In October 2005, Monash University hosted a workshop on Australians in Italy at its Centre in the Palazzo Vaj in Prato. Australians in Italy were certainly visible in the week of the conference. Wall posters in Rome advertised the Macquarie Bank and an exhibition, Viaggio nella Provincia di Roma di una pittrice australiana, the paintings of the expatriate artist Janet Venn-Brown. In Florence, the invitation to the opening of an international exhibition of Women’s Art bore the image of Tracey Moffatt’s photograph Something More 1 (1989). The workshop in Prato included papers on artists, writers, returned migrants, the Catholic clergy – and a vignette on the best-known Australian in contemporary Italy, the supermodel Megan Gale. Also on the programme was the contribution of Australian scholars to Italian Renaissance studies. Now extending to three generations, their work is no longer subsumed under ‘British’, and references are to ‘American–British–Australian’ approaches and research. A member of the first generation, Bill Kent, through his own writing and his training of PhD students, is the crucial figure in the ‘piccola scuola australiana’ (‘piccola’ only when confronted with the North American Renaissance industry), just as he was in the establishment of the Monash Centre in Prato.
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