CELE

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Julian BicknellPier Carlo Bontempi Julian BicknellJane CorsellisAlexander CreswellPaul Day James Hart Dyke Caterina EmoAndrew Ingamells Ben JohnsonPeter KellyCarl Laubin Christian MarshLiam O’ConnorLeonard Porter Francisco RangelTimothy RichardsJohn Simpson George Saumarez SmithGeorge Szirtes Francis Terry Quinlan Terry Clarissa Upchurch David WatkinSteve WhiteheadAntonia Williams

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Plus One Gallery89-91 Pimlico Road, London, SW1W 8PH Tel: 020 7730 7656 Fax: 020 7730 7664

info@plusonegallery.com www.plusonegallery.com

C E L E B R AT I N G PA L L A D I OCatalogue published for the exhibition at Plus One Gallery, November 2008

Ben JohnsonPeter KellyCarl Laubin Christian MarshLiam O’ConnorLeonard Porter Francisco RangelTimothy RichardsJohn Simpson

George Saumarez SmithGeorge Szirtes Francis Terry Quinlan Terry Clarissa Upchurch David WatkinSteve WhiteheadAntonia Williams

Julian BicknellPier Carlo Bontempi Julian BicknellJane CorsellisAlexander CreswellPaul Day James Hart Dyke Caterina EmoAndrew Ingamells

C ATA L O G U E G E N E R O U S LY S P O N S O R E D B YS I R A N T H O N Y B A M F O R D

1. I Quattro Libri dell’Architettura (1570)

This exhibition celebrates the 500th anniversary of the birthof Andrea Palladio (1508-80) who has been described asthe most imitated architect in history. For example, some ofthe paintings of his work exhibited here belong to thetradition of capriccio paintings of Palladian and neo-Palladian buildings by Canaletto and Visentini ineighteenth-century Venice. Palladio has been imitated notonly because of the quantity and beauty of his buildings butbecause he published I Quattro Libri dell’Architettura (1570)partly to facilitate imitation of his designs. By the sixteenthcentury, printed books had become a hugely influentialmethod of spreading new ideas. Palladio chose to show hisdesigns in orthogonal form as plans, sections, andelevations, partly because it is easier to take precisedimensions from these than from the kind of perspectiveviews which had been included in one of his models,Serlio’s Architettura (1537-75). Palladio did, however, addshading to indicate the important projections and recessionswhich can be lost in orthogonal elevations. His platesimprove and enlarge his buildings, the status of which hefurther raised by putting illustrations of them alongside thefamous monuments of antiquity, suggesting that they areworthy of parallel esteem.

Of his four books on architecture, a publication whichwas twenty years in preparation, the first two are ondomestic buildings and the second two on public andmonumental buildings. A further two books on triumphalarches, baths, amphitheatres, aqueducts, fortifications, andports, were intended but never completed. His Quattro Libriis neither a rewriting of Vitruvius’s De Architectura, the onlyarchitectural treatise to survive from antiquity, nor a work oftheory like Alberti’s De re aedificatoria (1486). Alberti’s bookwas in Latin and unillustrated, whereas Palladio’s was in thevernacular, with lavish illustrations which were moreharmoniously related to the text than in any previouspublication. It was also a “no nonsense” work with virtually

nothing on topics such as the anthropomorphic origins ofcolumns or harmonic proportions, for Palladio relied largelyon his own eye, like an architect such as Lutyens.

The motto, Regina Virtus “Virtue the Queen”,accompanying a depiction of her as mother of the arts onthe title-page of each volume of the Quattro Libri, recalledthat virtue in antiquity referred to the worthy actionsundertaken by the individual for the benefit andenhancement of civic life. It was thus appropriate that afterestablishing his reputation in Vicenza, Palladio becamepreoccupied with the renewal of the image of another city,Venice, unique among major Italian cities in not having anancient Roman past. While we think of his work in Vicenzaas primarily secular, notably private palazzi and publicbuildings, it was to be largely religious in Venice where hefused pagan and Christian elements in churches withdomes and antique temple-front façades of marble.

2. Palladio in Venice

Palladio hailed Sansovino’s St Mark’s Library, Venice (1537),as “the richest and most ornate building made since theancients.” Though seeing Sansovino as the heir to thearchitecture of ancient Rome, Palladio was aware that thishad not yet been fully revived in the Venice of his day. Itwas significantly in 1570, the year of Sansovino’s death,that Palladio moved from Vicenza to Venice where heaimed to reinvent the grandeur of the classical past.Though he is generally known today in Venice for threechurches, these represented only a fraction of what he andhis supporters hoped to achieve. He was, however,responsible for convents, engineering advice, designs fortriumphal processions, and rebuilding the Doge’s Palace.Palladio’s S. Francesco della Vigna (c.1562), Venice, wherehe displaced Sansovino, might be called a commemorativefaçade with its epigraphs in four large panels and itsemphatic inscription in the frieze. This was an ancientRoman practice, as can be seen in the frieze of the partially

“IN ARCHITECTURE PALLADIO IS THE GAME!!” (Edwin Lutyens, 1903)David Watkin

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surviving Temple of Saturn in the Forum, illustrated byPalladio in Quattro Libri where he misidentified it as theTemple of Concord. The practice was recommended andpractised by Alberti but was a novelty in Venetian churchfaçades, though Palladio’s Villa Barbaro at Maser for theBarbaro brothers featured a prominent inscription in itsfrieze.

We know that Palladio was especially proud of hisconvent for the Lateran Canons of Sta Maria della Carità,Venice (1560), of which a range survives in the nineteenth-century Accademia museum, because it is the only builtVenetian project which he illustrated in the Quattro Libri. Itis an attempt to recreate the ancient Roman house asdescribed by Vitruvius whom Palladio echoed in the QuattroLibri when he stressed that grand houses in a republicneeded “loggias and spacious ornate halls” where clientscould wait and walk about. At the Carità convent he thuscreated an atrium/tablinium/cloister complex which GiorgioVasari perceptively hailed as Palladio’s “marvellous and mostnotable” building in his celebrated Lives of the Artists(1550, enlarged ed., 1568).

3. Two guide books to Rome by Palladio

Everyone interested in the history of architecture is familiarwith Palladio’s Quattro Libri, but a rather smaller numberwill have read his two popular guidebooks of 1554 to theantiquities, churches, and saints of Rome: The Antiquities ofRome … Succinctly Compiled from Authors both Ancientand Modern, and Description of the Churches, Stations ofthe Cross, Indulgences, and Relics of the Bodies of Saints, inthe City of Rome. If little read recently, his Antiquities ofRome was a popular gazetteer which had run to over thirtyeditions by the 1750s. Giacomo Leoni appended an Englishtranslation of it, with some omissions, to the third edition in1742 of his translation of Palladio’s Quattro Libri. Palladiowas not only concerned with the famous ancientmonuments in his Antiquities of Rome, but with priesthoodand ancient rituals of birth, marriage, and death, militaryvictories and losses.

In his Description of the Churches, he similarly did notpraise contemporary church architecture or architects, for

his focus is on myths and legends, martyrdom, magic, andfabulous events, liturgical art, relics, and icons.Astonishingly, he can thus describe Bramante’s earlyRenaissance masterpieces in Rome, his celebrated Tempiettoof 1502 at S. Pietro in Montorio, and the Belvedere Court atthe Vatican, of 1505, without mentioning Bramante’sname. However, in the different context of the QuattroLibri, Palladio made clear how much he venerated the iconicnature of the Tempietto by paying it the remarkable tributeof including it among antique buildings in Book IV notamong the modern buildings in Book II. In this he followedthe example of Serlio who had also admired this circular,colonnaded chapel, modelled on ancient Roman temples.Palladio, indeed, hailed Bramante as “the first to makeknown that good and beautiful architecture which hadbeen hidden from the time of the ancients till now.”

Palladio’s two small guide books of 1554 on the ancientmonuments and on the churches of Rome formed part of asingle Christian vision, emphasising the compatibility of theancient pagan city with the modern Christian one. At thesame time, the credulous and obsessive account ofindulgences and miracle-working relics which forms thegreater part of the Description of the Churches, is infascinating contrast to the image of Palladio as the rationalmaster of mathematical proportion which was built up byRudolf Wittkower in his seminal book, ArchitecturalPrinciples in the Age of Humanism (1949, rev. ed. 1962).The pious practices which Palladio recorded, including asixteen-page catalogue of the indulgences which wouldenable the faithful to gain periods of remittance frompurgatory ranging from 3,000 to 28,000 years, waspublished nearly half a century after Luther had nailed hisTheses condemning Indulgences to the door of the castlechurch of All Saints at Wittenberg.

4. Palladio’s influence from Inigo Jones to Canaletto

Palladio has had a continuous influence on the entirehistory of western architecture from his death to thepresent day. England was the first nation outside Italy toembrace the Vitruvian Palladian architecture illustrated inthe Quattro Libri. The key figure in this movement was Inigo

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Jones (1573-1653) who travelled in Italy with a copy of thisbook on which he made extensive annotations. He receivedextensive patronage from the Stuart courts of James I andCharles I between 1616 and 1640, of which the principalsurviving monument is his Banqueting House, Whitehall(1619-22), inspired by close study of Palladio’s palazzi inVicenza. Jones owned and annotated throughout his careerthe commentary on and translation of Vitruvius’s DeArchitectura by Palladio’s friend and patron, the Aristotelianscholar, Daniele Barbaro. Palladio provided the illustrationsto this book which was published in Venice in 1567.

This style was to a great extent replaced by the Baroquelanguage of Wren, Vanbrugh, and Hawksmoor, which wasin turn overthrown by a second Palladian Revival. This waspromoted by the Earl of Burlington and Colin Campbell inVitruvius Britannicus, (3 vols, 1715-25), and by thetranslation of Quattro Libri published in 1715-20 as TheArchitecture of A. Palladio by the Venetian architect,Giacomo Leoni, who had settled in England in 1713. In hisIntroduction to the first volume of Vitruvius Britannicus,Campbell praised “those Restorers of architecture, whichthe Fifteenth and Sixteenth Centuries produced in Italy ...who have greatly help’d to raise this Noble Art from theRuins of Barbarity.” The architects he cited includedSansovino, Michelangelo, and Giulio Romano, but hepraised “above all, the great Palladio, who has exceeded allthat were gone before him.” Claiming that Palladio’s workswill rival most of the Ancients”, he went on to lament thatat the present day, “the Italians can no more now relish theAntique Simplicity, but are entirely employed in capriciousOrnaments, which must at last end in the Gothick.”

William Kent, who worked on the designs for that greatPalladian house, Holkham Hall, Norfolk (1734-65), withCoke, who commissioned it, and with Lord Burlington, hadearlier published at the latter’s request The Designs of InigoJones ... for Publick and Private Buildings .. With SomeAdditional Designs (2 vols, 1727). The ”additional designs”were by Palladio, Burlington, and Kent himself, but it is hardto think of a precedent for an architect to take so muchtrouble to publish the designs of another architects as Kentdid with Jones. But Kent claimed of Palladio that “a great aRival as that Restorer of Architecture was to the Antients,

his Disciple [Inigo Jones] was in no respect inferior to him.”As evidence of “the Superiority of those two Great Mastersto all others”, Kent followed his illustrations of Inigo Jones’sportico at Old St Paul’s Cathedral with Palladio’s church ofS. Giorgio Maggiore, engraved from drawings by Palladio inthe collection of Lord Burlington.

In order to recreate “Antique Simplicity”, the sources onwhich Lord Burlington drew in his designs for ChiswickHouse (c.1725-9) included Palladio’s Villa Rotonda, while inhis designs for York Assembly Rooms (1731-2), Burlingtonwas inspired by Palladio’s reconstructions in Quattro Libri ofboth the ancient Roman basilica and also of what Vitruviushad described as the Egyptian Hall of the Romans. For theexterior of the Assembly Rooms he took inspiration fromthe drawings of the Roman baths by Palladio which heacquired in Italy in 1719 and published as FabbricheAntiche Designate da Andrea Palladio Vicentino, a bookdated 1730 but which probably did not appear till c.1740.Palladio had hoped to provide his S. Giorgio Maggiore inVenice with a giant, free-standing, columnar portico. Hefailed in this, but James Gibbs managed to achieve such aportico at St Martin-in-the-Fields (1722-6), a church whichhad a huge influence in both Britain and its Americancolonies. Similarly, Palladio’s project for the Rialto bridgewith a colonnaded loggia which he claimed was inspired bythe ancient Roman Pons Aelius in Rome, was never built inVenice but was echoed in as many as five Palladian bridgesbuilt in England between the 1730s and 70s at WiltonHouse, Stowe, Prior Park, Hagley Hall, and AmesburyAbbey.

Attention now shifts back to Venice where Joseph Smith(1673/4-1770), British Consul from 1744-60, and thepainter-etcher-architect Antonio Visentini (1688-1782), aleading exponent of the capriccio genre, promoted aPalladian Revival of their own. This involved a delectablecombination of painting and architecture in order topromote their belief that the designs and theories ofPalladio were superior to those of the Baroque architectswho succeeded him. Smith, a merchant banker, art patron,and book collector, who owned copies of VitruviusBritannicus and of Kent’s Designs of Inigo Jones (1727), setup his own publishing firm in c.1730 where he published

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Tommaso Temanza’s Vita di Andrea Palladio (Venice 1762),as well as a facsimile of the first edition of Palladio’s QuattroLibri in 1768.

Even more significantly from the point of view of thepresent exhibition, Smith was for many years the agent ofCanaletto whom he commissioned in 1743-44 to paint aseries of views of Venetian monuments, including capricciopaintings of works by Palladio. These were among aroundfive hundred paintings which George III acquired fromSmith in 1762. The five Palladian capricci which survive inthe Royal Collection depict S. Maria Maggiore, S. Francescodella Vigna, the convent of the Lateran Canons at S. Mariadella Carità, S. Pietro in Castello, built in the 1590s afterPalladio’s designs of 1558, and his project for the RialtoBridge.

Joseph Smith also commissioned Antonio Visentini to apaint a series of eleven capricci in 1746 of neo-Palladianbuildings in England, probably intended for his nowdemolished villa at Mogliano near Treviso on the Venetianmainland, which Visentini had remodelled for him in 1731.The landscapes and figures in these paintings were providedby Francesco Zuccarelli, while Visentini used engravingssuch as those in Vitruvius Britannicus as a principal source.The series included a now lost painting of the PalladianBridge at Wilton as well as two surviving depictions ofprogrammatic Palladian buildings by Colin Campbell, bothtransposed to mountainous landscape settings: BurlingtonHouse, Piccadilly (1718), built for Lord Burlington withPalladio’s Palazzo Iseppo Porto in Vicenza as a model; andMereworth Castle, Kent, (1720), directly inspired byPalladio’s Villa Rotonda. In Vitruvius Britannicus (vol. III,1725), Campbell explained with false modesty ofMereworth, “I shall not pretend that I have made anyImprovements in this Plan from that of Palladio, for SigniorAlmerico”, but then went on to list them in detail.Beginning by claiming that “The new Plan is much enlargedand the Ground Story intirely different,” he continued byexplaining that his design admits more light into the interiorand has greater variety of room sizes; the sides of hisporticoes are open, whereas Palladio’s are enclosed bywalls; and the ornamental details are in Portland stone, notstucco like Palladio’s.

Smith commissioned to Visentini to build a neo-Palladianfaçade in 1751 for his residence on the Grand Canal,Palazzo Mangilli-Valmarana, which still survives. Visentiniwent on to influence English architecture more directly bytraining the young James Wyatt in 1762-3 during his six-year stay in Italy. Wyatt became a prolific architect whosucceeded William Chambers as the favourite architect ofGeorge III.

A capriccio by Canaletto of Palladio’s Rialto bridge design,set between his Basilica and Palazzo Chiericati in Vicenza,was commissioned by Count Francesco Algarotti, artisticadviser to Frederick the Great at Potsdam. Architecturally apassionate anglophile, Frederick the Great was a Palladianenthusiast who acquired copies of Vitruvius Britannicus andof Leoni’s and Algarotti’s translations of Palladio. Algarottiwrote to Lord Burlington, describing him as “the restorer oftrue architecture in this century,” and asking him to send toFrederick the Great his own designs. Frederick the Greatcommissioned the Berlin Opera House in 1740, inspired byColin Campbell’s Wanstead House, Essex (c.1714-20),which is still a prominent monument in Unter den Linden inthe middle of Berlin. In 1753-55, he also turned Potsdamfrom a garrison town into a kind of architectural museumwith its streets lined with versions of Palladio’s town palacesin Vicenza, largely based on the plates in the Quattro Libri.Sadly, these handsome buildings were destroyed bybombing as late as 1945.

5. Palladio’s Influence from Ledoux to Cockerell

France in the eighteenth century was less influenced thanEngland by Palladio, for it had possessed a stronger nationaland indigenous classical tradition from Philibert de l’Orme(1514-70), through François Mansart (1598-1666) to Ange-Jacques Gabriel (1698-1782). However, the greatest Frenchneo-classical architect, Claude-Nicolas Ledoux (1736-1806),was deeply indebted to Palladio, though he is oftenidentified with “Revolutionary” architecture and socialreform in his visionary designs for the Ideal Town of Chaux.But he was impressed by the element of pure form in thedesigns by Palladio who had exploited a limited repertoireof classical motifs, repeated in geometrical schemes.

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The Palladian revival of the seventeenth and eighteenthcenturies in England continued to influence the work ofneo-classical architects such as Sir William Chambers (1723-96), Robert Adam (1728-92), and John Nash (1752-1835).The great nineteenth-century archaeologist and architect,C.R. Cockerell (1788-1863), discovered a richness of texturein Palladio’s late work, such as the Loggia del Capitaniato,Vicenza (1751-4), which had been ignored by Campbelland Burlington. Cockerell wrote from Venice in 1816 to hisfather, also an architect, that “Palladio is doubtless thegreatest modern architect. I have found in his work many ofthe leading principles of ancient architecture, you willhowever smile when I say that still I am persuaded that theGreek remains may leave one a surer road, & that still he isdeficient in some of the most important of their rules.”

Palladio’s late Mannerist phase, as in his Loggia delCapitaniato, had not appealed to the BurlingtonianPalladians, because different ages find in Palladio what theywant to find: for Inigo Jones and Burlington it was purity,for Cockerell richness. The Loggia del Capitaniato came toolate in Palladio’s career for him to have included it in theQuattro Libri, but Cockerell was evidently bowled over by itwhen he visited it. It led him to write of “the gradation oforders or of similar parts in different dimensions whichPalladio constantly practised in all his works; the interlacing,as it were, of orders of different dimensions so as to givescale and composition.” Finding the complex interweavingof layers at the Loggia del Capitaniato superior to that atMichelangelo’s Capitoline Palaces, Cockerell took theLoggia as the basis of many of his seminal works, from hisWestminster Life and British Fire Office in the Strand of1831 to his unexecuted project of 1840 for the RoyalExchange.

Cockerell lost the competition for the Royal Exchange toSir William Tite, FSA (1798-1873), an infinitely lessdistinguished architect but who painted ‘A Composition ofthe Works of Inigo Jones’ (1854), clearly influenced byCockerell’s painting, ‘Tribute to the Memory of SirChristopher Wren’ (1838). Tite’s fine capriccio, now in theRIBA Drawings Collection, is virtually unknown todaythough it is one of the finest records of the many buildingsattributed to Jones, often incorrectly. Another neglected

Victorian contribution to the art of capriccio painting is‘Selections from Palladio’ by the architect Arthur Ashpitel,FSA (1807-69). He exhibited this fascinating assembly ofPalladio’s buildings and designs, set in a watery landscape,at the Royal Academy in 1850. Two further similar works byhim, the elaborate ‘Restoration of Ancient Rome’ and‘Rome as it is’ were exhibited there in 1858 and 1859respectively.

6. Palladio’s Influence from Lutyens to the Present day

Moving into the twentieth century, we find Lutyens writingin 1903 to Herbert Baker, the architect with whom he wasto work at New Delhi, “In architecture Palladio is thegame!! It is so big few appreciate it now & it requiresconsiderable training to value and realize it … To theaverage man it is dry bones but under the mind of a Wren itglows & the stiff material becomes as plaster clay.” Aboutten years later, when designing his superb Durbar Hall, theViceroy’s Throne Room, at Viceroy’s House, New Delhi, hedrew on the Pantheon and on Palladio’s lavishly illustratedrecord of it the Quattro Libri. Enthralled by the Pantheon, ofwhich he exclaimed, “it is shaped like the world”, Palladioexplained that “because all the elements of this temple, areexceptional, l have included ten woodcuts so that all ofthem can be seen.”

Few twentieth - and twenty-first century architects canhave studied Palladio with more attention than QuinlanTerry. Nonetheless, in attempting to follow Palladio, he findsit necessary to return to the roots and start from scratchbecause, as he notes, “if you want to design a door in thePalladian manner you discover that in the Quattro Libri hegives only the proportions and profiles of the mouldings. Noguidance is given on size, scale, materials, or methods ofconstruction.” However, he praises Palladio for havingprovided plans on a simple noughts and crosses dispositionwith no wasteful corridors, a universally acceptabledomestic pattern capable of adaptation in differentcircumstances for the last four and a half centuries since itsforms were not determined by technology. Terry has usedthis in buildings such as his Ionic Villa, Regent’s Park (1988-90).

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He has also studied the richly moulded wall masses ofPalladio’s sculpturally decorated Villa Barbaro at Maser,Loggia del Capitaniato and Palazzo Valmarana at Vicenza,for his Corinthian Villa, Regent’s Park (1991). In this villa healso followed Palladio’s example by using as a source therich details of the so-called “Temple of Clitumnus” and theEarly Christian Baptistery of Constantine at St John Lateran,both of which had been illustrated in the Quattro Libri. Thepowerful centrepiece of Terry’s commercial buildings at nos20-36, Baker Street, London (2000-02), derived theirengaged Ionic order rising through two storeys fromPalladio’s Palazzo da Porta Festa, Vicenza. In the diningroom of a house in Knightsbridge in 2000, he adopteddirectly the bold Doric order divided by arches as illustratedin the Quattro Libri.

Terry’s Latourette Farm, New Jersey, features the quadrantarms which were often designed by Palladio but onlyexecuted by him at Villa Badoer. The Composite order ofTerry’s portico at Ferne Park, Dorset (2000-02), is inspired byPalladio’s at S. Giorgio Maggiore, Venice, while in theapproach to the portico up a flight of steps flanked by highcheek walls, Terry followed Palladio’s example at the VillaRotonda, itself based on the arrangement at ancient Romantemples such as that of Antoninus and Faustina in theForum, illustrated in the Quattro Libri.

Finally, in two urban buildings for riverside sites Terry haschosen forms appropriately echoing projects for Venice byPalladio. At Richmond Riverside (1984-87), the buildingdesigned as a restaurant is inspired by the Carità cloisterdesigned by Palladio, illustrated in the Quattro Libri, and thesubject of one of Visentini’s capriccio paintings. A similarnote of fantasy is struck again in his unexecuted designs of2004 for Bedford Riverside, a commercial developmentwhich included a version of Palladio’s Rialto bridge crossingthe Great Ouse, as shown in a beautiful capriccio drawingby his son and partner, Francis Terry.

7. The Current Exhibition and Palladio

Twenty-four artists and architects celebrate Palladio in thisexhibition which originated in the mind of Carl Laubin who,knowing that official exhibitions celebrating the five-

hundred anniversary of the birth of Palladio wouldconcentrate on making a through historical record his work,sought to create a different kind of exhibition which wouldtake a contemporary view of his legacy. The exhibition thusincludes work by painters, an etcher, a poet, a sculptor, along-term resident of one of Palladio’s finest villas, anarchitectural historian, and contemporary architects todemonstrate Palladio’s continuing influence on currentarchitecture. The inclusion of work by architects is arelatively unheard of thing in a commercial gallery inLondon and Plus One deserve much credit for venturinginto this unusual territory.

The aim of the exhibition has been to attract peopleworking in as many different disciplines as possible,including a wide variety of media and styles. A principalreason for this choice was that it was hoped it would reflectthe wide interests of Palladio’s circle of humanist patronswho included his great benefactor from his late ‘twenties,Count Giangiorgio Trissino. A polymath with a humanisttraining, a poet, playwright, amateur architect, and friendof Raphael, Trissino admitted Palladio to the remarkablePlatonic academy which he established at the Villa Trissinonear Vicenza and it was also he who gave the youngarchitect his name, Palladio, derived from Pallas, one of thenames of the Greek goddess of Wisdom. Young men, manyof noble birth, lived in Trissino’s Academy where theypartook in discussions on literary and philosophical topics,made music and undertook physical exercise. Suchacademies existed in most Italian cities of any significancefrom the mid fifteenth century.

The contributing artists may be said to fall into severalgroups. There are painters who specialise in architecturalsubjects like Carl Laubin, Alexander Creswell, and BenJohnson; others who are interested in urban landscapes likeSteve Whitehead and Christian Marsh; and another groupwho work in a wider range of subject matter but still have astrong interest in depicting architecture like Jane Corsellis,James Hart Dyke, Francisco Rangel, Peter Kelly, LeonardPorter, and Antonia Williams. There are printmaker/painterslike Andrew Ingamells and Clarissa Upchurch who have astrong interest in draughtsmanship which draws them toarchitecture. There is a poet, George Szirtes, with an

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involvement in architecture as a setting for human drama;and a sculptor, Paul Day, who has produced a work thatostensibly is not related to Palladio but is in fact so similar inintention to the stage sets of the Teatro Olimpico that it sitsvery happily with the other works in the exhibition.

Carl Laubin has long specialised in views of Palladio’swork as in his capriccio, Almerico to Zeno (1992), in which,like Canaletto’s Venetian capricci, he includes Palladio’sVenetian churches and his unexecuted design for the RialtoBridge. In Laubin’s painting, Palladio’s major buildings riselike a celestial city from a water front to the summit of awooded hill crowned by Palladio’s Villa Rotonda, which isbarely a mile from Vicenza. Laubin was to record thisbuilding in 1992-2004 in no less than ten paintings and hasalso painted the Villa Emo, the subject of a memoir in thecatalogue of this exhibition.

Laubin has recently painted two more capricci ofPalladio’s works and their influence, Cinquecentenario(2008) and Palladius Britannicus (2008). The former hadsomething like the Grand Canal in the middle ground,while the latter has an English meadow which has severalmeanings for Laubin. First, it represents the RomanCampagna or the Forum, the sources of the ancientbuildings illustrated in Palladio’s Quattro Libri which becamethe classical sources for later Palladians. Second, themeadow recalls /represents the idealized Virgilianlandscapes of Claude and Poussin who were bothinfluenced by and represented Palladian architecture intheir paintings. In turn, these influenced English Palladiansto recreate their idealized landscape paintings in actuallandscaped parks, complete with temples often takendirectly from the Quattro Libri. Thus, Laubin’s meadowfinally turns into that unique type of park, the Englishlandscape garden, created by Palladians in imitation of anancient Rome documented by Palladio.

Laubin’s work includes a memorable representation of thedesign for the new town of Atlantis in Tenerife of 1987 byLéon Krier, inspired by Alberti on the ideal city. Masterplanner of the Prince of Wales’s town of Poundbury, Dorset,Krier’s paper restoration in 1981 of the Laurentine Villa nearOstia of the younger Pliny is a magical recreation from thedescriptions of it in Pliny’s letters. Palladio cited these in

Chapter XVI, ‘On the Buildings on the Estates of theAncients’, in Book II of the Quattro Libri which is describedon the title-page as ‘Drawings of many houses designed byhim within and outside the city and the designs of theancient houses of the Greeks and Latins.’

James Hart Dyke shows two images of that icon ofEnglish Palladianism, Chiswick House, built in c.1725-9 forRichard Boyle, 3rd Earl of Burlington, from his own designsin which he took inspiration from Palladio’s Villa Rotondaand Scamozzi’s Villa Rocca Pisani. To adorn its grounds,Burlington commissioned two statues from Joseph MichaelRysbrack of his architectural heroes, Palladio and InigoJones. Both of these survive, now in front of the house. Oneof Hart Dyke’s paintings gives a vivid impression of thestatue of Palladio and the other of the nearby line of urns.

Palladio’s Venetian churches of the Redentore and S.Giorgio Maggiore are well represented in the exhibition inseven paintings of their exteriors and interiors by AndrewIngamells, Jane Corsellis, Peter Kelly, and Steve Whitehead.There is also a painting by Ben Johnson of the staircase byBaldassare Longhena of 1643-5 in the Benedictinemonastery of S. Giorgio Maggiore which is next to Palladio’schurch. Rising in one arm and returning in two, this hasbeen seen as the first Baroque staircase, for it breaks awayspatially from those in Italian Renaissance palaces which aretypically tunnel-vaulted and rise between solid walls.Johnson shows Longhena’s cool white and grey colouringrecalling Michelangelo’s work in Florence.

Antonia Williams has contributed two paintings, onecalled ‘Badoer Arcadia’ of the Villa Badoer, the only villa inwhich Palladio was able to carry out the quadrantcolonnades which meant so much to him. Probably inspiredby the more grandiose hemicycles of Trajan’s Forum inRome, those at the Villa Badoer, built from 1556, are linkedto farm buildings. Their columns are in the Tuscan order,humblest of the orders with a wide intercolumniationenabling the convenient movement of carts. AntoniaWilliams stresses the importance of the colonnades byincluding an additional large image of them on the left ofthe painting.

‘Marble Hall’, Antonia Williams’s other painting, isappropriately of a Palladian villa in England, Marble Hill,

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Twickenham, built in 1725-9 for the Countess of Suffolk,mistress of George II. It was designed for her by HenryHerbert, 9th Earl of Pembroke, a distinguished amateurarchitect who was also responsible for the Palladian Bridgeat Wilton (1736-7), of which Carl Laubin in ‘PalladioBritannicus’ shows the variant by James Gibbs at Stowe.Antonia Williams’ light and airy painting shows the hall atMarble Hall with its four, free-standing columns. This spacewas inspired by the interpretations by Palladio at the VillaCornaro at Piombino Dese and elsewhere of the atrium of aRoman house of the 1st century BC as described byVitruvius. In a pleasing “double take”, this painting of thehall contains a model of Marble Hill.

The artist Leonard Porter has sent to the exhibition‘Landscape with a Jeffersonian Villa’ and ‘Landscape withVilla Capra in Ruins’, two drawings in ink and water colourof 2008. These recall the sepia sketches in the ‘LiberVeritatis’ in which Claude recorded his painted oeuvre. Thefirst is a tribute to the fascination with Palladio of ThomasJefferson who designed his own Palladian villa ofMonticello, while the other drawing of the ruined VillaCapra, engulfed with trees, stimulates the imagination inthe romantic way of the English eighteenth-centuryPicturesque.

Clarissa Upchurch’s art focuses on the city, particularlyBudapest and London. She is less concerned withtopographical detail than the way the city functions interms of drama and film noir. Shown here are her views ofone of the first and greatest of the Palladian country housesof eighteenth-century England, Houghton Hall, Norfolk(1722-35), to the design of which Colin Campbell, JamesGibbs, and William Kent, all contributed.

Of Paul Day’s “St Hubert Galleries” Carl Laubin writes,‘This work was not created in any direct conscious responseto Palladio, yet the three radiating vistas are so reminiscentof the stage-set at Palladio’s Teatro Olimpico at Vicenza thatwe feel it fits very naturally into this exhibition. Thesimilarity in the use of perspective required in creating theillusion of great depth in a stage set and in a bas-relief likePaul Day’s has resulted in an uncanny resemblance betweenthe Teatro Olimpico sets and “St Hubert Galleries”. The re-creation of an idea so similar in its essence, independently,

separated by some 425 years is fascinating in itself, but it isalso interesting that a work so obviously of our time as “StHubert Galleries” should be so evocative of a workconceived in the 1580s without being a specific referenceto it. In fact, the stage sets at the Teatro Olimpico invokedby Paul Day’s sculpture are not by Palladio, but weredesigned shortly after his death by Scamozzi, his successorat the Teatro Olimpico and elsewhere, to fit Palladio’sproscenium. They are an essential aspect of experiencingthe theatre.’

The model maker Timothy Richards has contributed asuperb model of the Villa Saraceno, an example of Palladio’sastylar classicism, dating from the late 1540s. It was boughtin 1989 in an advanced state of decay by the LandmarkTrust who restored it perfectly and from whom it can berented for holidays. Timothy Richards has reinstated in hismodel the animated figure sculpture on the pedimentwhich Palladio showed in his woodcut of the villa in theQuattro Libri but which were probably never executed.

Turning to architects who have contributed to theexhibition, Julian Bicknell’s work in a manner owingsomething to Palladio includes the Georgian Club, Tokyo;High Corner, Ashtead, Surrey; and Henbury Hall, Cheshire,which he illustrates in the exhibition with an elevation and asection skillfully resembling the engravings in ColinCampbell’s Vitruvius Britannicus (1715-25). Henbury wasinspired initially by a capriccio painting by Felix Kelly whichincluded a version of the Villa Rotonda on the basis ofwhich Quinlan Terry had also made a design for Henbury.George Saumarez Smith, who worked in the office ofQuinlan Terry until 2003 when he joined Robert AdamAssociates, shows two designs, the first of them alreadybuilt: this is an ambitious summer house at Langton House,Alresford, Hampshire, which is a miniature Doricmasterpiece in which he cleverly adapts in brick the Doricorder of Palladio and also contrives to deploy every bond ofbrickwork. The frieze contains metopes in headers,alternating with simplified triglyphs inspired by Sanmichelein sixteenth-century Verona: ‘the spacing of the triglyphs’,Saumarez Smith explains, ‘is the key to the whole design.’The other designed exhibited by Saumarez Smith is for theButtermarket Building at Poundbury, Dorset, a three-bay,

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pedimented building of red brick with an order of Doricpilasters in stucco.

Recent buildings by Pier Carlo Bontempi, an exceptionallyfine architectural draughtsmen, include the oval Place deToscane for the new town of Val d’Europe, near Paris. Thisbrilliant conception is inspired by the similar Viadell’Anfiteatro in Lucca which follows the ellipse of theRoman amphitheatre. In the exhibition he shows ‘SilentSeaside’ and ‘Seaside Piazzetta’ which show light andelegant Palladian buildings with open colonnades andloggias fitting perfectly into a hotter climate than Italy.

John Simpson’s numerous classical buildings include theQueen’s Gallery at Buckingham Palace, an apartment blockin Manhattan, interiors at Gonville and Caius College,Cambridge, the Market Hall at Poundbury, and exhibitedhere his unexecuted project for Paternoster Square and itsmarket hall of 1993 with a Doric colonnade and portico.

The prolific partnership of Quinlan and Francis Terry hascontributed a current design for a villa at Austin, Texas,inspired by what would have been one of Palladio’s mostambitious houses, the Villa Trissino at Meledo, nearVicenza. He described and illustrated this in the QuattroLibri though without mentioning that work was begun ononly a small part of it in 1558 which was abandoned on thedeath of Count Lodovico Trissino five years later. It has thusbeen left to Quinlan and Francis Terry to realise somethingof this project which follows its Palladian model in having atits centre a two-storeyed, galleried rotunda, though withthe addition of a tall, surmounting cupola, lacking inPalladio’s design.

With an entrance front nine bays long to Palladio’s seven,the villa at Austin is also larger in plan than that by Palladiowho explained that, “because each face of the house haswonderful views there are four Corinthian loggias.” TheTexan villa has free-standing Corinthian porticoes on thenorth and south sides, those on the other two being inantis. Palladio noted that “Below the level of the ground-floor rooms are the kitchens, servants’ dining rooms, andother places”, while the Texan villa similarly has a lowerground floor or basement containing a fitness centre, plantroom, and offices, showing the adaptability in the modernworld of Palladio’s functional approach.

Quinlan Terry considers Palladio’s Villa Trissino design animprovement on his Villa Rotonda, because, in his words,“it has more accommodation and therefore better roomswhich was a real problem I found, when trying to providedecent accommodation at Henbury, inspired by the VillaRotonda.” He goes on to explain that his design for theTexan villa, with its two recessed porticos, “has two frontsand two sides, which makes it much more practical. Alsothe recessed porticos give a very different quality of lightfrom the projecting porticos and make the whole principleof indoor and outdoor living much more congenial.”

Francis Terry has contributed a measured drawing of theelaborate Corinthian order of the Temple of Castor andPollux in the Roman Forum with its uniquely interlockingstalks. Palladio illustrated this in Book IV of the QuattroLibri, giving it the highest praise possible, writing that, “Ihave never seen any better or more delicately executedwork; all the elements are beautifully conceived andperfectly worked out.” Terry’s drawing, which is indebted toPalladio’s woodcut of the order as well as to the engravingof it in Antoine Desgodetz’s Edifices antiques de Rome(1682), is unusually presented with elevation, plan, andsection, as though it were depicting a whole building. Theorder has been used by Quinlan and Francis Terry in theFormal Drawing Room of their Hanover Lodge, Regent’sPark (2006-8).

Francis Terry has also contributed his drawing of theCornaro Loggia, Padua (1524), by Giovanni MariaFalconetto, with a Doric order on the ground floor and Ionicon the first floor. This was used by him and his father as asource for the Villa Veneto, Regent’s Park (1989-91). Afurther two drawings by Francis Terry show his designs for“Doric” and “Baroque” chimney pieces, the overmantel ofthe latter inspired by the pediments in Longhena’s doublestaircase at the monastery of S. Giorgio Maggiore, Venice.These chimney pieces were executed at Highland ParkHouse, Dallas, Texas, the palatial Palladian mansion whichthe Terrys built in 2002-4.

DAVID WATKIN8 September 2008

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BORN1945

EDUCATIONMA & Dilpoma in ArchitectureCambridge University, GB

SELECTED GROUP EXHIBITIONS1990 ‘Vision of Britain’ Exhibition, Victoria & Albert Museum, London 1994 ‘Vision of Europe’ Exhibition, Bologna 1996 ‘Julian Bicknell & Associates’, Exhibition at The Prince of Wales Institute of Architecture

SELECTED PUBLICATIONS‘Rehabilitation and Conversion’; Newnes-Butterworth, London 1980 (Contributor)‘Building Classical’; Academy Editions, London 1993 (Contributor)‘Hiroshige in Tokyo’; Pomegranate, San Francisco 1994‘Great Buildings of the World’; Potter, New York 1995 (with Steve Chapman)‘Julian Bicknell – Designs and Buildings 1980-2000’; published by Julian Bicknell and Associates, London

JULIAN BICKNELL MA Dip Arch R IBA FRSA AWGJulian Bicknell Associates

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Julian Bicknell I Henbury Rotonda - Section Design by Julian Bicknell, drawing by Martin Herman I 80 × 60 cm

BORN1954

EDUCATIONUniversity of Florence, Italy

SELECTED RECENT EXHIBITIONS1998 ‘Il Triennale di Architettura e Urbanistica’ Bologna1998 ‘Fondation pour l’Architecture’ Brussles2000 The Price of Wales Institute of Architecture, London 2001 Snite Museum of Art – University of Notre Dame,

South Bend, Indiana, USA2006 La Biennale di Venezia, Venezia, Italy

SELECTED PUBLICATIONS“Piazza Nuova”, editied by Maurice Culot and Leon Krier. AAM Editions, 2008“Reve d’Italie”, edited by Maurice Culot. AAM Editions, 2004

SELECTED AWARDS AND COMPITITIONS 1981-87 National Prize for restoration of sites in historic centre of Parma1996 Second prize in the international competition “Marsham Street – Urban design Competition’ London1998 European Award for the Reconstruction of the City, Philippe Rotthier Foundation of Architecture in Brussels,

for building traditional houses and urban centre. 2000 John Burgee Annual Lecturer of University of Notre Dame, USA2001 Prix Charter Awards of the New Urbanism, CNU, IX.

New York City, USA2008 Palladio Awards for Public Architecture, New Design,

Boston, USA

PIER CARLO BONTEMPIStudio Bontempi

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Pier Carlo Bontempi I Seaside Piazzetta I Watercolour on paper I 80 × 52 cm

EDUCATIONByam Shaw School of Art, London

SELECTED SOLO EXHIBITIONS1974 Hong Kong Gallery, Hong Kong1981 Braam Gallery, Ottawa, Canada1985/86 The New Academy Gallery, London1988 Galeri Citra, Kuala Lumpur, Malaysia1989, 92, 94, 96, 98 The New Academy Gallery, London1998 Hollis Taggart Gallery, New York2000, 2, 4 The New Academy Gallery2006 Messums London2008 Messums London

SELECTED GROUP EXHIBITIONSNew English Art ClubRoyal Cambrian AcademyRoyal Society of Painters in WatercolourSmall Paintings Group, London

SELECTED PUBLICATIONSJane Corsellis ‘Painting Figures in Light’, Watson and Guptill, 1982Jane Corsellis and Robin Capon, ‘Jane Corsellis, A Personal View Painting in Oils and Watercolours’, David and Charles, 2000

MAJOR COMMISSIONSCapital Club, London 1994 and 1995Foreign and Commonwealth OfficeCadbury Schweppes plcTesco plcFreshfieldsConsulta

PUBLICATIONSBOOKSPainting Figures in Light Jane CorsellisWatson Guptill, 1981Oil Painting Techniques Watson GuptillAtelier Series A Personal View Jane CorsellisDavid and Charles, October 2000Paintings featured in:Painting Interiors Jenny RodwellPainting Self Portraits Tom CoatesOils Workshop Richard PikesleyThe Watercolour Expert Royal Watercolour Society

FILMSJane Corsellis Landscapes in Oils APV Films Nov 2000Jane Corsellis Coastal Watercolours APV Films Nov 2004

www.neac.co.uk

JANE CORSELLIS NEAC RWS RCA

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Jane Corsellis I Interior, S. Giorgio Maggiore, Venice I Oil on canvas I 61 × 51 cm

BORN1957

SELECTED RECENT SOLO EXHIBITIONS2000 ‘Out of the Ashes’ Watercolours of Windsor Castle

The Royal Collection, Windsor Castle2002 ‘Power & Glory – Sicilian Baroque’ John Martin of London2004 ‘In Pursuit of Enlightenment – Watercolors from a Grand Tour”

Hirschl & Adler Galleries, New York2006 ‘The Grand Scale – New Watercolors’

Hirschl & Adler Galleries, New York2008 ‘Venice Only’, Portland Gallery, London2008 ‘Looking Through’, Majlis Gallery, Dubai

SELECTED GROUP EXHIBITIONS2001 ‘In Ruins – Artists & Ruins’, The Holburne Museum of Art, Bath2002 ‘Royal Treasures’, The Queen’s Gallery, Buckingham Palace2003 ‘Re-presenting Representation’

Arnot Art Museum & Rockwell Museum of Western Art, New York

SELECTED PUBLICATIONS‘Travels with the Prince’ The British Council, 2000‘Out of the Ashes – watercolours of Windsor Castle’ The RoyalCollection, 2000

SELECTED COLLECTIONS The Royal Collection, HM Queen Elizabeth II, London & Windsor The Forbes Collection, New York HRH The Prince of Wales The Frick Collection, New York The Library of Congress, Washington D.C.The Parliamentary Art Collection, Westminster

SELECTED COMMISSIONS1998 The Royal Collection, Windsor Restored2002 HM The Queen, Lying in State of HM The Queen Mother

ALEXANDER CRESWELL

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Alexander Creswell I Venice - Sala delle Quattro Porte, Palazzo Ducale I Watercolour on paper I 43 × 56 cm

BORN1967

EDUCATIONCheltenham School of Art, B.A. Hons

SELECTED RECENT SOLO EXHIBITIONS2001 Cass Sculpture Foundation, Goodwood, UK.2002 Galerie Alain Blondel, Paris2003 Garth Clark Gallery, New York2005 Cass Sculpture Foundation, London2006 Gardiner Museum, Toronto, Canada.

SELECTED GROUP EXHIBITIONS1997 Art Cologne (Ulrich Gering Galerie )1998 'Visions Urbaines', Galerie Fabrice

Galvani, Toulouse2002 Salon des Tuileries, Paris2003 SOFA, New York, Garth Clark Gallery2008 Exarte Gallery, Geneva, Switzerland

SELECTED COLLECTIONS Buckingham PalaceThe Palace of WestminsterBrussels Regional ParliamentHilton H.Q., WatfordMannheimer Versicherung

SELECTED COMMISSIONS2000 ‘Brussels, an urban comedy’, St Hubert Galleries, Brussels2001 A Mining Tragedy, Marcinelles, Charleroi, Belgium2005 The Battle of Britain Monument, Westminster, London2007 ‘The Meeting Place’, St Pancras International Station, London2008 ‘The Queen Mother Memorial’, London, UK

AWARDS1991 Prince's Trust Award2002 Lauréat, Battle of Britain Monument Competition2006 Honorary Doctorate, University of Gloucestershire

Lauréat, Queen Mother Memorial Competition

PAUL DAY

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Paul Day I St Hubert Galleries I Clay I 63 × 168 × 31 cm

BORN1966

EDUCATIONRoyal College of Art MA architecture Manchester University BA(Hons) architecture City and Guilds of London Art School Postgraduate Diploma in Painting

SELECTED RECENT SOLO EXHIBITIONS2002 Visions of a Traveling Artist John Mitchell and Son, New Bond Street2004 Everest Painting Expedition John Mitchell and Son, Old Bond St, London2005 The High Atlas John Mitchell Fine Paintings, Old Bond Street, London2006 Hidden Himalaya John Mitchell Fine Paintings, Old Bond Street, London2007 Royal Tours John Mitchell Fine Paintings, Old Bond Street, London

SELECTED GROUP EXHIBITIONS2005 BP Portrait Award National Portrait Gallery2006 Postcard Portraits Exhibition National Portrait Gallery2007, 2005 Group Show Beaux Art, Bath

Alpine Club Centenary, Sotheby’s, London and John Mitchell Fine Painting, London2008 Discerning Eye, Mall Galleries 20082008 Crossing Over Beaux Art, Bath 2008

SELECTED PUBLICATIONSArtists of the Alpine ClubJames Hart Dyke: Country House PaintingsThe View, London Arcadia, 2003Artists of the Alpine Club, Peter Mallalieau, 2007,

SELECTED COLLECTIONS Provident FinancialAsprey & Garrard, Hoares Private Bank Embassy of Saudi Arabia, HRH The Prince of WalesAbercrombie and Kent

JAMES HART DYKE

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James Hart Dyke I Palladio, Chiswick House I Oil on canvas I 75 × 75 cm

Up to the age of thirteen getting from my bedroom to thekitchen meant galloping along nearly 100 metres ofterrazzo Veneziano and treading over 450 years of history.

For a bowl of cereal.I spent my childhood running a marathon a month

without knowing it, skipping from the Colombara –Mummy and Daddy’s bedroom – to the end of theBarchessa, for a teddy-bear picnic.

It started dawning on me at primary school: Suor Maurinaasked us to draw our house.

All my pals were already filling the sky with birds and treesround their little square buildings, while I hadn’t evenfinished counting how many arches on each side of casamia’s Corpo Dominicale.

Time didn’t exist.I remember the distinct feeling, while prancing across the

lawn conversing with the statues in the hedge, that theyhad been there for very long – And the certainty that theywere going to stay.

We had an unspoken agreement: at some stage I wouldstep out on the other side of the end of the garden, acrossthe moat, and see the world outside.

It was only after I took that step, and years later, that Ilearnt to give my former world a name: I had grown up inthe Renaissance.

And my world, my teachers told me, had a creator: hisname is Andrea Palladio.

CATERINA EMO CAPODILISTA

Caterina left the Veneto in 2001, and moved to Rome to study at theNational Academy of Dramatic Art. Betweeen 2004 and 2006 she lived inLondon and attended a BA Course in Acting at LAMDA.

Since 2006 she has been living in Rome, teaching both Acting and English.She was last working in the UK at the beginning of this year, as a Producerat the New End Theatre.

In January 2009 it will be her 30th birthday.

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Before saying anything about this extraordinary person’sthoughts, I’d like to share with you what I discovered when Igot out beyond the end of the garden.

The world on the other side of the moat is very different.First of all, it is very very very fast. It is unclear when it

started to exist, but it seems somehow to be goingsomewhere at incredible speed, as if it wanted to end upsome place. Secondly, nobody seems really to know whomade it: they call Him different names and it can be quiteconfusing.

Palladio enunciates his principles in The four books ofArchitecture, at the beginning of which he describesConvenience, Durability and Beauty as the highlights of hisphilosophy.

To define Convenience he states that“ each member mustbe given its appropriate position, well situated - no less thandignity requires – no more than utility demands”.

The villa fits this description indeed.Smiling I recall my teenage attempts to fit it myself;

negotiating my position in the family and in such vastspaces, pondering my utility amongst the columns.

The downside of living in the Renaissance is you can feelvery very small.

The four books talk about private houses first, and public buildings subsequently – as man is first of all ahuman being with private needs, and in second instancemingles with his folk.

On leaving Villa Emo, my childhood reign, I came toRome: the heart of Italy’s childhood, and the hometown ofthe most important Italian public buildings. Vitruvius was asa matter of fact Palladio’s starting point for his architecturalstudies.

As I shoot down via Casilina Vecchia in my battered Clio, Irecall the Palladian definition of Beauty:“ the balancedrelationship between the whole and the parts and the partsamongst themselves”.

Though I never quite know which the parts are – theyseem to often change or overlap – and the Whole is just anoccasional flighty intuition – Beauty seems to me the perfectname for it.

ANDREW INGAMELLS

BORN1956.

EDUCATIONLondon College of Printing, 1976-79. B.A.(Hons.)

SELECTED SOLO EXHIBITIONS'Highgate Fine Art', January 2008.'Courtyard Arts', Hertford, July 2000.'The Grosvenor Gallery', Albermarle Street, June 1994.

SELECTED PUBLICATIONS'Brazen Notes' -The Brasenose College Oxford magazine, Summer 2008'Floreat Magdalena' – The Magdalen College Oxford magazine, Spring 2008'Christ Church Matters' – The magazine of Christ Church Oxford, 2007

SELECTED COMMISSIONSBrasenose College, OxfordMagdalen College, OxfordChrist Church, OxfordTrinity College, CambridgeKings College, CambridgeHighbury Stadium, Arsenal F.C.The MCC Pavilion at Lords

26

Andrew Ingamells I Church of San Giorgio Maggiore I Pencil, Crayon and Watercolour on paper I 59 × 42 cm

BORN1946

EDUCATIONMA, Royal College of Art, London

SELECTED RECENT SOLO EXHIBITIONS 2008 Artist in Residence, Walker Art Gallery, Liverpool2008 Ben Johnson’s Liverpool Cityscape 2008 and the World Panorama Series,

Walker Art Gallery, Liverpool2002 Still Time, Blains Fine Art, London2001 Jerusalem, The Eternal City, Chester Beatty Museum, Dublin

SELECTED GROUP EXHIBITIONS2008 ‘Set in Stone,’ PM Gallery & House, London 2008 Miami Art Fair 2007 Abu Dhahi Art Fair 2007 Inaugural Exhibition House of Arts, Garden of Arts, Vught, Netherlands 2006 ‘London Now,’ City of Heaven, City of Hell,’ Guildhall Art Gallery, London 2005 ‘The Artist and Radio 4,’ Bankside Gallery, London 2004 ‘Exactitude,’ Plus One Plus Two Galleries, London 2004 ‘BlowUp, New Painting and Photoreality,’ St Paul's Gallery, Birmingham 2003 ‘Realism,’ Flowers East, London 2001 ‘Interiors Observed,’ Bernarducci.Meisel.Gallery, New York 2001 ‘Great! Britain,’ Bernarducci.Meisel.Gallery, New York

SELECTED PUBLICATIONSColin Amery, ‘Reflections on Infinity’, Perspectives, August 1995Keith Patrick, Oil on Canvas, London: BBC Books, 1997Doris Lockhart Saatchi, Still Time, exh. cat., Blains Fine Art, London 2002Helen Castle and Ivan Margolius, ‘At the Still Point of the Turning World’, Architectural Design, vol. 73, no. 3, May/June 2003Steve Pill, ‘My Studio’, Artists and Illustrators, February 2008 Cityscape: Ben Johnson’s Liverpool, Liverpool: Walker Art Gallery, 2008

SELECTED COMMISSIONSThe British Council, LondonThe Contemporary Arts Society, LondonDe Beers/CSO Collection, LondonRoyal Institute of British Architecture, LondonCentre Georges Pompidou, ParisVictoria & Albert Museum, LondonDeutsche BankThe British Museum

Millennium Commission Panorama ‘Jerusalem, The Eternal City’ commissioned by The Khalili Family Trust. World Tour commenced Royal Academy, London 2000

BEN JOHNSON

28

Ben Johnson I Neither Ascending Nor Descending I Oil on canvas I 183 × 225 cm

EDUCATIONWest Ham School of Art and TechnologyCentral School of Art and Design, London

SELECTED RECENT SOLO EXHIBITIONS2000 Waterman Fine Art, London2001 Bruton Street Gallery, London2003 ‘St Petersburg’, John Adams Fine Art, London2004 Thompson’s Galleries, Aldeburgh2005 ‘Autumn in Venice’, John Adams Fine Art, London2008 ‘Home and Abroad’ John Adams Fine Art, London

SELECTED GROUP EXHIBITIONS2000 ‘Selected Six’ Exhibition, WH Patterson, London2001 Royal Academy Summer Exhibition2003 Discerning Eye Exhibition, Mall Galleries2004 Catto Gallery, Hampstead, London, Two-Man Exhibition2005- 2008 ‘Venice in Peril’ W H Patterson, London2006 Oakham Galleries, St.James, London, Two-Man Exhibtion

SELECTED COLLECTIONS HCBC BankIng Barings Charterhouse SecuritiesFord Motor CompanyHiggs & HillKennedys, Solicitors

AWARDS2004 Most Creative Painting Prize, RBA Exhibition2005 Best Watercolour, Essex Open Exhibition

PETER KELLY NEAC RBA

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Peter Kelly I Il Redentore, Venice I Mixed media on canvas I 46 × 34 cm

BORN1947

EDUCATIONCornell University, College of Art, Architecture and Planning, Bachelor of Architecture Degree

SELECTED RECENT SOLO EXHIBITIONS2003 Classic, Romantic, Modern, Plus One Plus Two Galleries2003 “Stone Guests”, Riverhouse Gallery, Walton on Thames 2004 “Strong Reason and Good Fancy”, Plus One Gallery, London 2007 “Carl Laubin: Elegos”, Castle Howard, York2007 “Verismo”, Plus One Gallery, London2008 “Ornament and Crime”, The Digby Gallery, Colchester

SELECTED GROUP EXHIBITIONS1989 A Vision of Britain, V&A1987-9 Chateaux Bordeaux Exhibition (3 paintings commissioned for the exhibition) at Centre Pompidou, Paris and thentravelling to Bordeaux, Lausanne,

Frankfurt, Oporto, Seville. 1996 La Ville Moderne en Europe exhibition, organized by the Centre Pompidou in Tokyo1999 “Londinium to London”, An Exhibition of Paintings by Fourteen

Contemporary Artists at A.T. Kearney2000 “Creative Quarters, the Art World in London 1700-2000”, Museum of London2006 “Artists’ Kew”, Messum’s, Cork Street and Kew Gardens Gallery. 2006 The Classical Spirit, with David Ligare and Edward Schmidt, Plus One Gallery

SELECTED PUBLICATIONSCarl Laubin, Paintings, David Watkin and John Russell Taylor, Philip Wilson Publishers, 2007“A Broad Canvas of Romance and Fantasy”, Building Design Magazine, 26 October 2007“A Classical Fantasia”, Apollo Magazine, March 2006, pp94-97.“Architecture, Choice or Fate”, Leon Krier, Andreas Papadakis Publisher, London, 1998, cover, pp. 97-99.“I Castelli del Bordeaux”, Centre Pompidou and I Libri del Bargello, 1991, cover and p.218.“A Vision of Britain”, Doubleday, London, 1989, pp.73,121.“London in Paint, Paintings in the Collection of the Museum of London”, Museum ofLondon, 1996, pp.450, 499.

SELECTED COMMISSIONSCastle HowardGrosvenor Museum, ChesterMuseum of ScotlandMuseum of London (Purchase) Anglo American CorporationNational TrustCentre Pompidou

CARL LAUBIN

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Carl Laubin I Cinquecentenario I Oil on canvas I 117 × 203 cm

BORN 1979

EDUCATIONBA Illustration, University of WolverhamptonMA Illustration, University of Wolverhampton

GROUP EXHIBITIONS2007 Plus One Gallery, London2007 ArtLondon, Royal Hospital Chelsea, London2008 Exactitude IV

ArtLondon, Royal Hospital Chelsea, London

CHRISTIAN MARSH

34

Christian Marsh I Ca ‘Rezzonico I Oil on canvas I 98 × 220 cm

EDUCATIONBachelor of Arts and Diploma in Architecture, University of WestminsterMember of Royal Institute of British Architects

EXHIBITIONSRoyal Academy Summer Exhibitions 1994, 1997, 1999Classically inspired exhibition, Rebecca Hossack GalleryOpen House Exhibition, The Art Workers Guild, 2007

SELECTED PUBLICATIONSWho’s Who in Architecture, 2002The Buildings of England London 6: Westminster; Simon Bradley and Nikolaus Pevsner, 2003Capital Solutions, English Heritage, 2004Classical Architecture for the Twenty-First Century, Jean-Francois Gabriel, 2005Oxford Dictionary of Architecture and landscape Architecture, James Stevens Curl, 2006

SELECTED COMMISSIONSWinery at Epesses, SwitzerlandTwo apartment buildings, BruxellesTwo Villas in Regent’s Park, LondonHouse in the Hampstead Garden Suburb, LondonHouse in Belgravia, LondonThe Commonwealth Memorial Gates, LondonVictoria Cross and George Cross Memorial LondonThe Armed Forces Memorial, StaffordshireApartment buildings, Dickens Heath, Solihull

URBAN DESIGNAssistant masterplanner to Leon Krier and architect at Poundbury, DorsetPrince of Wales Summer School masterplan schemes for Caaprarola and Viterbo, ItalyProposals for new village, Lindow Moss, CheshireProposal for village square, Virginia Water, Surrey

RECENT AWARDSRIBA Presidents Medal (Dissertation) 1988European Award for the Reconstruction of the City, 1994The Worshipful Company of Masons Award 2002 Stone Federation of Great Britain Award, 2003Lottery Heritage Building of the Year Award, 2008

LIAM O’CONNOR BA (Hons) D ip Arch (D is t ) R IBALiam O’Connor Architects & Planning Consultants

36

Liam O’Connor I House in Kensington, London I Ink on paper I 126 × 72.5 cm

EDUCATIONMaster of Fine Arts, School of Visual Arts, New York, NYBachelor of Fine Arts in Painting, Rhode Island School of Design, Providence, RI

SELECTED EXHIBITIONS1993-96 Lizan Tops Gallery, East Hampton, NY – selected group exhibitions1995 Visual Arts Center of New Jersey, Summit, NJ1997-99 Yearsley Spring Gallery, Philadelphia, PA – solo and group exhibitions2001 Classical Visions Painting Exhibition, Seaside, FL2002 ICA&CA Tenth Anniversary Exhibition, New York, NY

MAJOR PROJECTS AND COMMISSIONS2003 ‘Myths of the Zodiac on 12 Dining Chairs’, Private Collection, Wilmington, DE2004 ‘Christ Revealing His Sacred Heart’, Cathedral of Saint Joseph in Sioux Falls, South Dakota.2005 ‘An Allegory of Familial Love’, Private Collection, Washington, DC2005 ‘Saint Dominic and the Eighth Way of Prayer’, Private Collection, Chicago, IL2005 Music Room Ceiling Design for Hong Kong Residence (proposal for Robert A. M. Stern, Architect)2006 ‘Winged Victory with Laurels’ (limited edition lithograph commissioned by ICA&CA)2006 ‘Perseus and Andromeda’, Private Collection, New York, NY2005-2007 ‘Christ in Majesty’, Saint Andrew’s Episcopal Church in Fort Worth, Texas

AWARDS2006 Arthur Ross Award recipient for Excellence in the Classical Tradition; Elizabeth Plater-Zyberk, Jury Chair

SELECTED PUBLICATIONSPhyllis Braff, ‘Capturing the Unposed Instant and the American Landscape/Classicism in the 20th Century,’ review from The New York Times, October 20, 1996.Catesby Leigh, ‘The New Traditional Styles, Part I: The Realists’ Art and Antiques Magazine, Summer, 2002.Catesby Leigh, ‘The New Traditional Styles, Part II: The Classicists’ Art and Antiques Magazine, September, 2002.Eve Kahn, ‘Transcendence on the Prairie,’ Traditional Building Magazine, November/December, 2004.William J. Turner, ‘A Cathedral’s Treasure,’ Sacred Architecture Journal, Issue 10, 2005. Catesby Leigh, ‘Sacred Spaces & Other Places,’ First Things, Number 163, May, 2006.

LEONARD PORTERLeonard Porter Studio

38

Leonard Porter I Landscape with Villa Capra in Ruins I Ink and watercolor on paper I 12.7 × 20.3 cm

BORN1971

EDUCATION1995, B.Arch., Querétaro, Mexico2002, MA Theory and Practice of Contemporary Art, Complutense University of Madrid

SOLO EXHIBITIONS2004 Col tempo, Galeria Marieschi, Milan 2006 Rastros del cine mexicano contemporaneo, Museo Regional de Querétaro, Mexico2007 The Bridges of London, Plus One Gallery, London2007 ArtLondon, Plus One Gallery, London2008 Exactitude IV

ArtLondon, Plus One Gallery, London

ARTICLES, BOOKS, CATALOGUESCol tempo, exh. cat., Galeria Marieschi, Milan, 2004Rastros del cine mexicano contemporaneo, exh. cat., Museo Regional de Querétaro, Mexico, 2006The Bridges of London, exh. cat., Plus One Gallery, London, 2007

FRANCISCO RANGEL

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Francisco Rangel I San Giorgio Maggiore and Il Redentore I Oil on linen I 195 × 130 cm

BORN1955

EDUCATION1973 Somerset College of Art

SOLO EXHIBTIONS2006 Gumps of San Francisco

CATALOGUE AND SELECTED PUBLICATIONSBergdorf Goodman 2006Gumps 2005Country Life 2003 ‘A Small World’Architectural Digest: 2003 & 2002

SELECTED COMMISSIONSBergdorf Goodman, 5th Avenue New YorkThe University of Notre Dame, IndianaThe Metropolitan Museum of ArtNational Building Museum, Washington DCDavid M Schwarz Architectural Service incNational Stone, Sand & Gravel Association, USAInstitute of Classical Architecture Classical AmericaGullans & Brooks, Architects , ConnecticutWashington National CathedralUS SenateHM the Queen has been presented with models on two separate occasions.HM the Queen Mother was presented with a model in her 100th year.HRH Prince Charles has also received models.

TIMOTHY RICHARDS

42

Timothy Richards I Temple of the Four Winds I Plaster with additions in white metal and etched glass I 42 × 49.5 cm

EDUCATIONBSc (Hons), University College LondonDiploma in Architecture, University College LondonMember of Royal Institute of British Architects

SELECTED COMMISSIONSAshfold House, West SussexBuckhurst Park, AscotGonville and Caius College, CambridgeMarket Building, Poundbury, DorsetThe Queen’s Gallery, Buckingham PalaceCarhart Mansion, 5th Avenue, New YorkStanhope, New YorkLady Margaret Hall, Oxford

URBAN DESIGNProposals for Paternoster SquareFairford Leys, Aylesbury, BuckinghamshireDickens Heath, SolihullBirmingham NorthwoodRedevelopment of the Royal Worcester Porcelain FactoryNewcastle Great Park, Newcastle upon TyneSwindon Southern Development Area, Swindon

RECENT AWARDSRICS Conservation Award for the work at Gonville Court at Gonville and Caius College CambridgeRIBA Award for the Queen’s Gallery 2003The Royal Fine Arts Trust Building of the Year Award 2003The Worshipful Company of Masons Award 2003The Georgian Group Best New Classical Building 2003The Royal Borough of Kensington & Chelsea Environment Award 2004American Institute of Architects Honor Award for Urban DesignPalladio Award for 2007Carnegie Hill Neighbors Enrichment Award 2007 For Architectural ExcellenceArthur Ross Award for Architecture 2008

JOHN SIMPSON CVO BSc (Hons) D ip Arch R IBAJohn Simpson and Partners

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John Simpson I The New Propylaeum for The Queen’s Gallery, Buckingham Palace I Watercolour (copy) I 42 × 59.4 cm

EDUCATIONWinchester CollegeEdinburgh University

SELECTED RECENT EXHIBITIONS1996 Royal Academy Summer Exhibition1999 RIBA Architectural Gallery, London2000 Royal Academy Summer Exhibition2005 Royal Academy Summer Exhibition2008 Integrity and Craftsmanship, Art Workers Guild, July,2008 The Institute of Classical Architecture and Classical America- Palladio exhibition in New York,

SELECTED PUBLICATIONSThe Classicist: A Decade of Art and Architecture, 2002Raymond Erith: Progressive Classicist, 2004Architects Journal, 20 July 2006RIBA Journal, November 2006Building Design, 22 September 2006Country Life, 18 June 2008

SELECTED PROJECTS (Recent and Current)Major alterations and extensions to Grade II Listed country house near Alresford, HampshireNew Palladian house near Newbury, BerkshireNew terrace of houses at Shepton Mallet, SomersetClassical monument for the Duchy of Cornwall, Midsomer Norton, SomersetNew Summerhouse in historic walled garden, HampshireNew country house near Devizes, WiltshireAlterations and extensions to Grade II listed country house near Hambledon, HampshireNew library interior at Stanton-in-Peak, DerbyshireMajor alterations and extensions to Grade II Listed country house at Ibthorpe, HamphireNew garden building for the Circus, BathNew private art gallery in New Bond Street, London

SELECTED AWARDS AND EXHIBTIONS 1996 Royal Academy Summer Exhibition1999 RIBA Architecture Gallery2000 Royal Academy Summer Exhibition2006 Georgian Group Architectural Awards, commendation2006 RIBA Downland Prize, Overall Winner

GEORGE SAUMAREZ SMITH MA (Hons) D IPL ARCH R IBARobert Adam Architects

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George Saumarez Smith I The Buttermarket Building at Poundbury, Dorchester, Dorset I Coloured pencil on paper I 84 × 59.5 cm

GEORGE SZIRTES

BORN1948 in BudapestCame to England in 1956 with his family as a refugee following the Hungarian Uprising

EDUCATIONHarrow School of Art and DesignLeeds College of ArtGoldsmiths College, University of London

SELECTED PUBLICATIONSPoetry1979 The Slant Door1984 Short Wave1986 The Photographer in Winter1988 Metro1994 Blind Field1996 Selected Poems2000 The Budapest File2001 An English Apocalypse2004 Reel2008 New and Collected Poems

Recent translation1999 The Melancholy of Resistance (László Krasznahorkai)2003 The Night of Akhenaton: The Selected Poems of Agnes Nemes Nagy2005 Rebels (Sándor Márai)2008 Metropole (Ferenc Karinthy)

As Editor2001 New Writing 10 (with Penelope Lively)2004 An Island of Sound

On Art2001 Exercise of Power: The Art of Ana Maria Pacheco

BOOKS ON GEORGE SZIRTES2004 Poetry in Exile: W.H.Auden, Joseph Brodsky, George Szirtes (Michael Murphy)2008 Reading George Szirtes (John Sears):

AWARDS1980 Faber Prize1986 Cholmondeley Prize1989 Dery Prize1995 European Poetry Translation Prize2004 T S Eliot Prize

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Apropos PalladioBy George Szirtes

Oh flaking Palladian PalladiumOn a backcloth rattled by oom-pah – Martin Bell, Ode to Groucho

1.Oh flaking Palladian Palladium! Humble terrace porches!Banks down the high street, civic halls,Offices and offices and churches and churches,Where the great god of money callsAnd leaves his deposit like a pigeon!The portico. The estate. The paradisal regionWith its parks and villas,Its silver trails of caterpillars,Apiaries, orangeries, conservatories,And, at the end of the drive, the miraculous ha-ha,Where a greeting party of rural ToriesWelcomes a rare appearance of The RajahOf Surrey in his pantaloons;Window motifs in the shape of half-moons,Fantastical topiaries with proper mannersMumbling in Stephen King undertones,Elegantly flying banners,White stones. White bones.

2.Someone down the hall is playing MozartTo the ticking of a metronome. KeysDance under delicate pressure.Music is proportion you can measureOn a string, with a ruler, but better stillIn breath. When it deigns to freezeIt may produce architecture,A single voice, castrato, the trillHeld at the end of the nose, untilIt snaps and lodges in the heart.

3.The imagination can conceive of spacesThe body never inhabits. It dreams in harmoniesBeyond gadgets and furniture: the fridge,The microwave, the broken chair by the wall.There is room here for incomplete graces,For sigh and laughter, for the high ledgeAbove the yard, for the child’s scrawlDrifting on a sheet of paper, blown awayIn a gust that divides and disposes of families,For the damp patch creeping graduallyUp the stairwell like a ghost, forThe spot that blossoms like a rosebud(With just the faintest suggestion of dried blood)Next to the kitchen door.

4.The imagination is a wonderful invention,And here’s a place it can inhabitLike an absence which too is something,Like a sleeve that produces no rabbit,Like a kind of superhuman humming,Like a line of pollarded trees,Like the wind trapped in parentheses,Like the balance between relaxation and tension.

The imagination is a brilliant coupWith its Apollonian obsessions,Sums within sums, voice within voice,Hairline fractures and incisions,Within which the wee-est mouseCan harbour grudges and fearsAnd still not think that all might end in tears,The walls collapsed and a gale scouting through.

The imagination likes its perfect numbers,Its Fibonacci series,Its Modulors, Golden Sections, theoriesInvolving a soaring staircase and rumoursOf God in the details, in iambs and dactyls,The camera obscura and perspectivePanning down mean streets, with a private detectiveStalking through the alleys where it slumbers.

5.Come to me, whisper the stones. Spread out your handsAnd measure me, I will be conformable.You can wash yourself in my light.I am clean as the sky after clouds have passed.I am a model of the universe in which there areNo black holes, no rogue meteors. My sunHas no storms, my oceans shift to songThat settles in your educated earsLike the music of the spheres.

My oceans shift to song. Song is what has beenAnd what continues whatever the price tag,Whoever the singer. Clarity of form is clarityIn all and every light. Even clouds have clarityThat comprehends. The meteor has clarity.The black hole in the mind is a hole in clarity.Seabirds hang on thermals and hear the clarityOf the storm. See, I can draw a clear lineAround your hand that washes the world clear.The eye cleansed by the music of the ear.

BORN1969

EDUCATION1994 University of Cambridge

BA (Hons) and Diploma in Architecture

SELECTED RECENT SOLO EXHIBITIONS1999 Gallery 27, Cork Street, London

SELECTED GROUP EXHIBITIONS1998 BP Portrait Awards, National Portrait Gallery1998-99 The Hunting Art Prize Exhibitions, Royal College of Art1997-99 The Royal Society of Portrait Painters’ Annual Exhibition2002, 2004 The Royal Academy Summer Exhibition2006 & 2007

AWARDSWinner of Windsor & Newton Young Artist AwardWinner of Royal Society of Portrait Painters Silver medal and Caroll PrizeWinner of The Worshipful Company of Architects prize for Architectural Drawing at the Royal Academy Summer Exhibition2003 Shortlisted for “Not the Turner Prize”

FRANCIS TERRY MA (Cantab) D ip Arch R IBAQuinlan and Francis Terry Architects

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Francis Terry I Capital based on the Temple of Castor & Pollux I Pencil and ink on tracing paper I 89 × 125 cm

QualificationA.A.DIP., FRIBA – The Architectural Association, London

SELECTED COMMISSIONSSix private villas in Regent’s Park for Crown Estate CommissionersOffices, shops and flats at Richmond RiversideNew Lecture Theatre, Junior Common Room, Library and residential buildings forDowning College, CambridgeBrentwood CathedralRestoration of the three State Rooms at No 10 Downing StreetRestoration of St Helen’s Church, BishopsgateNew commercial building 20-32 Baker StreetNew retail block in the historic centre of Colonial Williamsburg, Virginia

AWARDS1994 Building of the Year Award (for library at Downing College)2003 Georgian Group, ‘Best Modern Classical House’2005 Richard H Driehaus Prize for Classical Architecture

QUINLAN TERRY RIBAQuinlan and Francis Terry Architects

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Quinlan Terry I Proposed new house, Austin Texas I Ink on tracing paper I 94 × 74 cm

BORN1949

EDUCATIONSheffield Art College Foundation Harrow Art College Foundation Norwich College of Art-Fine Art

SELECTED RECENT SOLO EXHIBITIONS2000 ‘City Narratives’ at RIAS Gallery, Edinburgh2001 The Maddermarket Theatre, Norwich2002 Shelton Festival, Norfolk2006 Budapest – Poem, Image, Film Solo Show Hungarian Culture Centre *London2008 ‘Cities’ , Boundary Gallery London

SELECTED GROUP EXHIBITIONS2000 High Windows: Buildings as Vision, Hitchin Festival2000 Good Drawing, Boundary Gallery, London2002 ‘Inside/Outside’, Boundary Gallery London2004 Taylor Gallery, Dublin2005 Cityscapes Retrospectives Gallery Stratford upon Avon2007 Taylor Gallery Dublin

SELECTED PUBLICATIONS1993 City Lights: The Art of Clarissa Upchurch, Mozgó Világ (Hungary)1993 Shadow Palaces: The Budapest Drawings of Clarissa Upchurch, Victor Határ, Budapest Historical Museum2000 City Visions: The Lost Movies of Clarissa Upchurch, Modern Painters George Szirtes2002 Inside/Outside – catalogue essay by Ed Winters2007 Unfixed City – Anna T. Szabo New Hungarian Quarterly

SELECTED COLLECTIONS Budapest History Museum, Leicestershire County Council

CLARISSA UPCHURCH

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Clarissa Upchurch I Running Deer, Houghton Hall I Conté on paper I 24 × 46 cm

BORN1960

EDUCATION Conservation of Wall Paintings, Courtauld Institute of ArtM.A. Visual Art, University College of Wales, Aberystwyth

SELECTED SOLO SHOWS1994 The Alma Gallery, Bristol2001 Panter & Hall Gallery, London2005 Panter & Hall Gallery, London2007 Plus One Gallery, London2008 Plus One Gallery, London

SELECTED GROUP EXHIBITIONS2001 Manchester Academy Exhibition (Prize Winner)2002 Royal Portrait Society Exhibition, London2002 Gallery Artists Exhibition, Circle Gallery, Edinburgh

Artists of Fame and Promise, Panter & Hall Gallery, London2003 ‘Exactitude’ Plus One Galleries, London2005 Cannes Art Fair, France2005 ‘Artists’ Kew’ – group exhibition, London2007 ArtLondon, Plus One Gallery, London2008 ArtLondon, Plus One Gallery, London

Summer Show, Plus One Gallery, London

SELECTED PUBLICATIONSThe Spectator, September 1999AN Magazine, November 2001Resurgence Magazine, January 2002The Portman Magazine, Spring 2003Who’s Who in Art, 2006

SELECTED COLLECTIONSContemporary Art Society for Wales – exhibited in the NationalMuseum of Wales and St. David’s Hall, CardifUniversity College of Wales, CardiffPrudential Art Collection

STEVE WHITEHEAD

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Steve Whithead I Il Redentore I Acrylic on canvas I 61 × 91.5 cm

EDUCATIONCorcoran Art School, Washington DCHeatherley’s School of Art, London

SELECTED SOLO EXHIBITIONS2002 Plus One Gallery2005 Plus One Gallery

SELECTED GROUP EXHIBITIONS

2003 Affordable Art Fair/Plus One Gallery2003 Art London with Plus One Gallery2004 London Art Fair/Plus One Gallery2004 Affordable Art Fair/Plus One Gallery2005 London Art Fair/ Plus One Gallery2006 Affordable Art Fair/Plus One Gallery2006 Kew 250th Anniversary Exhibition

ArtLondon, Plus One Gallery, LondonSummer Show, Plus One Gallery, London

2007 ArtLondon, Plus One Gallery, LondonAfordable Art Fair – Amsterdam, Plus One Gallery, London

2008 Summer Show, Plus One Gallery, LondonArtLondon, Plus One Gallery, London

SELECTED COMMISIONSCommission for two large paintings for the dining room at The GroveMurals for the Ritz Carlton Hotel in Atlanta, Georgia.

ANTONIA WILLIAMS

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Antonia Williams I Marble Hall I Oil on canvas I 76 × 76 cm

© 2008 Plus One Gallery, London

Foreword © David Watkin

.

Plus One Gallery89-91 Pimlico Road, London, SW1W 8PH Tel: 020 7730 7656 Fax: 020 7730 7664

info@plusonegallery.com www.plusonegallery.com