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Arnaldo Pomodoro: Trinity College sphere sculptor dies in Milan aged 98

Arnaldo Pomodoro: Trinity College sphere sculptor dies in Milan aged 98

Irish Times24-06-2025
Arnaldo Pomodoro, the
Italian
sculptor and creator of the bronze sphere on
Trinity College Dublin's
campus, died at his home in Milan on Sunday, one day before his 99th birthday.
The landmark bronze sculpture on the podium outside the Eavan Boland Library (formerly the Berkeley Library) has been there since the 1980s. Colloquially known as The Pomodoro, its correct name is the Sfera con Sfera, meaning Sphere within a Sphere, and its rotating feature was discovered by many college students down the years.
Pomodoro's death was announced by his niece Carlotta Montebello, who is director general of Fondazione Arnaldo Pomodoro.
Pomodoro was born in the northern region of Emilia-Romagna on June 23rd, 1926. He trained as an engineer and goldsmith and was a self-taught artist.
READ MORE
In later years, he became known as Il Maestro among his colleagues.
Pomodoro was one of Italy's most prominent contemporary artists, specialising in monumental spheres, cones, columns and cubes in polished bronze. Their smooth exteriors split open to reveal interiors that were corroded, torn or simply hollowed out. His work can be seen across the world, including in his native Italy; the Vatican; the United Nations; the Guggenheim Museum in New York, and at the
Unesco
headquarters in Paris.
Italy's prime minister
Giorgia Meloni
said on X that Pomodoro had 'sculpted Italy's soul'. He also won a series of high-profile prizes such as the International Prize for Sculpture at the São Paulo Biennale in 1963, the National Prize for Sculpture at the Venice Biennale in 1964 and the International Prize for Sculpture from the Carnegie Institute in Pittsburgh in 1967.
Pomodoro was conferred with an honorary degree at Trinity College in 1992.
The Sfera con Sfera, or Sphere within a Sphere, at Trinity College Dublin. Photograph: Nick Bradshaw
Trinity is also home to more of his artworks, including a series of nine prints at the school of genetics; a group of works at Tallaght University Hospital and a sculpture in St James's Hospital.
Catherine Giltrap, curator and head of Trinity's University Art Collections, expressed her sympathy to Pomodoro's colleagues and family, and said the college plans to continue with preparations to commemorate 100 years since his birth in 2026.
The Sfera con Sfera, she said, 'quickly became the embodiment of the modern era and a significant outward expression of the vitality of the connections between the historic and the contemporary at our university'.
She described it as a 'privilege' to have Pomodoro's 'immense creative spirit woven into our historic and contemporary campuses through his artworks'.
'Many generations have been, and will continue to be, enriched and inspired by his creative presence in Ireland at Trinity College Dublin.'
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At least 26 dead and a dozen missing after boat capsizes near Italian island
At least 26 dead and a dozen missing after boat capsizes near Italian island

The Irish Sun

time4 days ago

  • The Irish Sun

At least 26 dead and a dozen missing after boat capsizes near Italian island

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Auction house treasure hunters: one attic had a Paul Henry painting that sold for €50,000-€60,000
Auction house treasure hunters: one attic had a Paul Henry painting that sold for €50,000-€60,000

Irish Times

time15-07-2025

  • Irish Times

Auction house treasure hunters: one attic had a Paul Henry painting that sold for €50,000-€60,000

Maybe you're looking to downsize and reduce your belongings. Maybe someone close to you has died, and it's time to clear out the house. Or maybe you have inherited something and have no idea of its value – or even whether it's worth something at all. Step forward the valuers. Sara Kenny of Sara Kenny Fine Art has been offering valuation advice for some 30 years now, covering antiques, paintings, furniture silver and general household effects. 'I'm always delighted to see new things. My job allows me to pry, to be nosy. It's always great to see into other people's houses,' she says. READ MORE And sometimes there are items of value. 'In every house, you don't know what's behind the front door,' she says. She has had some memorable experiences offering household contents valuations, such as the time she was called to a house on a prominent road in Dublin 4. 'The executor got a skip in advance and I remember seeing Irish 18th century furniture in it!' The furniture was quickly taken out and sold. Ian Whyte, of Dublin auction house Whyte's, has spent a lifetime in the business, and recalls one notable find. Some time ago he visited a home where the owner had a painting up in the attic. 'Her father bought it a long time ago and said it was valuable, but her mother didn't like it, so it was kept in the attic.' He duly went up the stairs to investigate, only to find a Paul Henry painting, which was subsequently sold for about €50,000-€60,000. 'That was a nice find,' he recalls, but adds that such discoveries are 'a very, very rare occurrence'. Kenny agrees. 'It can be hard to find those little treasures. Houses are more minimalist and nothing is hidden away'. But how best to go about sorting through the rubbish to find the cash in the attic? [ How to bid wisely at auctions: 'An emotional decision is rarely a wise decision' Opens in new window ] Make a list of contents Kenny is a big fan of lists and suggests this should be the first step when clearing a house. 'The start is to quantify what you have,' she says, adding that as a first step, people should prepare an inventory of items in the home, 'whether of value or not'. In practice, this means going into each room and writing down what is in it. Such an approach can also stop family members taking certain items from the property, without anyone else being aware of it. 'Before you disperse [contents] amongst family, you want to have it all balanced and fair,' she says. Keeping a list also helps to formulate a plan – what should go to the skip, what should go to the charity shop, what might be kept and what might be sold. 'There are a number of different categories when you're clearing out a house. Knowing where to go and what to do is half the battle,' says Kenny. Value – at least in sentimental terms – can be subjective. 'Treasures might be memory treasures; they mightn't necessarily be hugely valuable,' says Kenny. But how do you know whether what is in your home has some monetary value? Keeping an eye on what's selling in auction rooms around the country (see our weekly fine arts column ) can help inform you what might sell, and how much it might sell for. Auction houses will also give you preliminary valuations for free, and advice on selling. For an off-the-cuff valuation, which is subject to inspection, it's unlikely you'll be charged. The same is typically true if an auctioneer visits your house -although they will probably want some assurance that you will use their services to sell the items. You could also check out valuation days the various auction houses hold, at which you can bring along your item for a preliminary valuation. 'What makes it a lot easier these days is the internet, and mobile phones to take photographs,' says Whyte. He suggests taking some shots of things that might be of value and sending these on to an auction house. 'Just take photos on your phone and send them in via WhatApp or email,' says Whyte. You won't be the only one. 'Every day is like the Antiques Roadshow,' he says, laughing. His auction house gets about 20-40 such emails a day, wondering if some item is of value. 'And some of them are.' People will often have an idea if something is of value if there is a name on a painting, for example. 'But if they don't know a lot about the artist or we don't have a signature and don't have an idea who they are, then a value can be difficult to pin down,' he says. 'Art is like fashion,' says Whyte, adding that a lot of so-called brown furniture is of little value these days. 'But if it's Georgian, you could be on to a good thing'. Kenny agrees about brown furniture. 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National histories are always something of a stitch-up - English identities in particular
National histories are always something of a stitch-up - English identities in particular

Irish Times

time07-07-2025

  • Irish Times

National histories are always something of a stitch-up - English identities in particular

A friend now living in Germany visited this week. Mostly my old friends and I catch up while I'm travelling for work, so I was delighted that C made the effort to come, partly because I've already found that there's nothing like showing your new home to old friends to let you feel some sense of belonging. I gave her a wholly idiosyncratic tour of Dublin, taking in all the bookshops and art galleries and avoiding the crowds and global chain stores by slipping down lanes and backstreets I've only recently learned to navigate confidently. I took her to the fine art textile exhibition in Dublin Castle , because we both like good cloth and sewing, and as we looked at some of the work there we remembered learning basic embroidery together in primary school. Aged seven, we learned about the Bayeux Tapestry , a series of embroidery panels made shortly after the Norman conquest of England in 1066. Our teacher wheeled in the school television on its trolley, and we watched a man in a brown suit explaining that the panels made a kind of strip cartoon telling the story of William the Conqueror overthrowing King Harold. English primary education in history always began with this moment, the Battle of Hastings, when the Normans conquered the Anglo-Saxons and began to rule England. In the primary school account, the Norman overlords spoke French, the oppressed peasants Germanic Anglo-Saxon, which over the centuries merged into the illogical and wild mash-up that is the English language. The conquest was presented to us ruefully, with a touch of embarrassment, because the Normans came from Normandy and were thus plainly French, though that was not an identity that would have made sense at the time, and the Anglo-Saxons, although originally hailing from Saxony – both French and German by modern reckoning – had been in England since the Romans left and were therefore pretty much English. It was, we were told, the last time England had been successfully invaded, which didn't make much sense because didn't the invader become 'England' by virtue of conquest, in which case were 'the English' the conquered or the conqueror? The Bayeux Tapestry set out the story in a way accessible to children, though interestingly without a clear indication of which side were the baddies. Our teacher marvelled with us that fabric and stitching had survived nine centuries, and encouraged us to look as closely as 1980s film and photography permitted at the detail and technique of the needlework. She pointed out the moments of high drama – Harold famously killed by an arrow in his eye – but also the smaller sadnesses around the edges. A clique of girls in my class were horse-obsessed, and Mrs Madras let them explore medieval horse-riding, armour and weaponry. My friend and I were, inevitably, more interested in the traces of emotion in the work: who was in pain, afraid, triumphant? It perhaps seemed to us even then that it was more important that men of violence had done harm that would carry down generations than who was waving which flag at the time. We would not for some years begin to see that with the damage of medieval warfare came new forms of art, culture and technology, which is not to say that 'progress' was then or ever worth its toll. READ MORE And, growing up with a mother and grandmother who were gifted needlewomen, I was curious not only about the sewing techniques, which had changed fascinatingly little across the centuries, but about the idea that embroidery was part of the historical record, and a natural response to war and revolution. I used to consider embroidery the most frivolous branch of sewing, which was already merely a feminine pastime, occupation for otherwise idle hands in moments of repose; my mother and grandmother both had full-time professional careers as well. So the juxtaposition of sewing, war and national stories of origin was surprising to me, but remembering that history lesson last week with my (Irish-English German-resident) friend in the coach house of Dublin Castle – a location with its own dark and complex past – it made more sense. [ Sarah Moss: A reader tried to needle me by scoffing at knitting - I was intrigued Opens in new window ] National histories are always something of a stitch-up. English identities in particular are patchwork, not made from whole cloth; the history of these islands is layered, interwoven, visibly and invisibly mended. The more we try to make simple stories of centuries of migration and conflict, the more we embroider the truth. [ English was never pure or logical. Policing how other people speak is pointless and unattractive Opens in new window ]

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