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More London Christmas Market 2014

FROM December 8 to December 21, 2014, More London hosts its annual festive market which, this year, has been extended to two weeks with later opening times.

The market will feature 35 stall-holders, including many local London businesses, in German-style chalets selling a range of gifts and food.

As well as foodie presents there’s a scrumptious range of hot food to-go and festive entertainment including choirs and the Salvation Army band. It’s the perfect place to find great gifts and feel positively festive with views across the Thames of Tower Bridge and the Tower of London.

This year’s More London Christmas Market is in conjunction with Tudor Markets, one of London’s leading street and Christmas market organisers. Each of the chalet-style stalls will be decked in twinkling lights, wreaths and garlands and visitors will find a fabulous selection of gifts and stocking fillers from jewellery to socks, cheeses to chocs and Champagne to crafts to suit all budgets.

You can expect:

Crafts & foodie gifts – 25 chalets selling a diverse selection of gifts including men’s designer socks, handmade jewellery, bags, fashion snoods, fair trade South American crafts, Alpaca wool clothing and much more.

Food glorious food – with festive gingerbread houses and hearts, Snowdonia cheese, handcrafted chocolate, Champagne, nuts and chocolate kisses.

Hot food to-go – stroll along Queen’s Walk (just in front of The Scoop) were you’ll find nine hot food traders dishing up crêpes, British sausages, @Cheeky_Burger, steak house & curly fries, hog roast and a range of Asian foods.

Charity – More London has dedicated one of the stalls to local charities. Visitors will be able to donate and find out more about More London’s charity partner the Evelina London Children’s Hospital, Beyond Food Foundation, and The Ronald McDonald House Charity.

Admission: Free.

Time: 11am to 7pm.

More London, More London Riverside, London, SE1 2DB

Renato Guttuso: Painter of Modern Life - Estorick Collection of Modern Italian Art

Renato Guttuso: Painter of Modern Life

Exhibition preview

AN EXHIBITION entitled Renato Guttuso: Painter of Modern Life will be on display at the Estorick Collection of Modern Italian Art from January 14 to April 4, 2015.

Renato Guttuso (1911 – 1987) is one of post-war Italy’s most widely respected painters. Toward the end of the 1930s, his powerful brand of expressionist realism vividly conveyed the angst of a generation which wanted its art to reflect and engage with the urgency of contemporary life.

Rebelling against both the formalism of abstract painting and the naturalism advocated by those on the far right of Fascism’s cultural establishment, Guttuso played a key role in forging a style that would go on to dominate Italian art throughout the immediate post-war years.

Resolutely ‘popular’, his imagery continued to chronicle Italy’s frequently turbulent political life and the changing face of its society for over forty years.

Guttuso was born in Bagheria (Sicily) in 1911 and began to paint at an early age, receiving encouragement from his father, a land surveyor of Socialist sympathies.

His enthusiasm was nurtured by the painter Domenico Quattrociocchi and the Futurist artist Pippo Rizzo. However, Guttuso’s first assured works, dating from the mid-1920s, reveal the influence of the then dominant Novecento school, characterised by its heavy modelling, sombre tones and dialogue with Italy’s painterly traditions.

The positive reception of his work at the I Quadriennale of 1931, and a group show at Milan’s influential Galleria del Milione the following year, encouraged Guttuso to devote himself entirely to art. During the early 1930s he encountered the expressionism of artists associated with the Scuola Romana, such as Scipione, and began to employ a more vibrant palette and freer painterly technique.

After settling in Rome in 1937, he became associated with the Corrente group, which also included the painters Renato Birolli, Bruno Cassinari, Giuseppe Migneco, Ennio Morlotti and Emilio Vedova. These figures resisted the notion of an art created in accordance with a binding ‘ism’ (as suggested by the group’s name).

However, their exploration of an emotionally-charged figurative vocabulary was the logical consequence of their desire for an ‘impassioned and direct relationship between the artist and the world’, and their rejection of ‘those modes of representation which were not sufficiently concerned with the destiny of humanity’.

In 1940, Guttuso’s increasing disillusionment with, and hostility toward, the Fascist regime led him to join the Communist Party – despite the fact that he continued to participate in the state-sponsored Premio Bergamo exhibitions, where his political allegories Flight from Etna and Crucifixion were awarded prizes in 1940 and 1942.

His Still Life with Lamp gives an idea of Guttuso’s approach to such themes at this time. At first the image appears to be a conventional still life, yet closer consideration suggests it may in fact be a veiled comment on the brutality and persecution suffered by the regime’s political opponents, or the chaos of war. Certainly, the disordered table-top with its skull and overturned birdcage generates a marked sense of unease. The torn red curtain (perhaps an allusion to the flag of Communism) only adds to this sense of disquiet and violence.

In creating such works of protest and moral outrage, Guttuso was strongly influenced by Picasso at this time, being particularly impressed by his harrowing masterpiece Guernica. In ‘spiritual’ rather than aesthetic terms, the Spanish artist was to constitute an important point of reference throughout Guttuso’s career.

In the immediate post-war years, the spirit of cooperation and reconciliation that had characterised the Resistance – in which Guttuso fought during 1944 – was reflected in the eclectic nature of a new artistic association established in 1947 named Fronte Nuovo delle Arti. However, the fierce, ongoing debate over the artist’s social responsibilities generated tensions within the group which ultimately led to its fragmentation.

Those artists whose work tended toward realism – including Guttuso – broke away from the Fronte and aligned themselves with the Communist Party which, under Palmiro Togliatti, looked on their work with a far greater indulgence than it did that of abstract painters.

True to his conviction that art should be ‘useful’, Guttuso continued to apply his robust, accessible style to socio-political themes over the course of his career (Portrait of a Woman in Profile, Death of a Hero, Heroine).

He remained faithful to the Communist Party throughout his life, being elected Senator of the Republic on two occasions (1976, 1979). A work dating from these years (Neighbourhood Rally) captures the ferment of this tumultuous period, characterised by political militancy and blighted by a spate of assassinations and kidnappings.

Alongside such politically-charged imagery, Guttuso continued to create works celebrating the people and the landscape of southern Italy, employing a rich and vibrant palette described by the art historian Maurizio Calvesi as having been drawn directly from the intense colours of his native Sicily: ‘like the fire of Etna, like the turquoise of the Tyrrhenian Sea, like the green of the lizards and the twisted vegetation [and] like the yellow of the oranges and the sulphur’ (Watermelons, Landscape with Lovers).

Organised in collaboration with Galleria d’Arte Maggiore, Bologna, Renato Guttuso: Painter of Modern Life is the first major exhibition in the United Kingdom to focus on the career of this important artist for almost twenty years, offering British audiences the opportunity to explore the work of a pivotal figure in modern Italian culture, and consider some of the questions it raises concerning the role of the artist – and of art itself – in modern society.

Roman Ostia: Ancient Ruins, Modern Art continues at the Estorick Collection of Modern Italian Art until December 21, 2014.

Estorick Collection of Modern Italian Art, 39a Canonbury Square, London, N1 2AN

Tel: +44 (0)20 7704 9522


A Victorian Obsession: The Perez Simon Collection at Leighton House Museum

Frederic, Lord Leighton (1830-1896) - Greek Girls picking up Pebbles, 1871.

Exhibition preview

FROM November 14, 2014 to March 29, 2015, Leighton House Museum will be home to rarely seen masterpieces of Victorian Art belonging to the Mexican collector Juan Antonio Perez Simon.

A Victorian Obsession: The Pérez Simón Collection at Leighton House Museum comprises 50 exceptional paintings from the largest Victorian private art collection outside Great Britain, shown for the first time in the UK.

Alongside five works by Frederic, Lord Leighton (four of which will be returning to the house in which they were painted), A Victorian Obsession will present paintings which have seldom if ever been exhibited before by many of the most celebrated Victorian artists, illustrating the astonishingly diverse representations of women that characterised this period of British art.

The images range from the domestic to the romantic and from the symbolic to the overtly sensual.

Highlights of the exhibition include Lawrence Alma-Tadema’s magnificent The Roses of Heliogabalus 1888, an iconic image of Roman decadence which has not been exhibited in London since 1913. One of the great paintings of the Victorian era, it memorably depicts the Emperor Heliogabalus’ suffocation of his guests beneath a torrent of rose petals.

Leighton’s Greek Girls Picking Up Pebbles by the Sea (1871) is one of his earliest and most striking ‘aesthetic’ works, placing formal harmony above narrative content and showing Leighton as the master of English drapery.

Two further works, Antigone (1882) and the sexually charged Crenaia (c 1880), feature the model Dorothy Dene. Leighton’s relationship with Dene was significant in his later years, when her role as his principal model, muse and social companion was widely commented on.

Also on display will be outstanding pictures by Albert Moore, Dante Gabriel Rossetti, Edward Burne-Jones, John Everett Millais, John William Waterhouse, Edward Poynter, John Strudwick and John William Godward.

As President of the Royal Academy, Leighton and his extraordinary studio-house were at the centre of the late Victorian art world. His annual concerts and receptions became fixtures of the artistic social calendar. These artists knew the house well and Leighton’s own collection contained pictures of several of them, including a nude study by Albert Moore that will return to Leighton House for the first time since 1896 as part of the exhibition.

The exhibition has been shown at the Jacquemart-Andre Museum in Paris and at the Chiostro del Bramente in Rome to great acclaim and is currently on display in Madrid at Thyssen-Bornemisza Museum.

The exhibition will be curated by Daniel Robbins, Senior Curator at Leighton House Museum, and Veronique Gerard Powell, who has worked extensively on the Perez Simon Collection.

With the exception of Leighton’s painting studio, the permanent collections will be cleared from Leighton House and the exhibition hung throughout the historic interiors. Leighton’s extraordinary decorative schemes will provide a uniquely appropriate and authentic setting for the pictures belonging to Juan Antonio Perez Simon, making the exhibition an unmissable event and an unforgettable one-off aesthetic experience.

A Victorian Obsession Gallery.

Tickets: £10, £6 concessions, Art Fund and National Trust Members 50% discount – available on 0800 912 6968 or online at

Times: Daily (except Tuesday) from 10am to 5.30pm.

Leighton House Museum, 12 Holland Park Road, London, W14 8LZ

Jonathan Yeo: The Print Retrospective

Jonathan Yeo: The Print Retrospective

Exhibition preview

OVER the past decade, British artist Jonathan Yeo has established himself as one of the world’s leading contemporary portrait artists.

To commemorate the launch of Lazarides Editions and seven years of Yeo working with the gallery, an exhibition entitled Jonathan Yeo: The Print Retrospective will be on display from November 20 to December 20, 2014 at Sea Containers on the Thames South Bank.

Lazarides Editions’ inaugural exhibition this November will reflect upon an area of Yeo’s practice that has not yet been highlighted in any previous retrospective, celebrating the artist’s comprehensive body of widely acclaimed printed material.

Following Yeo’s landmark 2013 exhibition at London’s National Portrait Gallery, he has recently been the subject of a mid-career retrospective at the Lowry in Manchester. A major new body of work, Jonathan Yeo Portraits, will mark the artist’s most recent museum showcase later this autumn at Newcastle’s Laing Art Gallery.

Lazarides and Jonathan Yeo commenced collaborating in 2007 with Yeo’s first exhibition to feature his hugely popular pornographic collage series.

Bush, the unauthorised portrait of the then US president George W Bush, was conceived and launched as a 22 colour screen print, igniting the artist’s interest in printed editions. The screen print, initially made for preservation purposes, embraced the integrity of the original collage and prompted an experimental phase with printmaking, encompassing etching, layering, stenciling, hand finishing and digital formats.

Jonathan Yeo: The Print Retrospective will see over 30 different limited editions brought together in one place, including a selection of unseen portraits and new pieces created specifically for the exhibition. In addition to the unique curation of fine art prints, Lazarides Editions is thrilled to release an exclusive, hand-finished monograph, mapping the artist’s prolific career and exploring a wide range of progressive printed media.

Jonathan Yeo (b. London, 18 December 1970) is internationally reknowned for his portraits of iconic figures including Nicole Kidman, Damien Hirst, Malala Yousafzai, Kevin Spacey and Tony Blair. The British painter has exhibited extensively in Europe, North America and the Far East.

Yeo was never formally trained at art school, instead he taught himself how to paint in his early twenties while recovering from lymphatic cancer, before carving out a career in the nineties painting a range of prestigious cultural and political figures.

In 2007, Yeo’s work took a new direction when the White House reneged on a commission for him to paint a portrait of President George W. Bush. He went ahead with the picture anyway, creating a collaged likeness out of pornographic magazines, including a sexual act reportedly illegal in the state of Texas. The image was shown by Lazarides in London, New York and Los Angeles, resulting in immediate worldwide notoriety.

Jonathan Yeo sees his collages as a wry comment on the gradual pornographisation of advertising and the mass media. He says the portraits are playful references to the warped attitudes toward sex and morality, while the nudes emphasise the dramatically contrasting portrayals of the female body.

Yeo’s ability to fuse the figurative and abstract is ever evident in his work and transfers effectively into printmaking. His evolving interests in portraiture can be clearly charted through the various media, from the collage period through the surgery series and up to more recent high profile portraiture. To find out more about Yeo visit

Lazarides Editions, a new gallery within London’s globally acclaimed Mondrian Hotel, will present a comprehensive schedule of bespoke exhibitions, artist collaborations and independent events in addition to a revolving curation of notable print editions.

The X Factor 2015 Live Tour - extra dates added

Event preview

DUE to demand, four extra dates have been added to The X Factor 2015 Live Tour:

Thursday, February 19 – Bournemouth International Centre
Tuesday, March 10, Cardiff Motorpoint Arena
Tuesday, March 17 – Brighton Centre
Saturday, March 21 – London The O2 – Matinee show with doors opening at 12:30pm.

Tickets for the extra dates go onsale Friday, October 24 at 9am (all other shows onsale now).

Previously Posted: You’ve taken the journey with them from the room to the arena, sat on the edge of your sofa during the dramatic six-seat challenge at bootcamp, travelled to judges’ houses and will be tuning in to the studio shows; now is your chance to see The X Factor live.

Kicking off on February 13, 2015, in Belfast, The X Factor 2015 Live Tour is a country wide arena tour which will travel to Aberdeen, Bournemouth, Birmingham, Brighton, Cardiff, Dublin, Glasgow, Leeds, Liverpool, London, Manchester, Newcastle, Nottingham and Sheffield with contestants performing classic songs and viewers’ favourites from the TV series.

Attended by over three million people, The X Factor Live Tour has been one of the most successful annual arena tours in the UK for the past ten years. Tickets go on sale Friday, October 10 at 9am – so don’t miss the opportunity to catch this year’s stars live in an arena near you.



Friday, February 13 – Belfast Odyssey Arena
Sunday, February 15 – 3 Arena Dublin
Wednesday, February 18 – Bournemouth BIC
Friday, February 20 – Manchester Arena
Sunday, February 22 – Nottingham Capital FM Arena
Thursday, February 26 – Newcastle Metro Arena
Friday, February 27 – Glasgow The SSE Hydro


Sunday, March 1 – Aberdeen GE Arena (AECC)
Thursday, March 5 – Sheffield Motorpoint Arena
Saturday, March 7 – Leeds First Direct Arena
Sunday, March 8 – Liverpool Echo Arena
Monday, March 9 – Cardiff Motorpoint Arena
Thursday, March 12 – London The SSE Arena, Wembley
Saturday, March 14 – Birmingham LG Arena
Monday, March 16 – Brighton Centre
Friday, March 20 – London The O2

Tickets: from £19.50 (subject to booking fee).

Tickets including limited availability Family Tickets (4 tickets maximum 2 adults) are available from the venue box offices, select ticket agents and online at or Alternatively, call 0844 811 0051 or 0844 826 2826.


Belfast: 0844 277 4455 or online at and Dublin: 0818 719 300 or online at

Fake Films and a Few Frames More - IMT Gallery

Exhibition preview

FAKE Films and a Few Frames More, an exhibition by the artist Laura Pawela of major video works never before seen in the UK, will be on display at IMT Gallery from November 21 to November 23, 2014.

The exhibition will include important early works from Untitled/Friedrich (2008) and Sugar (2009) through to more recent works such as a new single-screen version of her powerful video installation Songs of Insatiability (2011).

Also included will be Past Present Continuous (2010), a meditation on future of ruins of half-built follies in European cities exhibited as part of her solo exhibition at Propaganda Gallery, Warsaw.

Pawela recently exhibited in You Cannot Step into the Same River Twice at the Pump House Gallery, Battersea, Crimestory at the Centre of Contemporary Art, Toruń, and in Manchester Contemporary 2013.

Last year she was awarded the prestigious Silesian Voivodeship Artistic Award for achievements in the field of the visual art. She is currently working on the mockumentary Pink Horizon, with Tomasz Kolankiewicz, with support from the Polish Ministry of Culture.

Admission: Free.

Times: Friday to Sunday from 12 to 6pm or by appointment.

IMT Gallery, Unit 2/210 Cambridge Heath Road, London, E2 9NQ UK


Giovanni Battista Moroni - Royal Academy of Arts

Giovanni Battista Moroni. Isotta Brembati, c.1555. Oil on canvas, 160 x 115 cm.

Exhibition preview

AN EXHIBITION entitled Giovanni Battista Moroni will be on display in the Sackler Wing at the Royal Academy of Arts from October 25, 2014 to January 25, 2015.

This exhibition of outstanding works by Giovanni Battista Moroni (c.1520-1579), widely regarded as one of the greatest painters of the sixteenth century, will be the first comprehensive survey of his oeuvre to be held in the UK.

The Royal Academy of Arts has gathered a selection of over 40 works to present Moroni not only as a distinctive portraitist but also as a fine religious painter, a role for which he is lesser known. For the first time, a number of altarpieces from the churches of the Diocese of Bergamo, northern Italy, will be displayed alongside examples of Moroni’s portraiture, chronologically charting his rise to the summit of Italian sixteenth-century painting.

From works influenced by Lotto and Moroni’s master Moretto, to later commissions earned as the leading painter of Bergamo, Giovanni Battista Moroni will offer viewers the chance to discover Moroni as an unsung genius of the Renaissance.

Moroni captured the exact likeness, character and inner life of his sitters with rare penetrating insight. His portraiture, singular not only for its unprecedented realism but also its psychological depth and immediacy, was in many ways ahead of his time. Preempting the work of Caravaggio, Moroni came to be widely collected in the nineteenth century, including Portrait of a Lady (c.1556-60) and A Knight with a Jousting Helmet (c.1556), purchased by the National Gallery, London, in 1876.

Moroni’s portraits depict members of the society in which he lived, a cast of compelling Renaissance characters whose lives played out the feuds and family dramas of a pro-Spanish aristocracy living under the Republic of Venice in the mid-sixteenth century. With a selection to establish Moroni as one of the major specialists in the genre, his portraits reveal an enamel-like brightness, a clarity of design and a touch of realism which is in contrast to the adorned portraiture of his contemporary Titian.

Although Moroni’s name was linked to Bergamo, he also lived and worked in the nearby towns of Brescia, Trent and Albino. Working in a city without a leading court, Moroni’s sitters span a surprisingly wide social spectrum; his clientèle, unique at the time, comprised intellectuals, professionals, state officers and artisans. His famous portrait of The Tailor (1565-1570), one of the highlights of this exhibition, is the first known portrait of a man depicted whilst undertaking manual labour.

In capturing the world around him, Moroni’s works also offer a vivid record of the fashions and fortunes of Bergamo, revealing changes in costume as the colourful silks of the portraits of Isotta Brembati (c.1555) and Gian Gerolamo Grumelli (c.1560), yield to the more sombre styles of the Spanish fashion, seen in the portrait of Pietro Secco Suardo (1563).

Moroni’s religious paintings were completed in accordance with the principles of the Counter-Reformation and the Council of Trent (1545-1563). In these, a worshipper is often depicted as a witness to the sacred scene, as demonstrated by The Last Supper (c.1566-1569).

The pastoral visit of the religious reformer Cardinal Charles Borromeo to the Diocese of Bergamo in 1575 prompted the churches of the region to commission many new religious paintings, and Moroni as the leading painter produced several art works for public devotion, including the altarpiece painting Saint Gotthard Enthroned with Saint Lawrence and Saint Catherine of Alexandria (c.1575).

The selection of Moroni’s religious works will also include examples of paintings intended for private devotion, such as A Gentleman in Adoration before the Baptism of Christ (c.1555-1560).

The exhibition will be a definitive survey of Moroni’s output and includes many of his greatest masterpieces. It will reveal an artist who has perhaps gone unrecognised as an exceptional painter and a master of the Renaissance.

Giovanni Battista Moroni has been organised by the Royal Academy of Arts, London. The exhibition has been curated by Simone Facchinetti, Curator of the Museo Adriano Bernareggi in Bergamo, and Arturo Galansino, Curator at the Royal Academy of Arts.

The exhibition will be accompanied by a fully illustrated and scholarly catalogue with contributions from Simone Facchinetti and Arturo Galansino.

Giovanni Battista Moroni Gallery

Admission: £13.50 full price (including Gift Aid donation); concessions available; children under 16 and Friends of the RA go free. Tickets for are available daily at the RA or online at Group bookings: Groups of 10+ are asked to book in advance. Telephone 020 7300 8027 or email

Times: Daily from 10am – 6pm (last admission 5.30pm); Fridays until 10pm (last admission 9.30pm).

Royal Academy of Arts, Burlington House, Piccadilly, London, W1J 0BD

Tel: 020 7300 8000

Also at the Royal Academy of Arts: Anselm Kiefer (until December 14, 2014).

Celebrate a spooky Halloween half-term at Foyles

FOYLES will be hosting a series of spooky events for children this half-term (October 25 until November 2, 2014) in three of its London stores: Royal Festival Hall, Westfield White City and Westfield Stratford City.

Children of all ages are invited to take part in ghostly activities including fancy dress treasure hunts, storytelling and crafty activities, with the chance to win goody bags and special prizes.

Halloween Hide-and-Seek, with Hello Kitty – Saturday, October 25 to Sunday, November 2.

Hello Kitty is hiding in Foyles at Royal Festival Hall in her spookiest of Halloween costumes and the bookstore is seeking the help of some eerie explorers to find her. Ghosts, ghouls, and beasties of all ages are welcome to join in the Halloween fun and there will also be the chance to win some exclusive Hello Kitty Halloween books.

Venue: Royal Festival Hall, Belvedere Road, Southbank Centre, London, SE1 8XX.

Tickets: FREE, but it is best to reserve a place to avoid disappointment. To reserve email

Picture Book Party – Sunday, October 26 from 3pm to 4pm.

Foyles is having a party! Children are invited to go along and enjoy storytelling and crafty activities with Foyles’ children’s booksellers, while taking a peek at some beautiful new picture books from the lovely Walker Books. On top of all this fun activity, Foyles has got lots of exciting party goodies to share with everyone.

Venue: Westfield White City, Unit 2054, Westfield Shopping Centre, Wood Lane, London, White City, W12 7GE.

Tickets: FREE, but it is best to reserve a place to avoid disappointment. To reserve email

Halloween Treasure Hunt – Thursday, October 30 from 3pm to 4pm.

Foyles has arranged some spooky Halloween fun where children will be searching for lost witch hats. Ghosts, ghouls, and beasties of all ages are welcome to join and the best eerie explorer will win some special prizes.

Venue: Westfield Stratford City, Foyles 74-75 Lower Ground Floor, The Arcade, Westfield Stratford City, London, E20 1EH.

Tickets: FREE, but it is best to reserve a place to avoid disappointment. To reserve email

Halloween Hide-and-Seek, with Hello Kitty – Friday, October 31 from 3pm to 4pm.

Hello Kitty is hiding in Foyles at Westfield White City in her spookiest of Halloween costumes and the bookstore is seeking the help of some eerie explorers to find her. Ghosts, ghouls, and beasties of all ages are welcome to join in the Halloween fun and there will also be the chance to win some exclusive Hello Kitty Halloween books.

Venue: Westfield White City, Unit 2054, Westfield Shopping Centre, Wood Lane, London, White City, W12 7GE.

Tickets: FREE, but it is best to reserve a place to avoid disappointment. To reserve email

Dürer’s paper triumph: the arch of the Emperor Maximilian

The British Museum


THE BRITISH Museum’s current Asahi Shimbun Display is Dürer’s paper triumph: the arch of the Emperor Maximilian and can be seen in Room 3 until November 16, 2014.

The display celebrates one of the most ambitious prints ever to be completed in the Western world. Printed from a staggering 195 woodblocks on 36 sheets of paper and measuring over 3.5 meters in height, The Triumphal Arch is one of the largest prints ever produced.

Designed by the great German printmaker Albrecht Dürer (1471-1528) at the pinnacle of his career, the Arch took three years to produce. It was commissioned by the Holy Roman Emperor, Maximilian I (r. 1486–1519), to advertise his achievements.

As Holy Roman Emperor, Maximilian was the elected ruler of huge swathes of land from Austria to Spain, but he lacked the power and money to govern them effectively. The Triumphal Arch was commissioned and designed to promote the ambitions of his dynasty, the Habsburg family from Austria.

Maximilian was the first ruler to utilise the cheap but effective method of printmaking to promote his dynastic ambition. The triumphal arches of Roman antiquity, such as The Arch of Constantine in Rome, were famous across Europe throughout the medieval and Renaissance period.

Rather than rendered in sculpture or architecture, Maximilian’s Arch was produced on paper, a far cheaper option and one that could also be easily reproduced. It would have been coloured and used as wall decoration in the palaces and castles of Europe to emphasise the power and dynastic ambition of Maximilian and the Habsburgs.

The long inscription on Dürer’s Arch refers to a recreation of the ‘ancient triumphal arches of the Roman Emperors’, by which Maximilian sought to legitimise the imperial claim of his Habsburg dynasty.

The complex design of the Arch is a reflection of the close attention to detail that Maximilian took in its production. His virtues as a ruler are illustrated in details such as the ‘Portal of Honour and Might’, in the central section, which is flanked by smaller arches entitled ‘Praise’ and ‘Nobility’. Victorious military campaigns, major dynastic events and scenes from courtly life also appear.

Maximilian’s impressive genealogical lineage, which dates back to the first king of France Clovis I, is also depicted, while Maximilian’s personal emblem, a pomegranate, is shown throughout the design. This fruit has a hard skin enclosing many seeds, which represent the numerous lands unified by the Holy Roman Empire.

The production of the Arch involved many people. Dürer and his team drew the designs onto the woodblocks which then took three years to cut and print between 1515 and 1518.

Three small coats-of-arms at the front belong to those responsible for the interpretation of Maximilian’s ideas: the court historian, Johann Stabius devised the programme and wrote the inscriptions; Jörg Kolderer designed the overall appearance; and the third is that of Albrecht Dürer, who tactfully made his coat-of-arms smaller as befitted his lower social rank, but whose fame has far outstripped his collaborators.

Maximilian appointed Dürer (1471–1528) as his artistic advisor for the Triumphal Arch during a visit to Nuremberg in 1512, by which time Dürer was a painter and printmaker of considerable stature. Dürer specialised in the production of innovative, high woodcuts and engravings. By the time of his appointment by Maximilian I, the wide circulation of his prints had reached an international market and this commission was an imperial seal of approval.

This Asahi Shimbun Display shows an extremely rare complete set of prints of The Triumphal Arch alongside prints produced for Maximilian’s Triumphal Procession. This was a further ambitious project intended as a colossal frieze celebrating the Emperor’s achievements and aspirations which remained unfinished when he died in 1519.

Dürer’s contribution to the Procession is joined by two woodcuts by Hans Burgkmair, a contemporary of Dürer’s who contributed the majority of the designs for the Procession. Together with Dürer’s famous woodcut portrait of Maximilian, this display offers visitors the opportunity to appreciate the scale and complexity of these massive print projects within the context of the court of Maximilian and his patronage .

This display partly coincide with the exhibition, Germany: memories of a nation, which opens on October 16 in Room 35.

Admission: Free.

Related events:

Conserving Dürer’s paper triumph in Room 3 on Wednesday, October 29 (1.15pm to 2pm). Free, just drop in. A gallery talk by Joanna Kosek and Caroline Barry, British Museum.

Dürer’s organisation of printmaking in Room 3 on Wednesday, November 5 (1.15pm to 2pm). Free, just drop in. A gallery talk by Hilary Williams, British Museum.

Art and commerce: the prints of Albrecht Dürer in the BP Lecture Theatre on Monday, October 27 (1.30pm to 2.30pm). Free but booking is essential.

Albrecht Dürer (1471–1528) was in many ways the first artist to achieve international fame, and this was mainly through his use of the medium of the print. In this lecture, Giulia Bartrum, British Museum, will look at how he introduced sophisticated Renaissance ideas to his prints, and how his background and contacts enabled him to create a market in which to sell them.

Also at the British Museum: Ming: 50 years that changed China – in the new Sainsbury Exhibitions Gallery until January 5, 2015.

British Museum, Great Russell Street, London, WC1B 3DG


Economies of Experience - a unique theatrical conference

Event preview

ON THURSDAY, November 6, 2014, ZU-UK, BoSI and Napalm Games are presenting Economies of Experience at The Chainstore, Trinity Buoy Wharf.

Under a new name, the creators of the celebrated all-night performance, Hotel Medea, bring together some of the most creative thinkers from the arts, cultural strategy and digital gaming, to present an international programme of interactive debate on the future of digital, performative and game culture in privately owned public spaces.

Curated into three main discussions, this artist-led event will also be interspersed with a host of playful interventions, including a silent disco, a chance to have your photo taken with a gorilla and an opportunity to travel in a giant foot.

Stemming from a belief that arts, gaming and technology will become an essential component of future high streets and privately owned public spaces, the event’s panel discussions are designed to explore how artists can contribute to new entrepreneurial activity, to encourage community cohesion and engage audiences in new ways.

Confirmed organizations include Queen Elizabeth Olympic Park, Watershed Bristol, National Theatre Wales, Encounters Short-film and Animation Festival amongst others.

ZU-UK joint artistic director, Jorge Lopes Ramos, said: “Economies of Experience is a continuation of the our long-standing efforts to support international match-making, multi-disciplinary collaboration and extraordinary experiences for individual audience members: a meeting point for makers, innovators and programmers.”

ZU-UK is an established, award-winning independent theatre company based in East London and Rio de Janeiro. The company creates work designed to unite audiences in an increasingly globalised world through tailor-made experiences, rooted in rituals and rites. Since 2001, the company have collaborated across cultures and artistic disciplines, and are the creators of Humble Market – an immersive exhibition between UK and Brazil (2012) and Hotel Medea – an immersive over-night experience (2011).

Conference Information

Curated by Jorge Lopes Ramos and Persis Jade Maravala; in partnership with NPO Bureau of Silly Ideas (BoSI) and NAPALM STUDIO (Porto Alegre, Brazil).

PANEL 1: What can Zombies teach the arts?

Confirmed speakers include Verity McIntosh (Producer, Watershed/Pervasive Media Studio), Dan Eastmond (Director, Firestation Arts), James Wheale (Director, 2.8 Hours Later and creator Understory), Julian Sykes (Creative Director, Yellobrick) and Mariana Bandarra (Brazilian Transmedia Artist and Linguist).

PANEL 2: How can artists and gamers partner with Privately Owned Public Spaces (POPS) to engage audiences in new ways?

Confirmed speakers include Adriana Marques (Head of Arts, Queen Elizabeth Olympic Park), John McGrath (Artistic Director, National Theatre Wales), John Sackett (Director, Big Adventures), Professor Jon Dovey (Director of REACT, University of the West of England, Pervasive Media Studio) and Roger Hartley (Artistic Director, BoSI (Bureau of Silly Ideas).

PANEL 3: What can business model innovation look like for an increasingly digital and gaming culture?

Confirmed speakers include Giovanni Schiuma (Director of the Innovation Insights Hub, University of the Arts London), Debbi Lander (Former Creative Programmer, North West Cultural Olympiad, Artistic Director, Encounters Short-Film and Animation Festival), Carlos Idiart (Managing Director, Napalm Games Studio and Kayumo), Iuri Freilberger (Coordinator, RS CRIATIVO) and Caroline Bucker (Founder, D.Think Group).

Tickets: £10 (includes light lunch). To book, visit

Time: 11am – 5pm.

The Chainstore, Trinity Buoy Wharf, 64 Orchard Place, London, E14 0JW