Garlic bulbs are generally overlooked by botanical artists because they are not very interesting.  Pale, hardly any colour and relatively uninteresting.  THINK AGAIN!  They are beautiful.  The colouring is delicate, pretty and subtle.  The shading has to be carefully worked to show the shape of the cloves beneath the fine, papery skin.  Then, that papery skin, when dried out, cracks and peels, adding so much extra interest to the illustration.  Fine ridges have to be shown, together with delicate gradations of colour.  Then add green shoots emerging f

Travelling back in time you will discover that the borders of the tropical region have been dynamic throughout the history of life on Earth with clues that have allowed us to understand the extent of the tropical belt, with a focus on the fossil record.

The creativity of the artist’s hands and the marks and traces they leave is part of the narrative of the Fitzwilliam’s The Human Touch exhibition.

Our bodies are enveloped by the organ of touch, the skin. Touch receptors connected to our nervous system are everywhere, but most densely clustered in our fingertips. Their sensitivity allows us to read tactile writing systems like Braille, and our fingerprints, fully formed at birth, are unique to each individual.

In this online talk Dr Amy Tobin, curator of Exhibitions, Research and Events at Kettle’s Yard explores gender, art making, performance and desire in the works by three women artists featured in The Human Touch exhibition: Alexis Hunter, Ketty La Rocca and Geta Bratescu.

This event is linked to our exhibition The Human Touch.

Join us for a three-way online conversation with specialists in Manuscripts and Printed Books as they reflect on the importance of touch in the making and conserving of medieval manuscripts, and how medieval readers themselves left traces – devout and destructive - of their touch.

Speakers: Suzanne Reynolds, Sara Oberg Stradal and Edward Cheese.

This online talk is linked to our upcoming exhibition: The Human Touch.

Join Curator Dr Susanne Turner on this virtual tour of the Museum of Classical Archaeology's Cast Gallery.

The Museum houses a rather unusual exception: instead of original statues, the Cast Gallery is packed with more than 600 historical plaster casts of Greek and Roman sculptures. But why do we have all these replicas? And how might thinking about copying help us to look differently at ancient sculpture?