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Robertaebasta was established in Milan in 1967 by Roberta Tagliavini, a creative and talented woman with an endless love for objets d’art and timeless design pieces. Her passion and eclectic taste are what defines Robertaebasta’s reputation as a point of reference for the Decorative Arts and Design of the 20th Century.

Located in a beautiful Georgian building on Pimlico Road, London’s Design mecca, Robertaebasta London was established in September 2017. The gallery sits in a unique context, where design and antiques blend in together. Nicknamed by Sotheby’s “the new kids on the block”, the gallery’s ethos perfectly embraces the cosmopolitan nature of the city.

The view includes a talk by the General Manager Mattia Martinelli followed by a drinks reception

TO REGISTER (please read carefully since the procedure is different than usual)

To participate to this event we are not asking for a formal charge but a kind donation instead.

Although donations are at your discretion, we strongly encourage to give £10 or above. To register you do not need to click the BOOK NOW button, please fill in the “DONATE” form only whether you wish to donate or not (insert £0 in the “Amount” field if you do not wish to donate).

DISCLAIMER: By participating in a BIS webinar or live event you automatically agree to authorise recording of audio and visual content during the event and consent to subsequent use of the recording in the public domain. This recording may include questions, comments and poll responses provided by you during the event in addition to your name, voice, image or likeness. This recording will be made available after the conclusion of the live event as part of the BIS webinar archives, and will remain available indefinitely. If you do not wish to consent to the recording, please do not join the event or contact us to discuss your concerns.

Registration Details (read carefully, please)

For Members: Traditionally, we offer our members free attendance at the Leconfield Lecture, but we would be grateful if you can consider making a donation by clicking HERE. If you choose not to donate, registration is still required; please send us an email to notify your attendance or fill in the “Book Now” form at the bottom of the page.
For Non-Members: we kindly request to register by making a minimum donation of £15. To register as a non-member, please fill in the Registration/Donation form below (not the Book Now, please).

The Salvator is intensely subject to the “Mona Lisa Effect”. That is to say, the image is so hedged around by stories, legends and misconceptions that it is almost impossible to look at it for what it actually is as a functioning visual image in its cultural context. It took Mona Lisa five centuries to reach this impasse. The Salvator has achieved this state in about a decade, courtesy of modern media, the internet, a hunger for sensation, the self-promotional bombast of the art market, and the politics of big finance and collecting. My purpose will be to reinstate a measured analysis of how the painting works as a devotional image in overall effect and in incredibly subtle details that rework how the genre of the image of a frontal Christ makes it effect, formally, iconographically and theologically (yes, theologically). This will take us on a journey from painting technique and Islamic optics to mediaeval cosmology and what Leonardo called the “sacred books” . Unless something momentous happens, I will not be reporting where it is.

Martin Kemp is Emeritus Professor in the History of Art at Trinity College. Oxford University. He was trained in Natural Sciences and Art History at Cambridge University and the Courtauld Institute, London. His books include, The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat (Yale), and The Human Animal in Western Art and Science (Chicago). He has published and broadcast extensively on Leonardo da Vinci, including the prize-winning Leonardo da Vinci. The marvellous works of nature and man, and Leonardo (both Oxford). His Christ to Coke: How Image Becomes Icon (Oxford) looks at 11 representatives of types of icons across a wide range of public imagery. He wrote regularly for Nature, his essays for which have been published as Visualizations and developed in Seen and Unseen(both Oxford) in which his concept of “structural intuitions” is explored. More recently he has published Art in History(Profile Books and Structural Intuitions: Seeing Shapes in Art and Science (Virginia). New books are Heavenly Visions: Dante and the Art of Divine Light’, and Hockney’s Eye, a volume of essays for the 2022 exhibition in Cambridge. He has been a Trustee of the National Galleries of Scotland, The Victoria and Albert Museum and British Museum. He has curated and co-curated a series of exhibitions on Leonardo and other themes, including Spectacular Bodies at the Hayward Gallery in London, Leonardo da Vinci: Experience, Experiment, Design at the Victoria and Albert Museum in 2006 and Seduced: Sex and Art from Antiquity to Now, Barbican Art Gallery London, 2007. He is now full-time speaking, writing and broadcasting.

DISCLAIMER:
By participating in a BIS webinar or live event you automatically agree to authorise photo and/or recording of audio and visual content during the event and consent to subsequent use of the images, recordings in the public domain. The recording may include questions, comments and poll responses provided by you during the event in addition to your name, voice, image or likeness. The recording as well as images will be made available after the conclusion of the live event as part of the BIS webinar archives, and will remain available indefinitely. If you do not wish to consent to the recording or photo shooting, please do not join the live event or contact us to discuss your concerns.

When we are in Italy, we miss London, when we are in London we miss Italy. Luckily, our two countries have become more similar in recent times: with five prime ministers in the last four years, the United Kingdom has taken some of the perennial Italian instability; and with a very serious, pragmatic banker as Prime Minister for a couple of years, for a while Italy has looked more English than England. If we add that many Brits have a passion for all things Italian since the time of lord Byron, and that many Italians proudly call themselves “anglophiles”, we can say that not even Brexit will be able to separate us: in fact, at least 350 thousand Italians continue to live in England, the second largest European community in this country. Still, we remain two profoundly different people. Here are three things that we Italians should learn from the Brits. And three things that perhaps the Brits should learn from us. Come to hear what they are.

Marco Varvello, UK Bureau Chief for RAI Italian Radio and Television. He holds a degree in Philosophy and started as a journalist in Milan at the daily newspapers ‘La Notte’ and ‘Il Giornale’, directed by Indro Montanelli.  Working for RAI since 1987, Marco Varvello anchored the news for TG1 and was curator and editor of “Il Fatto” by Enzo Biagi. He was the RAI News correspondent in Germany, Berlin (2006-2014), London (1997-2005) and special correspondent in the US. He is now back to London as UK Bureau Chief since 2014. He has been awarded the “London Foreign Press Award” by the Foreign Press Association for the best programme in a foreign language about the UK. He wrote the novel ‘Dimentica le Mille e una Notte’, published by Rizzoli, which won the Literary award Ado-Lisant di Lille-Bruxelles. His most recent books are “Brexit Blues” (Mondadori), “Londra Anni Venti” (Bompiani) and “Passo falso” (RaiLibri). Marco Varvello is a member of the Italian-German Cultural Centre of Villa Vigoni.

Enrico Franceschini, born in Bologna in 1956, is a journalist and writer who has traveled the world for more than forty years as a foreign correspondent for the Italian daily “La Repubblica”, working in New York, Washington, Moscow, Jerusalem and London, where he is now living. He is the author of twenty-five books of fiction and non fiction, among which the recents “Londra Italia “(2016), “A Londra con Sherlock Holmes” (2020), “La fine dell’impero – ultimo viaggio in Urss (2021), “Tutti per uno – 33 storie per innamorarsi dell’Europa” (2022), “Elisabetta II, l’ultima grande regina” (2022) and a trilogy of thrillers, “Bassa marea” (2019), “Ferragosto” (2021), “Un’estate a Borgomarina” (2022). His last book is “Come girare il mondo gratis – un giornalista con la valigia” (2023), a memoir of the places and people he met in his long career. In 1993 he won Premiolino, one of the oldest and journalistic prizes in Italy, for his reportage on the coup in Russia. He has interviewed presidents and dictators, the first man on the Moon and the fastest man on Earth, Hollywwod movie stars and great novelists, he has covered wars, Olympic games and earthquakes, and he has been invited to dinner by Queen Elizabeth in Buckingham Palace.

PLEASE NOTE: The following authors’ books are available to order and can be collected the day of the event.

Enrico Franceschini “Come girare il mondo gratis” and “Un’estate a Borgomarina” (in Italian).
Marco Varvello “Passo Falso” (in Italian).

To order your copy send an email to Ornella Tarantola at ornella101@hotmail.com not later than 20th September.

DISCLAIMER: By participating in a BIS webinar or live event you automatically agree to authorise recording of audio and visual content during the event and consent to subsequent use of the recording in the public domain. This recording may include questions, comments and poll responses provided by you during the event in addition to your name, voice, image or likeness. This recording will be made available after the conclusion of the live event as part of the BIS webinar archives, and will remain available indefinitely. If you do not wish to consent to the recording, please do not join the event or contact us to discuss your concerns.

Participation in the AGM is free of charge but registration is required. Please register by clicking the “book now” button.

The meeting will last approximately 20 minutes and it will be followed at 7 pm by the Lecture “Britaly: How the British See the Italians and Viceversa”.

For this lecture you need to register separately by heading the relevant event page.

After a brief introducution to Giulio Romano’s artistic production in Mantua, this talk will focus on his practice as a designer of objects for the Gonzaga in Mantua. Building on his antiquarian knowledge and on Raphael’s design drawings, Giulio Romano used this field of his activity as a springboard for creative license. In most of his inventions for objects he manipulated natural elements to devise hybrid forms that could be read at different levels: as manifestations of his power of invention, as witty conceits stimulating conversation, and as celebrative references to his patrons. In this way, his pieces of silverware can be seen as animating the table and turning it into a space for the communication of intellectual, cultural and political contents. As designer of buildings, frescoes, stage sets, and even costumes, through his design of domestic objects Giulio Romano aimed at creating a “total work of art” which became a paradigm of civility and an example to follow for the European courts of the sixteenth century.

Guido Rebecchini is Reader in Sixteenth-Century Southern European Art at The Courtauld. His research focuses on sixteenth-century Italy, and has published on the arts at Mantua, Florence and Rome, including patronage, collecting, and artistic practices. His last book, The Rome of Paul III: Art, Ritual and Urban Development (Harvey Miller), was published in 2020.

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