Essential digital access to quality FT journalism on any device Complete digital access to quality FT journalism with expert analysis from industry leaders Terms & Conditions apply Discover all the plans currently available in your country See why over a million readers pay to read the Financial Times Italy's Fedrigoni group has definitely ceased fine paper production at the Fabriano mill Euwid report. Last paper reel was produced at the mill in the morning of 10 December The closure means that the Group will terminate its office paper business The fine paper machine had a total production capacity of 150,000 tpy and was the biggest paper machine of the entire group Following an agreement with the Ministry of Labour and Social Policies the employees will be temporarily laid-off for one year and during this time Fedrigoni will try to offer them redeployment within the group Fedrigoni recently published its 3Q 2024 results The Group is set to end the year with revenues over 2 billion euros “2024 was characterized again by a discrete volatility,” comments CEO Marco Nespolo ”we started with good results in the first six months partially driven by a recovery in the destocking trend across the value chains we serve In the latter part of the year we had a gradual slowdown mainly due to softening growth in some end markets such as luxury and wine&spirit Overall it was a pretty positive year that we estimate to close with about 10% growth in Revenues and Ebitda barring any particular surprises in the last months of the year we expect 2024 revenues to exceed €2 billion (up from €1.8 billion in 2023) and pro forma Ebitda to exceed €370 million up about 10% from the previous year (€337.7 million)” With nearly 6,000 people in 28 countries and 78 plants including production sites Fedrigoni sells and distributes its 25,000 products in 132 countries around the world Stora Enso has completed the acquisition of the Finnish sawmill company Junnikkala Oy Mondi announces that following the start-up of its state-of-the-art paper machine at its Štětí mill.. a global leader in industrial packaging products and services Kimberly-Clark Corporation recently announced plans to invest over $2 billion over the next 5 years.. International Paper announces the groundbreaking of its new state-of-the-art sustainable a leading full-service packaging solutions supplier for the world’s biggest beauty SPM International announces Bill Partipilo as the new CEO of SPM Instrument boxboard production in Q1 2025 fell 1% compared to Q1 2024 Smurfit Westrock plc announced it will permanently close its coated recycled board (CRB) mill in.. Valmet will deliver a disc filter refurbishment and reinstallation to Holmen Paper’s Braviken Paper Mill.. By Belinda Kelly According to new research Nordic Paper has today decided to approve environmental investments of up to SEK 450 million.. Together with its Turkish partner company Labtek the German testing equipment manufacturer emtec Electronic will.. Mondi has successfully started up its Duino mill This milestone further strengthens Mondi’s position as.. Gulf Paper Manufacturing and Toscotec started up PM2 after a forming section upgrade at their.. Södra delivered a stable result for the first quarter of 2025 VPK Group announces the acquisition of Open Imballaggi a well-established sheet plant specializing in corrugated.. a leading full-line supplier of technologies and services for the paper industry Amcor and Berry Global Group recently announced the European Commission (EC) has granted unconditional approval.. Stora Enso plans to implement a new organisation with seven P&L responsible business areas reflecting.. Georgia-Pacific’s Savannah River mill in Rincon now accepts polyethylene (PE)-coated paper cups in its.. John Hardwick Twitter Facebook Please enable JS and disable any ad blocker Last paper reel was produced at the Fabriano mill in the morning of 10 December Now the company will proceed with the announced closure of its office paper business Italy's Fedrigoni group has definitely ceased fine paper production at the Fabriano mill, taking another step towards the closure of its office paper subsidiary Giano Srl The last paper offset paper reel on paper machine F3 at the Fabriano mill was produced in the morning of 10 December The paper machine is geared for a total production capacity of 150,000 tpy and was the biggest paper machine of the entire group The closure of Giano will affect 174 employees Following the latest round of negotiations with employee and government representatives at the Ministry of Labour and Social Policies the company will revoke the collective dismissal procedure and activate an extraordinary wage guarantee fund scheme the company will work to offer them redeployment within the group Service Customer Service+49 7224 9397-701servicenoSpam@GO-AWAYeuwid.de Editorial Team+49 7224 9397-0papernoSpam@GO-AWAYeuwid.com Get the latest news about developments and trends in the industry sent to you once a week free of charge by newsletter Sign up for our newsletter We use cookies and external services on our website others enhance your user experience or help us improve this website You can change your privacy settings any time by clicking privacy policy Necessary cookies are required for the correct functioning of the website Content from video platforms and map services is blocked by default. 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You can find more information on the individual external services in our privacy policy On the occasion of the 20th Day of the Contemporary promoted by AMACI (Association of Italian Contemporary Art Museums) an important new acquisition for the collection of the Pinacoteca Civica Bruno Molajoli: it is Artificio naturale an imposing environmental sculpture created by artist Paolo Icaro (Turin was promoted by the City of Fabriano and conceived in collaboration with the Fondazione Ermanno Casoli Its funding was made possible thanks to the PAC2022-2023 (Plan for Contemporary Art) a program promoted by the Ministry of Culture’s General Directorate for Contemporary Creativity testifying to the commitment of Italian institutions to the enhancement of contemporary artistic heritage is a leading figure in Italian and international contemporary art known for his tireless artistic research that has now spanned more than 60 years the artist has explored the expressive potential of sculpture Although he does not fully identify with a specific movement Icarus has often shared the research spirit of Arte Povera an artistic movement that favors simple materials and a primitive Icaro has exhibited in some of the most important international exhibitions of the twentieth century and his works are part of prestigious public and private collections confirming a notoriety that has transcended national borders which combine conceptual reflection with the materiality of objects are expressions of a constant dialogue between space who has always been interested in exploring the relationship between body has been able to blend traditional techniques and contemporary technologies to create works that invite the viewer to interact with their surroundings Artificio naturale fully reflects this approach Artificio naturale is an environmental sculpture that conceals a complex and thoughtful creative process arranged on the ground in the Bruno Molajoli Art Gallery What at first glance might appear to be a simple minimalist intervention in the museum space is instead the result of meticulous technical and conceptual research The creation of the work began with clay modeling of an “ideal” stone a form smoothed and perfected by the artist to evoke the appearance of a stone shaped by the water of a stream This original object was then reproduced in plaster and later in concrete until it was finally carved in Matraia stone a material characterized by its blue-gray hue and its exceptional compactness and strength all appear different from each other in that they are placed in different positions This variation in arrangement not only alters the viewer’s perception of the work but also underscores its founding concept: the dialogue between natural form and human artifice Artificio naturale is the result of a reflection on the interaction between the artwork and the space that hosts it which in nature might look like just a fragment of landscape is here transformed into an object of contemplation a symbol that transcends its physicality to become an expression of a broader thought The visitor is invited not only to observe to reconsider the relationship between nature and human intervention It is an invitation to reflect on the transformation of matter and time is an “artificial” space designed for cultural enjoyment the choice to represent a natural element such as stone through a highly technological and refined creative process accentuates the contrast between the natural and the artificial which forms the conceptual heart of the work “Marble becomes ’artifice’ in the clash-contrast between matter and materiality,” the artist explains “Artifice not to be understood as illusion or pretense but as ’artfully made transformation,’ and therefore natural which allows the memory of the material to be heard.” "The relationship between natural and artificial that animates the work thus extends to the exhibition context housing different species of plants; artifice is represented by the architecture of the historic building that houses the Pinacoteca-the old hospital of Santa Maria del Buon Gesù which stands on Fabriano’s central Piazza della Cattedrale-along with the new wood and glass construction that is grafted onto the courtyard The sequence could also continue with the interior of the building which houses the ’artifice’ par excellence Councillor for Beauty of the City of Fabriano “The acquisition of Artificio naturale by Paolo Icaro represents an important step forward for the Pinacoteca Civica Bruno Molajoli The result of a positive outcome of the ministerial call dedicated to increasing public collections with works of contemporary art and thanks to the collaboration with Fondazione Ermanno Casoli this new entry enriches the dialogue between the different eras represented in our collection the project reaffirms the Fabriano City Council’s desire to invest in contemporary and contemporary art through a series of initiatives up to the creation of a place dedicated to it.” The presentation of Artificio naturale at the Pinacoteca Civica di Fabriano is accompanied by an articulated program of parallel activities the exhibition will be flanked by a series of public meetings in which it will be possible to learn more about the figure of Paolo Icaro and the significance of his work in the contemporary art scene educational workshops dedicated to children are planned with the aim of bringing even the youngest children closer to the world of contemporary art through creative experiences that stimulate their critical sense and imagination Completing the project will be the publication of a volume with texts by Marcello Smarrelli and Simone Ciglia with a reflection on the work of Icarus and the cultural context in which it is inserted the collaboration between the City of Fabriano and Fondazione Ermanno Casoli confirms the desire of both institutions to promote and spread contemporary art in the area Italy's Fedrigoni Group has announced plans to exit the office paper business at a meeting held on 3 October with employee representatives This means that the company will shut down parts of its Fabriano mill as well as the nearby mill in Rocchetta both located in the eastern Italian region of Marche Fedrigoni reported that it would discontinue office paper production in Fabriano This will have implications for the maintenance warehousing and transport operations at the site The La Rocchetta mill is home to a slitting centre and will close its doors entirely Fedrigoni stressed that it would do all it could to minimise the number of redundancies The company will hold additional meetings with trade union officials in the course of this week to discuss possible options The activities earmarked for closure are part of Giano a Fedrigoni subsidiary founded in November 2022 for the production and distribution of office paper Giano will cease all production and distribution activities on 1 January 2025 Fedrigoni said that the office paper business had been in an irreversible crisis for years The market was dominated by large international companies that also had to close capacity in recent years as demand had cooled Fedrigoni noted that it had spent two years looking for partners willing to invest in Giano It had also considered selling the entire Fabriano brand business Yet the company was unable to find an investor for this option leading it to ultimately decide to part ways with its office paper operations Fedrigoni now intends to focus on its production of speciality paper for packaging and creative communications All of the group’s other activities in the Marche region The firm stated that it had no intention at all to leave the region "We will continue to invest in developing our production and converting sites in this region and in the historic Fabriano brand,” the company remarked Fabriano is to remain an important and strategic part of the group Fedrigoni manufactures speciality paper for luxury packaging creative communications and self-adhesive materials in 29 countries and employs 6,000 people around the globe The United Nations Educational, Scientific and Cultural Organization (UNESCO) has designated Brazzaville (Republic of Congo) Kraków (Poland) and Fabriano (Italy) as new members of its network of “creative hubs” promoting socio-economic and cultural development worldwide through creative industries Brazzaville, designated “City of Music”, is the first African member of the Creative Cities Network which was launched by UNESCO in 2004 to develop international cooperation among cities that have recognized creativity as a driver for sustainable development Kraków and Fabriano join the Network in the categories of Gastronomy Kraków and Fabriano have all tapped into creativity as a source of enrichment for the contemporary urban landscape and the daily life of citizens,” the Paris-based UNESCO stated in a news release the cities commit to strengthening participation in cultural life through fostering access to the creation and enjoyment of cultural activities promoting creativity and creative expressions and integrating cultural and creative industries into local development reflecting different dimensions of cultural life the Network serves to facilitate the exchange of experience knowledge and resources among its member cities as a means to promote the development of local creative industries and to foster worldwide cooperation in the cultural and creative sector the Network now comprises 38 cities from all regions of the world More cities are expected to be designated before the end of the year Announcement of the new designees comes on the second day of UNESCO’s Creative Cities Summit The meetings and related events are being held in the Capital Museum in Beijing which itself was named a UNESCO “City of Design” in 2012 “This is a summit for creativity,” declared Irina Bokova Director-General of UNESCO as she opened the event She added: “Standing at the intersection of the past and the future – cities are places where tradition meets modernity where the ‘local’ and the ‘global’ interact social and cultural dimensions of sustainability interweave most tightly.” Fabriano is a city with a history rooted in Neolithic times as evidenced by archaeological finds at the Attidium site Fabriano’s best-known feature is its ancient tradition in papermaking which has earned it the title of UNESCO Creative City Fabriano has been a center of excellence in the manufacture of the material with its paper mills operating since the 13th century as evidenced by the Paper and Watermark Museum Fabriano has a vast historical and artistic heritage of medieval palaces and towers The Cathedral of San Venanzio with its 14th-century details is one of the symbols of the city Among the most important buildings besides the Cathedral is the Palazzo del Podestà a medieval-era structure positioned in Town Hall Square but also nature; surrounded by natural landscapes visitors can enjoy walks and outdoor activities are among the largest cave systems and are a visit of total immersion in nature We at Finestre Sull’Arte have therefore collected the top 10 places to admire and understand the town of Fabriano The Town Hall SquareTown Hall Square is the centerpiece of Fabriano The square is distinguished by its triangular shape The square is dominated by a 13th-century structure Built beginning in 1255 at a symbolic point-the place where the two original settlements and the four main quarters of the city converged-the palace is distinguished from the surrounding buildings by its use of white stone contrasting with the red brick of the other buildings Inside the square is the Palazzo del Comune which was the residence of the Chiavelli lords dedicated to one of the most celebrated painters of Italian Gothic art and at its side is the Civic Tower of Fabriano The Fabriano Civic Art Gallery was established in 1862 when the municipality acquired an initial nucleus of works from the property of ecclesiastical institutions The first exhibition layout already included important works by Fabriano artists of the 14th and 15th centuries such as Allegretto Nuzi ’s Triptych (several works of which are preserved in the museum) and Antonio da Fabriano’s Dormitio Virginis the collection was significantly enriched by the decision of the San Venanzio Cathedral Chapter to transfer an important group of works to it including a series of Flemish tapestries from the 16th and 17th centuries the Picture Gallery houses collections covering different artistic periods Modern artists featured include Alberto Burri with the work Bianco among the older artists preserved are Filippo da Verona with Madonna and Child and Franceschino di Francesco with Members of Religious Orders Following the Augustinian Rule There is also a wooden sculpture depicting St and there is also a Madonna of the Rosary by Orazio Gentileschi the civic collection has found its current home in the former Spedale di Santa Maria del Buon Gesù The earliest records of the Cathedral of San Venazio date back to 1160 but it was not until 1253 that it became the mother church of Fabriano; at present few architectural elements remain of the ancient 14th-century structure such as the outer line of the apse and some vestiges of ancient chapels To the right of the choir stalls is the Chapel of San Lorenzo with a cycle of 14th-century frescoes by Fabriano artist Allegretto Nuzi depicting scenes from the saint’s life are frescoed by Giovanni di Corraduccio and the Master of St The interior of the church consists of a single nave with six chapels on each side gilded friezes and works by the most celebrated painters of the time who was responsible for the decorative cycle of the Vallemani Chapel executed between 1613 and 1616: the frescoes are on the theme of the Passion of Christ and the scenes depict the Oration in the Garden (right wall) and the Kiss of Judas (left wall) while the back wall is adorned with a canvas Also by Gentileschi are the vault frescoes depicting Christ Crowned with Thorns Also present are works by Simone Cantarini Housed in the recently restored former Dominican Convent complex the Paper and Watermark Museum chronicles seven hundred years of the city’s papermaking tradition The museum is divided into sections that illustrate the entire paper production cycle: from handmaking to the use of the finished product including displays of watermarks and the techniques for making them The museum also offers a historical overview of the paper journey manufacturing processes and related technology presented through documents and thematic sheets preserved at the Fabriano Municipal Historical Archives besides this allows a partial and fragmentary reconstruction of the beginnings and evolution of papermaking in this important center of the Marche region The Mazzolini Giuseppucci Pharmacy Museum is striking for its neo-Gothic style wooden furnishings Fabriano’s pharmacy was a meeting point for lay and intellectual circles that operated around the versatile figure of Ermogaste Mazzolini attracted by Adolfo Ricci ’s sculptures that transformed the place into a small temple dedicated to scientific progress the pharmacy reopened to the public under the new name 1896 Science and Nature the aroma of wood welcomes visitors and mingles with that of aromatic and medicinal plants protagonists of the herbal preparations and natural cosmetics on display TheOratory of Charity was begun in 1587 and houses the Confraternity of Charity It has a rectangular floor plan and trussed ceiling and the interior is decorated with a cycle of frescoes depicting the seven Spiritual and Corporal Works of Mercy a popular theme during the Counter-Reformation painted in the late 16th century by Filippo Bellini of Urbino are arranged in fourteen panels alternated by pilasters and enriched with stucco and gilding the oratory was used as a storage room for the Municipal Library The construction of theOratory of the Gonfalone in Fabriano began in 1610 desired by the Marian confraternity of the same name The Oratory is famous for its coffered ceiling composed of 15 panels carved and decorated in pure gold and silver the work of French sculptor Leonard Chailleau are adorned with a cycle of canvases dedicated to the life of the Virgin painted by Francesco Bastari in the early 17th century which in 1808 changed its name to the Company of the Blessed Sacrament of St The Roman center of Attidium was located in the present-day hamlet of Attiggio The oldest archaeological remains date from the late Neolithic period revealed a deposit that showed the presence of several later settlements: a Late Neolithic layer with post holes and a hearth a Picenian settlement from the 5th century B.C. and probably Umbrian communities were present in the area of the upper Esino valley the existence of the priestly college of the Fratres Atiedii the Umbrian sacred text compiled between the 3rd and 1st centuries B.C. currently preserved in the Museo Civico di Palazzo dei Consoli in Gubbio TheRomanesque Abbey of San Vittore delle Chi use was built by the Lombards towards the end of the 10th century located at the beginning of the Frasassi Gorge and surrounded by an amphitheater of mountains from which it takes its name “delle Chiuse” for its hidden and also protected position The present complex dates from the 14th-15th centuries while the church dates from the 11th century The undecorated interior features round arches features a Greek cross plan inscribed in a square with five apses and a facade tower A curious detail is the inverted infinity symbol near the left altar door which attracts the attention of scholars and is believed to have been left by the Templars are a complex of underground karst caves that are part of the Gola della Rossa e di Frasassi Regional Natural Park The cave system includes various environments which is easily accessible to visitors who can still admire the beauty of the underground caves thanks to Rolando Silvestri of the Marchigiano CAI Speleological Group of Ancona who found the entrance during an expedition led by Giancarlo Cappanera made it possible to make one of the most fascinating parts of the cave accessible to tourists FABRIANO: Carta 8, Pierotti Alles 16, Dri 11, Centanni 17, Hadzic 3, Gnecchi 2, Molinaro 16, Pisano, Scandiuzzi, Romagnoli, Ottoni, Scanzi 7. Coach Niccolai. CLOSED: Criconia 4, Ceparano 6, Renzi 13, Si. Longetti, Fall 3, Chapelli 2, Fazioli, Ius, Gravaghi 2, Raffaelli 11, Rasio 15. Coach Zanco. ATLETICO MARINER: Amato, Marucci, Lorenzoni, Panza (37' Sharif), Bontempi, Kiwobo, Malheiro (1' st Luciani), Picciola (16' st Rodriguez), Cialini (32' st Di Filippo), Napolano, Tassi. Coach Puddu FABRIANO CERRETO: Stroppa, Poeta (19' st De Sanctis), Crescentini (14' st Grassi), Carnevali, Stortini, Fondi (36' st Franconi), Conti, Trillini, Proietti Zola, Nacciarriti (28' st Marinelli), Guidarelli (14' st Marino). Coach Mariotti Referee: Tasso from Macerata. Assistants: Belogi and Varagona from Ancona Goals: 44' Kiwobo, 6' st Stortini, 27' st Cialini Note: Carnevali sent off in the 8th minute of the second half It was supposed to be a victory and victory it was for Atletico Mariner who, beating Fabriano Cerreto, earned the right to play the play out with Monturano Campiglione at home. The match was lively right away, Fabriano tried with Proietti Zola to which Tassi responded with a nice header. The second half opens with Fabriano Cerreto equalising: a cross from the right corner by Proietti Zola for a header by Stortini that makes it 1-1. In the 8th minute of the second half, Carnevali's expulsion for a second yellow card complicates the game for the guests, in fact a few minutes later a nice long pass by Napolano for Tassi who enters the area, the players volley with their left foot and hits the post. The Hanoverian licensed breeding stallion Fabriano has passed away at age 26 The dark bay stallion's conditioned deteriorated rapidly in December 2013 and he was euthanized at the end of the year Fabriano was born in 1987 at his breeder Johannes Benker's yard in Papenburg He was sired by Wendulan out of Agmara (by Azur x Leutnant) The 1.65 m standing colt was licensed and did his stallion performance test in 1990 under rider Albert Habermann He won the testing in a field of 36 stallions scoring a winning index of 133,02 points For dressage he finished fourth with 128.55 points and for show jumping he got 132 points He started breeding at the stallion station in Bodenstein in 1991 and from 1992 until 2006 he was stationed in Schillerslage The versatile Fabriano was quite a popular breeding stallion and was able to maintain constant breeding statistics throughout hi slife He sired 775 registered sport horses of which 40 performed at S-level in dressage and 14 at S-level in show jumping 15 licensed sons and 182 sport horses that sold at auction in Germany Fabriano's most famous dressage offspring include the Australian based Grand Prix stallion Fisherman's Friend (by Fabriano x Pik Solo) as well as Debbie McDonald's and Adrienne Lyle's Grand Prix horse Felix (by Fabriano x Augustinius xx) Martin Hauptmann's World Young Horse Championship ride Frechdachs (by Fabriano x Pik König) and Jean Francois Combecave's rising FEI horse Fellow Stalls for Rent at Durondeau Dressage in Peer, Belgium Exceptionally Well Located Equestrian Facility in Wellington, Florida Well-built Equestrian Estate With Multiple Business Opportunities in Sweden Stable Units for Rent at Lotje Schoots' Equestrian Center in Houten (NED) For Rent: Several Apartments and Stable Wing at High-End Equestrian Facility Stable Wing Available at Reiterhof Wensing on Dutch/German border Real Estate: Well-Appointed Country House with Extensive Equestrian Facility in the U.K. Rémi Blot View upcoming auction estimates and receive personalized email alerts for the artists you follow Jean-Antoine Houdon’s six-foot-tall sculpture Diana the Huntress (1776–95) spent much of the past five years in a box while construction workers hammered away nearby Let’s explore this beautiful altarpiece which features scenes of great pomp and circumstance The Epiphany was already a popular subject in painting in the Middle Ages yet it became a topos during the Renaissance when each respected painter produced at least one adoration scene The historic Moto Club Artiglio were in charge of an impressive 235 riders in Fabriano for round six of the Italian Absolutes Enduro Championship with a record number of those 38 in total were in the “foreigners” class with 13 different nations represented Photo Credit: Italiano Enduro + Cris Morello + RedMoto Racing Create a personal Enduro21 account to access our new forum receive exclusive competitions and money saving offers Enduro21 is all about motorcycle enduro and off-road riding. Read more Donations to Enduro21 can make a huge difference to what we do Learn more We're on the lookout for writers, photographers, videographers and enduro enthusiasts, from all around the world. Read more This website uses cookies that are necessary to its functioning and required to achieve the purposes illustrated in the privacy policy By accepting this OR scrolling this page OR continuing to browse In the photo, the layout of the Lorenzo Monaco and Gentile da Fabriano room: Gentile’s Adoration is on the back wall, Lorenzo Monaco’s Adoration is on the left wall. On the right wall, Lorenzo Monaco’s Coronation of the Virgin. I would like to be emailed about offers, events and updates from The Independent. Read our Privacy notice We cannot help but feel that there is a gloriously delightful conceit at the heart of this great painting. It was commissioned by an immensely wealthy Florentine banker called Palla Strozzi from an itinerant Italian artist who was practising on the cusp between Late Gothic and Early Renaissance. You can almost regard it as a glorious flourish of decorative exuberance in the Gothic manner. Born in the Marche, Gentile da Fabriano (1370-1427) worked as an itinerant artist, principally of religious scenes, and mainly in Tuscany. His style is loosely described as International Gothic, but the fact is that he also incorporated stylistic elements of the Florentine Renaissance into his art as a result of working in that city. Join thought-provoking conversations, follow other Independent readers and see their replies Gentile da Fabriano","description":"Uffizi Gallery | Copyright 2025 FIM Europe | Terms of use - Privacy statement | precisely because it allows a unique comparison between the great masterpieces of the two greatest exponents of the period in Italy: precisely Their two Adorations of the Magi are on adjoining walls One need only stand at a certain point in the room to see them together linger especially in front of Gentile da Fabriano’s work that sumptuous procession that has come to adore the Child...in short all of this exerts a remarkable fascination on visitors to the museum Who often forget about the painting on the wall next door I make no secret of the fact that I have more sympathy for Lorenzo Monaco’s work Its appeal is more intellectual and metaphysical than material And the history of Lorenzo’sAdoration much less documented than that of Gentile’s painting makes it more interesting in that we do not really know who commissioned the work scholar Marvin Eisenberg published a monograph on Lorenzo in which he gave an account of having found documents attesting to the payment of 182 florins for an altarpiece to be given to the church of Sant’Egidio in Florence deemed too considerable by other scholars for a painting such as the one we can admire today in the Uffizi And so there still remains doubt as to who was the recipient of the work and who requested it there is no doubt about Gentile’s work commissioned in 1423 for the church of Santa Trinita by the banker Palla Strozzi who in 1427 was reported to be the richest man in Florence The borders with Arabic script lend an exotic charm to the painting And the borders themselves describe meandering Lorenzo Monaco’s is a festive procession but it appears to us more composed than Gentile da Fabriano’s And Gentile da Fabriano ’s altarpiece is a hymn to the wealth of the patron to give a tangible and visual demonstration of his own situation of economic prosperity earthly: a fairy tale celebrating the comforts of wealth performs a type of operation that is diametrically opposed to that performed by Gentile what gives the fairy-tale tones are the poses the features on the faces of the characters the somewhat questioning expressions of certain protagonists: like the one with the curved sword who seems to ask the man next to him what the reason for so much homage is we see him kneeling immediately behind the old man has such delicate features that he looks like a woman Even his hands are tapered like a woman’s kneeling at the feet of the Madonna who shows him the Child but the mantle of the old man of the Magi is unadorned that makes him appear as elegant as Gentile’s with that splendid mantle as blue as night and like the night decorated only with stars But if there is one thing I have always admired about Lorenzo Monaco’sAdoration in which we see the arrival of the procession of the Magi We can actually follow it from the landing (in fact we see the sea in the distance) to the arrival at the hut In Lorenzo Monaco this sense of narrative is missing There are rocks from the totally smooth surface who take on the same color tones as the rocks on which they stand to suggest to the viewer that the scene takes place at night (the perception of colors And then there is that bizarre city that appears between the mountains rather than a city: the towers are parallelepipeds that cluster within the circle of walls and sometimes blend in with the walls themselves A city that almost seems to come out of a twentieth-century surrealist or metaphysical painting And that appears as if it were an enchanted castle: here is the most fairy-tale element of Lorenzo Monaco’s work And the same forms are recalled in the very strange Jesus Hut: the pink of the perfectly smooth walls is the same as in the enchanted city the shape of the building is incredibly whimsical and serves more evocative than narrative functions “Sinuous Gothic lines that launch themselves right into abstraction,” Vincenzo Costantini wrote in the 1940s about Lorenzo Monaco’sAdoration of the Magi that we find the sense of the fantastic in Lorenzo Monaco Consider the fact that Gentile painted his work just a year after Lorenzo’s proposed for Lorenzo’sAdoration: the two artists were therefore very close probably even the same places where they went for their daily activities But their interpretation of the courtly and fairy-tale taste of the International Gothic could not have been so distant Richly and sumptuously attired figures and sinuous and elusive figures Gentile da Fabriano and Lorenzo Monaco continue to present themselves this way to the eyes of the viewer of their works: two artists so close Katherine Spindler’s artistic process is essentially one guided by intuition before and above concept to attempt to describe an overarching impetus for this new collection of work The very title indicates an impossible act which is nevertheless ubiquitously attempted in the ways we continually endeavour to contain and explain time Spindler’s consideration of time is one played out on a personal empathetic and phenomenological scale rather than one concerned with objective or scientific measuring Time becomes a question of our ways of being The artist looks to how we navigate life through gesture while monuments – such as Spindler’s reoccurring lighthouse – are rendered fragmentary and diaphanous The relationship and interaction between fragment and whole is thus core to this body of work It is especially evident in the large scale assemblages which re-enact a mechanism essential to Spindler’s practice – a meditative act of collecting texts and objects in a constant engagement with the ways in which meaning can be framed This relationship between fragment and whole in turn contains within it tensions between knowledge and instinct It is through quiet intuition that Spindler navigates these tensions and it is through this same intuition that the viewer should seek to be guided through the works collected here Among the episodes of Caravaggio ’s biography that are less frequented by scholars is perhaps the stay that the great Lombard painter made in the Marche region between October 1603 and April 1604: the product of those few months’ stay in the region a canvas that was in the church of San Filippo in Ascoli Piceno and of which Longhi spoke “as an example at the limit of the possibilities of imagining an original by Caravaggio even from an extremely depressed and hasty copy” (since it was thanks to a copy that the scholar traced the painting’s existence) Michelangelo Merisi’s trip to the region had little effect on an area not yet willing to make itself receptive to the innovations that were being produced in Rome but the news of his Marche excursion is useful for understanding the later development of Caravaggism in the area were in fact linked by a double thread: these were economic connections (the Marches was probably the richest and most productive region of the Papal States) and cultural ones since a large number of artists and intellectuals left the lands beyond the Apennines to reach the capital and the reverse route was often taken by the works produced in Rome by the greatest artists of the time to be sent to wealthy patrons in and around Ancona the region had experienced the aforementioned presence of Caravaggio had been the destination of Guido Reni and Lionello Spada who in 1604 went to Loreto to discuss the project for the frescoes of the new sacristy in the basilica of the Holy House (a commission that was later awarded to Cristoforo Roncalli) and in 1608 saw the arrival of one of Rubens’ masterpieces the Nativity executed by the Siegen painter for the Oratorians of Fermo.It was in this context that Orazio Gentileschi ’s (Pisa 1639) Circumcision arrived in Ancona: the artist from Pisa executed it in Rome in 1607 for an Ancona aristocrat who had financed the construction of the Gesù church the place for which the altarpiece was intended and where it is still kept today The Ancona altarpiece is the first work Gentileschi painted for the Marche region and in addition to providing an opportunity to recall the connections that existed at the time between the capital of the papacy and the region facing the Adriatic (Nappi was part of the Ancona delegation that traveled to Rome in 1605 and it is assumed that the artist came into contact with the wealthy nobleman thanks to Cardinal Claudio Acquaviva Provost General of the Jesuits and a great lover of Tuscan artists) is also the ideal starting point for introducing the exhibition La luce e i silenzi Orazio Gentileschi and Caravaggesque Painting in the Marche in the Seventeenth Century (at the Pinacoteca Civica di Fabriano until December 8 an important exhibition that has a twofold objective: to investigate in depth the terms of the painter’s presence in the Marche and to trace an itinerary of Caravaggism in the Marche although not immediately associated as others (Lazio or Campania for example) with the spread of the Milanese master’s lesson (essentially for two reasons: the short duration of Caravaggio’s stay in the area and the current absence of his works in the territory) affected by frequent Caravaggesque incursions for the presence of artists born within the borders and for fortunate collecting or commissioning contingencies,” as Gianni Papi rightly points out in his catalog essay dedicated precisely to the theme of Caravaggism in the Marche Although there have been recent reconnaissances of Gentileschi’s work in the Marche region (recall the one proposed by Livia Carloni on the occasion of the exhibition on Orazio and Artemisia Gentileschi held in Rome New York and Saint Louis between 2001 and 2002) never before had the artist’s role been placed in such close correlation with the artistic milieu that would shortly develop thanks in part to her fundamental contribution To give an account of the novelty of the operation it is enough to think of the fact that never before had there been the opportunity for such a vast direct comparison between Gentileschi himself and the most illustrious of the Caravaggesque painters from the Marche whose relationship with the Pisan has often been misrepresented and the Fabriano review sets out to elucidate its nature in depth taking care to well emphasize that independence of Guerrieri that so many times has not been taken for granted (far from it) But think also of the fact that the Fabriano exhibition curated by Anna Maria Ambrosini Massari and Alessandro Delpriori is the first ever dedicated to the “Marche Gentileschi,” as well as the first dedicated to the spread of Caravaggism in the Marche: not a single exhibition ever taking over one another (one of the merits of the exhibition lies an exhibition also significant for the various critical innovations that have emerged and some of these will be attempted to be accounted for here There have recently been several exhibition occasions within which a physiognomy of the arts in the Marche towards the end of the sixteenth century has been delineated: it will suffice here to recall the 1992 exhibition Le arti nelle Marche al tempo di Sisto V Art in the Marche in the Second Sixteenth Century the latter a product of the same curators of the Gentileschi exhibition in Fabriano (and consequently the 2019 exhibition is a kind of continuation of it) The departure is therefore given to historical context although the purpose is not to offer an exhaustive overview of art in the Marche in the late sixteenth century but more in keeping with the goals of the exhibition to put the public in a position to glimpse the branches on which Orazio Gentileschi’s art could graft itself were formed in the bed of the previous art but knew the novelties that came from Rome and albeit within the limits of their possibilities and their culture were somewhat welcoming to them (although these were almost always limited and formal adhesions) Hence the absence of works by Federico Barocci or Federico Zuccari (who were also both in full swing when Orazio fired his Circumcision for Ancona) with the reflections of their art: an example is the Nativity with St Francis and Shepherds by Andrea Boscoli (Florence a work from the 1600s that opens the exhibition and which is notable for its Baroque delicacy but also for the strength of its chromatic contrasts that anticipate new trends becomes volumetric vigor in Andrea Lilli (Ancona 1560/1565-after 1635): in his Forced Embarkation of the Family of Martha and Magdalene the solid layout of the two figures on the left depicted with a naturalism unusual for the Marche region of the time (the canvas from the Basilica della Misericordia in Sant’Elpidio a Mare is from 1602) and even placed by some (Arcangeli above all) in relation to the Caravaggio of the Contarelli Chapel (Lilli’s Caravaggism has long been debated) serves as a further forerunner for what was to emerge shortly thereafter with the arrival of Gentileschi and the birth of Guerrieri’s star To complete the discourse on the antecedents (and “antecedents” is the title of the first section of the exhibition) comes an altarpiece that is the result of the joint work of Filippo Bellini (Urbino 1603) and the obscure Palazzino Fedeli (documented between 1603 and 1604) who completed the work following the urbinate artist’s overdue death: it is a Madonna del soccorso with Saints Vitus painted between 1603 and 1604 (in the exhibition has established that the execution was by Fedeli obviously based on a drawing by Bellini: this is one of the novelties from the collegiate church of San Pietro in Monte San Vito was believed to have been executed entirely by Bellini) devotional iconographic structure (the Tridentine message took root strongly in the Marche region a flourishing land of Counter-Reformation art) is lit up by a new luminism also in anticipation of the future seventeenth-century naturalism Gentileschi and the Caravaggesque artists come into the picture beginning in the second section arranged thematically around the iconography of the Penitent Magdalene the Magdalene that the artist from Pisa painted for the church of Santa Maria Maddalena in Fabriano on commission from the Università dei Cartai (and still stands there) We do not know exactly the period in which the painter executed his Magdalene: it is necessary to keep in mind that the chronology of his Marche paintings is a difficult matter the only work that it is possible to date with certainty we have no certain evidence from documents) several scholars agree on a date close to 1615 the year in which the Università dei Cartai was aggregated to the Roman archconfraternity of Santo Spirito in Sassia: we know that in 1612 Gentileschi was living in Rome reason for which it is assumed that some prelate as Francesca Mannucci notes in the painting’s file abandons “Mannerist sensualities” to rely on “a calm language” with which the artist “makes visible the act of redemption and repentance”: an intimate work that declines with Gentileschi’s typical refinement (derived from his Tuscan training) Roman-Caravaggio’s naturalism The room also introduces the figure of Giovanni Francesco Guerrieri signed and dated 1611 (although we do not know its original destination) which constitutes an immediate precedent for Gentileschi’s image and is already a declaration of independence vis-à-vis the art of the Pisan was making his debut in his native land with this painting after spending some time in Rome and in Rome he had the opportunity to catch up with Caravaggio’s revolution live: the Magdalene is among the first results of Guerrieri’s reflections Guerrieri’s saint is far removed from the worldliness of Caravaggio’s Magdalene but she is also immune to the languidities of the 16th-century Magdalene: she is a woman in sincere meditation and her beauty is shaped by the light that stands out vividly against the shadow in accordance with the most up-to-date Caravaggesque prescriptions (the Lombard disappeared only a year before Guerrieri produced this canvas If elegance is Gentileschi’s most obvious hallmark is the characteristic that could best frame Guerrieri’s art Alongside these two extraordinary canvases other works on the same theme to bring out affinities and divergences: so here parade before the public’s smug gaze the Magdalene by Guido Cagnacci (Santarcangelo di Romagna unusually morose and resigned for the greatest champion of seventeenth-century sensuality (but we understand this if we consider that the canvas was intended for a convent of Benedictine nuns) reveals much of its erotic potential (it was a painting destined for a private individual) and again the Magdalene by Simone Cantarini (Pesaro as is typical of the Pesaro artist’s manner combines Caravaggio’s naturalism with the classicism of Reno (Emilian art was also often happily received in the Marche region) in a synthesis that probably had no equal a more sophisticated variant of that of 1611 deserves a mention; it also provides an opportunity to reason about the theme of copies and replicas which were very frequent in seventeenth-century art as they were considered a formidable means of disseminating an artist’s ideas (and obviously the greater the number of copies and replicas the greater the artist’s fortune: think of the subject of Caravaggio’s copies and how important they are to critics today) and the sensuous one by Giovanni Baglione (Rome a testament to the fame the Roman painter had also achieved in Umbria and the Marches as well as a painting rather illustrative of his manner ("one witnesses in this Magdalene,“ writes scholar Michele Nicolaci in the catalog ”the happy synthesis of several stylistic registers from the approach to the clear volumes of naturalist layout to a certain idealization of the female figure in the landscape of a more Reno and classicist tradition") The room dedicated to the Magdalene also has the function of introducing some of the main protagonists of the exhibition: the discourse is expanded in the third and fourth sections which constitute the highlight of the exhibition and enter into the merits of Orazio Gentileschi’s relationship with the Marche region address the developments of Caravaggesque painting in the region One of the high points of the exhibition is the wall displaying Gentileschi’s Circumcision and Guerrieri’s Circumcision the latter made for the church of San Francesco in Sassoferrato Gentileschi’s altarpiece reflects Titian’s precedents (as is well known exudes a sumptuousness that is in keeping with the tastes of his wealthy patrons but also adheres to the preciosity that abounds in much of the Tuscan painter’s output and is already imbued with realism (observe the faces of the protagonists: in this regard it will be worth noting another of the exhibition’s novelties namely the identification of a 14-year-old Artemisia Gentileschi in the Saint Cecilia playing the organ in the upper register a hypothesis put forward by Lucia Panetti) it is Marina Cellini who establishes the terms of the comparison between Guerrieri and Gentileschi who identified in the composition of the painter from Fossombrone a reworking of that of the Pisan and placing in the quality of light one of the key elements to “measure the different aptitudes of the two artists,” the scholar points out: "for Carloni the artist from Fossombrone engages his work with a light such as to make ’metallic everything that bathes,’ in antithesis to the crystalline light expressed in Gentileschi’s Circoncisione." Similar then is the composition with the main characters arranged in the lower register the opening onto the landscape behind them The journey among Gentileschi’s masterpieces then continues with the Virgin of the Rosary between Saints Dominic and Catherine for which the latest research has moved the dating back in time (to about 1614: it would thus be one of the earliest works made in Fabriano) with the figures arranging themselves under the curtain like mute actors in a theater (here are the silences alluded to in the title) or with the Saint Francis Receiving the Stigmata which is surprising for the finesse with which the artist succeeds in making palpable the mystical ecstasy of the saint invested by divine light (an admirable essay in Caravaggism reread in the light of the painter’s Tuscan substratum Frances of Rome Receiving the Child from the Hands of the Virgin Frances of Rome is in direct relationship with St Catherine of the Virgin of the Rosary (before the research conducted for the exhibition it was thought to be the other way around) and which represents one of the pinnacles of Orazio’s activity And this is for the intimate delicacy of the attitudes affectionate and elegant way Caravaggio’s luminism for the measured composure of the characters for that balanced relationship between form light and colors in which Longhi saw Gentileschi’s “complexity,” understood as “scaled ratios of luminous quantities in colors; quantities that precisely because they are scaled become qualities of art: values.” A singular almost protean Gentileschi is the one we then find in the David contemplating the head of Goliath capable of reinterpreting a Rhenish model by infusing it with an unexpected mixture of monumentality and lyricism meditatively observes the head of the enemy he has just defeated Walking through the rest of the large room that houses the third and fourth sections is equivalent to taking a tour of the great painting of the Marche region in the early seventeenth century which begins with Guerrieri’sHercules and Onphale the work chosen by the curators for the purpose of welcoming the public to this venue we see a painter with a strong personality who offers us an exemplary summary of Caravaggesque painting in the Marche in the meaning he himself elaborated: the lesson coming from Rome is grafted on a lively narrative taste “has a dominant role in the compositions in some cases going so far as to shape them leaving behind any design project.” The tendency to measure gestures and attitudes is a characteristic feature of almost all painters active in the Marche region: Guerrieri himself provides further evidence of this in the Cross with the Virgin which is also distinguished by the lively and varied colorism and the light that shapes but mention could also be made in this regard of a painter who was not from the Marches and who did whose Noli me tangere we admire in the exhibition which on this very occasion was returned to him by Gianni Papi who has formulated his new attribution (as he did for two other paintings in the exhibition one assigned to Angelo Caroselli and one to Antonio Carracci) on the basis of an interesting stylistic comparison with other known works by the Roman-Senese artist pointing to the Noli me tangere as a demonstration of the “complexity of the painter’s inspiration” as well as of “his passion,” his “role in participating in the great changes of the third decade,” his “fidelity to naturalism” and his “fully accomplished openness to the new times.” In Fabriano there is also room to clarify Giovanni Baglione’s role as a painter capable of spreading the language of Caravaggio’s art to the Marche region: an example of this is his Saint John the Baptist which emerged just two years ago from a private collection and is being exhibited here for the first time (clear debts to the Lombard: for Michele Nicolaci Baglione is distinguished from his rival but also by his “more traditional and mannerist study of the figure evidently already set through a graphic model and enriched later by the study from life of the model’s face in pose”) capable of procuring important public and private commissions was thus an important conduit for the Marche area and the same role must have been exercised by the other artists who sent their works to the Marche to replenish the collections of the wealthiest collectors or to decorate the churches of the area Visitors will thus find a sequence of works by great artists that testify to the great openness of the territory’s patrons: from a Madonna and Child with Saints by Bartolomeo Manfredi (Ostiano a very rare testimony to the Cremonese artist’s production of altarpieces to the Holy Family with Saints by Carlo Bononi (Ferrara a painting with such a Venetian air that it was formerly assigned to Veronese to the Death of the Virgin by Giovanni Lanfranco (Parma evidence of the Parma painter’s flourishing production in the Marche region which contributed to the penetration of a little of his Carracci classicism to the Miracle of the Furnace by Giovanni Serodine (Ascona whose attribution was forcefully reconfirmed to the Swiss painter by Papi on the very occasion of the exhibition to the French painters who had a certain fortune in the region: one example above all is Valentin de Boulogne ’s Saint John the Baptist (Coulommiers And the string of works by Valentin de Boulogne and Trophime Bigot is one of the peaks of the exhibition The concluding sections are devoted to “Caravaggesque questions” and to “a new saint Saint Charles Borromeo” (these are the titles): in the penultimate room in the laudable intent of making the public aware with a title echoing Roberto Longhi’s studies about the problems related to anonymous artists emphasizing how exhibitions also serve to advance new hypotheses and probe new solutions also offer some of the most interesting new works One of the most important is certainly the identification of the so-called “Master of the Incredulity of St Thomas” in the painter Bartolomeo Mendozzi (Leonessa made possible thanks to the work of scholar Francesca Curti who achieved this result through precise and thorough archival research On display in Fabriano are two works assigned by Curti to the artist from Rieti who trained in Manfredi’s workshop and whom Papi in outlining the personality of the then Master of Incredulity defined as “a sort of alter ego of Valentin.” one of these is the so-called Madonna of the Salad a rare depiction of the Rest from the return from the flight to Egypt (and not during the flight eating some bitter herbs (hence the name by which the work is identified) that allude to his fate that presents “a language of clear Caravaggesque matrix but updated to the Roman artistic innovations of the period” (i.e. of the fourth decade of the seventeenth century: “Lanfranchian suggestions and Cortonesque echoes,” the scholar specifies “in the rendering of the vespertine light that pervades the landscape the clouds on the horizon and the figures”) Providing an example of the “genius of the anonymous” (as per the expression used by the curators and the title of an exhibition curated by Papi in 2005) is a Trinity preserved at the Museo Pontificio della Santa Casa in Loreto and the work of an artist at the time unknown but fascinated by early 17th-century Emilian painting The concluding section is a thematic room devoted to the depiction of St which spread after his canonization in 1610 Charles Borromeo also protected against earthquakes his cult spread rapidly and widely in the Marche region: Accompanying the audience to the conclusion are a masterpiece by Alessandro Turchi (Verona a Saint Charles Borromeo that is distinguished by its naturalism tempered by the painter’s cultured and expressive manner and the preciousness of his liturgical vestments Charles Borromeo receiving the homage of the Petrucci couple in beggar’s attire by Giovanni Francesco Guerrieri where it is not difficult to catch a direct quotation from Caravaggio in the figure of the patron Antonio Petrucci kneeling at the saint’s feet Charles Borromeo is an invitation to ideally continue the visit of the exhibition in the churches of the city which in fact form an integral part of it: Leaving the Pinacoteca and crossing the square to enter the cathedral of San Venanzio the second chapel on the left will feature St Charles Borromeo praying for the cessation of the plague a controversial canvas by Orazio Gentileschi of uncertain date which together with the paintings made for the chapel of the Passion (the canvas of the Crucifixion and the frescoes that adorn the room) Philip Neri in Glory by Guerrieri also kept in the cathedral completes the itinerary imagined by the curators but an exhibition is all the better the more it is rooted in its context especially if it allows us to add knowledge on the subject to give renewed impetus to studies on an artist or a topic to formulate new hypotheses in the light of new research if it is true that there is an increasing tendency to move and exhibit works without any real need and to fuel a tourism of works of art that is often devoid of merit This is not the case in Fabriano: the exhibition at the Pinacoteca Civica is supported by a scientifically impeccable project restores Guerrieri’s distinct personality traces a branched itinerary in Caravaggio’s painting in the Marche gives the public an account of new discoveries (some of which have not yet been published: the study on Mendozzi is currently being printed) a high quality divulgative vocation (and in this sense the value of the section devoted to anonymous and attribution problems must be stressed) and knows how to present itself to visitors with an extremely engaging approach it should also be pointed out that the body of research on Orazio Gentileschi is quite substantial and that the Fabriano review comes after several exhibition occasions dedicated to the Tuscan painter: as reiterated in the opening a focus on his activity in the Marche region was missing all the more valuable in that it was ordered in the place where the artist lived roughly between 1613 and 1619 such an exhibition was only possible in Fabriano and the fact that the venue is peripheral does not mean that the level is not typical of a major exhibition to recall that the exhibition is dedicated to Andrea Emiliani a profound connoisseur of seventeenth-century Marche art who died this year who in the catalog of an exhibition devoted in 1988 to Giovanni Francesco Guerrieri praised the generosity of the “Italian province,” namely of the "most extraordinary reservoir of historical and artistic knowledge imaginable the place of the encounter between the schools of the great cities (centers of power and irradiation) and this minute of autonomy or dependence: always high in revealing in every hamlet expressing felicitous expressive abilities; from every workshop flourishing projects capable of engaging the hospitable familiar and broad volume of churches ready to bring together and reveal the complex life of forms that has been created in that place over the centuries and that still expresses itself there: the only one that can really do so." A nobility and complexity of the province that emerge in all their palpable evidence from the beautiful exhibition in Fabriano It was 35 years ago when Colleen decided to learn the ways of watercolour and her practice has now paid off as the grandmother of three is one of 35 Australian artists to have artwork exhibited in the famed international Fabriano in Acquerello Colleen’s artwork Wonder will be showcased in the Italian watercolour museum in April Capturing the wonder in every brush stroke painted of her granddaughter Charlie Colleen said she was excited to travel for the exhibition and participate in the workshops that followed “I never did art at school; I really should have been doing it (painting) years and years ago and I’m sure I would be better at it by now!” Colleen laughed watercolour is a great medium – it’s very practical once you know what you are doing “To paint a watercolour like Wonder it took about half a day but 30 years of work and experience to get to that stage.” “I don’t see my grandchildren very often as Charlie lives in Perth and the other two live in Toowoomba,” Colleen said “So I painted Wonder because when I see them how they can flick from something one minute to something else the next “I wonder how they can suck in so much information “I wonder how they have changed and how they grow between me seeing them The Fabriano in Acquerello is a renowned watercolour convention where artists from around the world exhibit their work and participant in workshops It will be the first time Colleen has had artwork showcased in an international exhibition  “There will be workshops and sessions throughout my time in Italy I just hope to suck up as much information as I can,” she said “I’m going over with my husband John who has always been such a big supporter.” Colleen said painting in watercolour was a hobby she’d grown fond of and when she’s not cooking at The Railway Hotel you’ll find her back behind the art easel either painting or sharing her passion with others “Bundaberg has a great art community,” she said “I teach watercolour at Bundaberg Art Society every Monday, and I hold workshops at Art Plus “I love being able to share my passion with others in the community.” Could colleen please contact me regarding a workshop in monto  This work is licensed under a Creative Commons Attribution 4.0 International License <#= ThriveComments.util.render_label('login_submit_comment') #> <#= ThriveComments.util.render_label('commenting_as',ThriveComments.current_user.display_name || ( ThriveComments.social_user && ThriveComments.social_user.name ) ) #> <#= ThriveComments.util.render_label('guest_comment') #> Jonathan Cooper Park Walk Gallery is delighted to be holding a selling exhibition of new works by botanical artists in the collection of Dr Shirley Sherwood OBE The exhibition unites 18 outstanding contemporary artists who is celebrating 25 years as a collector and supporter of botanical art Botanical art has for centuries been closely linked to exploration aiding and inspiring scientists in their quest to understand the natural world combined technical skill in producing a faithful likeness of a specimen with their own artistic flair represent the very best of contemporary botanical art but all perfectly capturing the essence of their chosen subject The Shirley Sherwood Gallery of Botanical Art in Kew Gardens is the first gallery dedicated solely to botanical art displaying the works of living artists from the collection of Dr Shirley Sherwood OBE alongside the Garden’s holdings It is a vivid testament to the current renaissance of contemporary botanical art demonstrating its fruitful dialogue with great masters of the past while highlighting the excellence of today’s practitioners Kurt Cassar’s Janus Fabriano secured promotion to Serie A2 on Wednesday after beating Cividale 69-53 in the deciding Game Five of the final series This confirms the side as Serie B champions for the 2020-21 season Fabriano had looked the better side as they lead the series 2-0 after the first two games of the series But with only one more win needed to win it all they conceded Games Three and Four as Cividale tied the series to force a deciding Game Five on Wednesday The Malta center put up double digits on the night as he scored 10 points in 22 minutes on court He added six rebounds as Fabriano only lost the first quarter cruising past Cividale in the rest of the game This win is Cassar’s first-ever title win in his professional career in Italy and assures his return to the Serie A2 the league he had started the 2020-21 season in Due to a lack of minutes, Cassar had made the switch to Serie B in January and this has proved fruitful as the Malta international was instrumental to Fabriano’s success this season Contacted by the Times of Malta amid celebrations Cassar could hardly put his happiness into words he said that winning the title means a lot to him This is my first trophy in Italy – I have never won anything here before It’s the first time I’ve won an important league,” Cassar said I hope it will be the first trophy of many!” the club posted on its socials initiating celebrations “Celebrations have already started in the city centre I think I’ve seen around a thousand supporters here celebrating!” Cassar said “We’ll be having some official dinners later on but we have yet to find out what’s next in our celebrations.” Cassar will be off to Malta after this to join the National setup ahead of their title defence in the Games for the Small Countries of Europe in August Asian Football Confederation (AFC) president Sheikh Salman bin Ibrahim Al Khalifa The head of South American football’s governing body CONMEBOL called on FIFA to expand.. UEFA president Aleksander Ceferin said on Thursday it would be “a bad idea” for.. The United States is the sole bidder for the 2031 Women’s World Cup NBA superstar LeBron James says he’ll take time to decide whether to return for.. STARLITES               72 BETSSON DEPIRO   58 (12-13 20-18; Starlites lead series 2-1) Betsson.. The Minnesota Timberwolves turned it up late to beat the Los Angeles Lakers 116-104.. the defending champion Boston Celtics warned NBA rivals who want to.. Luka Doncic scored 31 points and LeBron James added 21 as the Los Angeles.. Oklahoma City Thunder star Shai Gilgeous-Alexander Denver Nuggets big man Nikola Jokic and Milwaukee.. Oklahoma City Thunder destroyed the Memphis Grizzlies 131-80 in the most lopsided game-one win.. Kurt Cassar’s Janus Fabriano secured promotion to Serie A2 on Wednesday after beating Cividale 69-53 in the deciding Game Five of the final series please register for free or log in to your account Malta center Kurt Cassar has got his first start since joining Janus Fabriano Basket during the winter transfer period Cassar started and got his first points on the board for Serie B side Janus Fabriano Basket on Sunday as the side beat Roseto 91-69 Cassar played for 12 minutes and added to his points The Times of Malta Sportsdesk looks at Cassar and other Maltese professionals plying their trade overseas in another segment of ‘Maltese Abroad’ With around three weeks worth of games to catch up on Janus Fabriano have had a marathon of games in the past week and Malta international Kurt Cassar has been in the form of his life scoring a career-high in points and grabbing two Game MVP awards in three games play host to two Malta players – Nick and Alex Formosa – in their senior and youth league teams Both brothers had a winning weekend this time around Kurt Cassar’s Janus Fabriano progressed into the semifinals with a 3-1 series win over Geko PSA in the Italian Serie B playoffs The Times of Malta Sportsdesk looks at the Formosas and other Maltese professionals plying their trade overseas in another segment of ‘Maltese Abroad’ In the senior Division Two of the Big V Championships Nick Formosa scored six points in 24 minutes on Sunday as the Altona Gators beat the Maccabi Warriors 91-81 to go second in the season ladder with an 11-1 record so far Formosa added seven rebounds and two assists to his points on the scoreboard The side faces a full weekend this time around with a game against the Whittlesea Pacers on Saturday and another against the Mornington Breakers on Sunday playing with the Alton Gators youth team in the Youth Division One scored 13 points against Warrandyte on Sunday as the side won 90-83 Alex added three assists and made two steals in 19 minutes on court The side faces Casey on Sunday as they stand fifth with an 8-7 record in the ladder so far could not make the same impact on his team this weekend as he could only manage a point and an assist in 12 minutes as the side fell to the Goldfields Giants in an 87-70 loss on Saturday WATCH THE FULL GAME HERE The Wolfpack fell to seventh place with a 5-3 record in the NBL One West but have the chance to change things around with a game against the East Perth Eagle on Friday and one against the Perry Lake Hawks on Tuesday Kurt Cassar and Janus Fabriano showed their dominance in the Serie B playoffs last week as they went from 1-0 down in the series to winning 3-1 and progressing into the semi-finals against Rucker San Vendemiano Cassar scored 11 points and grabbed seven boards as the side won Game Three 78-86 They did just that once again on Sunday as Cassar scored 7 points and added five rebounds in a 67-76 win over PSA in Game Four They now face fellow Group C San Vendemiano on Sunday for Game One of the semi-final series Sasha Lecuyer’s Loughborough Riders suffered the same faith as Aaron Falzon’s Leicester Riders as they could not make it past the semifinals of the playoffs last weekend losing 64-50 to CoLa Southwark Pride on Saturday Lecuyer will still be in action in the WEABL Summer showcase on Wednesday as the Charnwood Riders face the Nottingham Academy Wildcats Also in action will be Julia Borg as the Sheffield college faces the James Watt College-BMet as the side looks for their first win in an otherwise tough start to the campaign Sam Deguara put up another double-digit display over the weekend as the Tokyo Excellence managed one win from two against Veltex Shizuoka on Friday and Saturday the team won 107-95 with Deguara scoring 14 points and grabbing seven rebounds in 18 minutes The next day the side lost 95-91 but Deguara managed a double-double in 17 minutes The Tokyo excellence face Tryhoop Okayama on Friday and Saturday as the side is second in the standings with a 27-9 record Malta international Kurt Cassar and Janus Fabriano face their second test in the Serie B playoffs on Sunday when they play fellow Group C team Rucker San Vendemiano in the semi-finals Fabriano have faced fifth seed Vendemiano a number of times this season with their last meeting being a 92-78 win for top seed Fabriano earlier this month This was incidentally also Cassar’s highest-scoring game so far this season as he got a career-high 19 points achieving a double-double with 11 rebounds on the day as well Every hand gesture tells a story and each micro-expression speaks volumes about their inspiration when I met Anita at the launch of Fabriano Boutique at Palladium Mumbai—India's first tryst with the Italian stationery brand—I knew I was in for an impassioned tour of the 620-square-foot space a Fabriano employee who was specially flown down from London to give stationery enthusiasts a primer on the brand was quick to fill me in on the legacy of Fabriano Boutique Most Italians have memories of Fabriano paper: generations have learnt how to write in their notebooks and a slew of young artists have practised his or her style on their drawing pads But Fabriano is more than a name filled with memories The Italian stationery brand foregrounds its heritage but you can hardly blame them—not many companies have been around since 1264 For a company that also supplies the paper that Euro banknotes are printed on they also produce some surprisingly lighthearted notebooks and crafty leather products Fabriano has always championed the need for personal experiences It's all about going back to the basics—choosing to send handwritten notes over text messages," says Dilip Doshi CEO of the Ambiar Group—the exclusive distributor of Fabriano Boutique in India 1 / 5ChevronChevronBright pop of coloursThe Holy-Wood backpacks paper folders and pencil cases are made from wood with thin sheets of wood etched with micro-laser engraving coupled to a fabric by using water-based adhesives The result is a very soft material similar to leather which means it is sourced from forests managed efficiently and responsibly according to strict environmental available in colours varying from bright red "We are constantly reinventing ourselves while sticking to our traditional methods of paper-making The Fabriano stores offer something that e-commerce sites cannot—a personal tour of products You can touch the paper we manufacture and feel the texture of our leather goods The experience is unmatched," says Claudio Dall'Era After a thoroughly enjoyable tour of the store I can't help but make a list of stationery I am going to need this year 1 / 2ChevronChevronALSO READ:10 stationery brands to brighten your desk" target="_blank Eclectic and restrained, inside Mumbai’s brand new lifestyle store, Clove" target="_blank Kulture Shop makes a pit stop at Kala Ghoda, Mumbai" target="_blank   The material on this site may not be reproduced except with the prior written permission of Condé Nast Devastating Floods' (aquatint and etching on Fabriano Rosapina Paper climate change is an urgent topic and her canvas remains a grey abyss of barren landscapes The British-trained artist’s recent open studio show Wondering at Hom Art Trans in KL integrated her deep concern for environmental issues with her longstanding fascination for science fiction films and brutalist architecture We would love to keep you posted on the latest promotion Da David Sabbatini - 18 Febroary 2022 Anisan'ireo 'mpanompon'Andriamanitra' vaovao ny dingana voalohany amin'ny anton'ny fanamasinana sy ny fanokanana ho olomasina maty tamin’ny 1998 teo amin’ny faha-78 taonany Pope Francesco nanome alalana ny Congregation for the Causes of Saints hamoaka ny didim-panjakana aorian’ny fahafantarana ny fahagagana iray Maria Costanza Panas (tamin'ny taonjato Agnese Pacifica) masera Capuchin Poor Clares ao amin'ny monasitera Fabriano (Ancona) teraka tamin'ny 5 Janoary 1896 tao Alano di Piave (Belluno) ary maty tamin'ny 28 Mey 1963 tao Fabriano Mbola nahafantatra ny 'herim-po mahery fo' ny Josefa tsy misy tsiny an'i Jesosy (isaky ny taonjato Aldo Brienza) nitonona ho mpivavaka tao amin'ny lamin'ny Karmelita Discalced teraka ny 15 Aogositra 1922 tao Campobasso ary maty tao ny 13 Aprily 1989; ny Viktim-ben'i Jesosy (isaky ny taonjato Maria Concetta Santos) relijiozy breziliana ao amin’ny kongregasionan’ny fanampian’ny rahavavin’i Lady of Pietà 1907-1981; an'ny masera espaniola Giovanna Mendez Romero (antsoina hoe Juanita) ao amin’ny kongregasionan’ny Mpiasan’ny Fon’i Jesosy “Fifaliana lehibe ho an'ny Fiangonan'i Fabriano-Matelica (Ancona) izay mahafantatra ny vaovao momba ny fanamasinana an'i Masera Costanza Panas Ho an’ny Diosezyntsika sy ny Fiangonana manontolo ity vaovao ity dia fanomezana lehibe izay manentana antsika hiaina izany famantarana avy amin’Andriamanitra izany miaraka amin’ny fankasitrahana ny Tompo sy ny Ray Masina izay nanome alalana ny Fiangonan’ny Olomasina hanambara ny didy momba ny fahagagana natao tamin’ny fanelanelanana nataon'ny mpanompon'Andriamanitra hajaina Maria Costanza Panas nitonona ho masera ao amin'ny Capuchin Poor Clares ao amin'ny Monastera Fabriano " Izany no hafatry ny evekan’i Fabriano Matelica Francis Massara momba ny fanambarana ny fanamasinana an'i Maria Costanza Panas (aka Agnese Pacifica) Ilay masera dia teraka tamin'ny 5 Janoary 1896 tao Alano di Piave (Belluno) ary maty tamin'ny 28 Mey 1963 tao Fabriano Hotanterahina any Fabriano ny fankalazana ny fanamasinana ho an’ny Olomasin’ny Andro Farany izay hotanterahina "Ity vaovao mahafinaritra ity dia mifanandrify amin'ny ezaka ataon'ny isam-batan'olona sy ny fiaraha-monina mba hiverenana amin'ny vanim-potoana sarotra ara-tantara toy ny tamin'ny vanim-potoana taorian'ny ady ho an'i Neny Costanza