration of two decades of work is being presented in the form of a double bill of performances hosted at the Barbican, showcasing the possibilities of ballet beyond tradition and stereotypes. Ballet Black was founded by Cassa Pancho, with the vision of changing the face of ballet by bringing more Black and Asian faces to the forefront of ballet, a genre typically dominated by white faces. The company has managed to do this within its 20-year run as well as provide the world with captivating and cutting-edge performances.

The first half of the double bill was “Say it Loud” choreographed by Cassa Pancho herself. It was an amalgamation of seven different performances that connect with each other, speaking to the audience as one. The performance is accompanied by voiceovers of thoughts and opinions that have been shared about the company over the years, from positive quotes about captivating performances to negative quotes such as bigoted comments and aggressions, that darker-skinned individuals in ballet often hear. The score consists of music assembled by Cassa Pancho, it is a combination of jazz, classical and rap. The merging of classical ballet, perfect pointe and elegant movements, with the rawness of contemporary styles of dance, is something that sets aside the dancers of Ballet Black from fellow dancers and made the performance so invigorating and engrossing. Some of the highlights from the  “Say it Loud” piece were a solo performance danced over a gloomy track called “Welcome to London”.  The sharp movements of the performer emanated his hurt and angst at the negative comments from the voiceover track played before he began dancing. Another was a heartfelt and romantic duet piece to Etta James’ ‘At Last’ that earned a standing ovation. ‘Say it Loud’ gave the audience the best of all worlds.

The second half was “Black Sun.” choreographed by Gregory Maqoma. The piece had a score consisting of hazy sounds and African chants  produced by Micheal Asante of Boy Blue, (also known as Mikey J) and described by Micheal himself as  “as a work that draws energy from the sun and the moon giving rise to descendants of ancestors.” Very different from the first half of the double bill it has a denser and more complex narrative and gives leeway for more interpretation about the meanings of the piece. Furthermore, the movements, combined with the eclectic score and how the gold on the costumes catches the light and makes the stage glisten and glow, make the performance hypnotic and otherworldly. The highlight of the piece, and the most entrancing and best moment of the night is the prolonged section in which the dancers vocalise along with the track as well as beat drums and synchronously tap their feet, creating a compelling and immersive atmosphere.

The performances were followed by a short Q & A session featuring Cassa Pancho, Michael Asante and dancer of Ballet Black, Cira Robinson, in which they talked about the past, present and future of the company, the production of the 20th-anniversary performance and answered questions from the audience. The panel received several questions surrounding the challenges and difficulties faced by ballet dancers of colour. Cira Robinson perfectly summed up her thoughts on these challenges stating that rather than focusing on the colour of their skin, the focus should be on the talent and prowess these dancers possess. This is when there will be true inclusivity within the ballet industry.

Ballet Black is set to perform a tour of their 20th anniversary double bill at venues across the UK, tickets can be found at their website: https://balletblack.co.uk/performances/.

Cira Robinson and Mthuthuzeli November were photographed by Bill Cooper.

Reviewed by Lian Lakhope. Lian is a MA Global Media and Communications student at SOAS and a volunteer writer for Abundant Art. Lian has written for a number of different publications, mostly about music, culture and film and she is enthusiastic about expressing her passion for creating art and media.

A world-first concerto, dramatic film scores and an on-stage appearance from Danny Elfman – Movie Legends performed by the London Philharmonic Orchestra was a true delight.

The first half of Movie Legends saw the London Philharmonic Orchestra performing the score of The Lord of the Rings: The Fellowship of the Ring, in its entirety. Conducted by Ludwig Wicki and featuring accompaniment from soprano Grace Davidson and the London Philharmonic Choir, the performance was enchanting. Through tranquil tin whistles and a thundering brass section, the audience was transported on a journey to middle earth. 

One of today’s premier composers, Howard Shore produced the musical interpretation for J RR Tolkien’s The Lord of the Rings trilogy and The Hobbit. Tolkien was a keen environmentalist, taking much inspiration for his work from nature – something Shore also relates to, “the connection to nature is very important to me, and I think that was also the connection to Tolkien’s work. I know how important that was to Tolkien and his writing: everything that was green and good”. The industrialisation and deforestation which Tolkien protested is hightlighted throughout Shore’s score with the innovative use of materials to create mechanical sounds – most notably, striking piano strings with heavy metal chains.

Following a short interval, we were reimmersed in musical storytelling with three shorter performances of Danny Elfman’s work – a new concerto, the Batman Suite and the Alice in Wonderland Suite.

One particularly special moment was witnessing the world premiere of Danny Elfman’s Percussion Concerto. The audience were captivated by Colin Currie’s every move as he performed the piece. Darting across the stage between instruments, Currie is a true showman. Of the new work, Elfman said ‘my greatest pleasure is when I can surprise the audience with my music’ and that he did. Although the piece was filled with Elfman’s signature glockenspiels, xylophones and jouncy rhythms, there were also a lot of new, experimental sounds. During one movement, Currie even bows the side of a xylophone, creating a deep underlying humming.

The London Philharmonic Orchestra were perfectly rehearsed, with every strike of a drum and turn of a page they moved together like a shoal of fish. Watching them perform these popular movie scores was an incredibly accessible and entertaining way to experience classical music – a perfect introduction. 

Photography by Michael Marais.

Movie Legends was part of the Spring/Summer classical music programme that runs through until June 2022 at the Southbank Centre. There are several performances to choose from and Southbank Centre even offers a multi-buy discount, tickets are available to purchase here.

Reviewed by Amy Melling – Amy is a Curator and Creative Producer whose practice is centred around community-led arts projects. Her current research is focused on curatorial methods for exhibiting artworks outside. Amy has a keen interest in the arts and recently completed an MA in Curating and Collections at Chelsea College of Arts, UAL.

Steve Gallagher – saatchiart.com/all

Emily Penfold – saatchiart.com/all  emilypenfold.com/light-art

Collage photo picture created with Canva.com / all photos provided by the Artists.

Written by Julia Nelson who does operations and marketing for Abundant Art.