Art History Blog 6

Today was a tour di Caravaggio . We visited the sites of some of the artist’s most important commissions by way of the streets he walked in the seventeenth century. I have described Caravaggio’s artwork in my previous entry and the issues with decorum he faced.

When Caravaggio began painting, his work sold for very little. It wasn’t until he was discovered by Cardinal Del Monte, a patron of music and the arts, that he began to gain recognition. Although the Cardinal was not an extravagant man, he was in charge of the décor for the papal chapel and because of this, was able to bring Caravaggio’s unique style to the forefront of Roman painting.

The first church we visited was the French National Church dedicated to St. Louis which is the home to Caravaggio’s first altarpiece commission based on the life of St. Matthew. In a small chapel to the left of the main altar are three works by Caravaggio depicted the calling of St. Matthew by Christ, St. Matthew writing the gospel and his martyrdom. Like all of Caravaggio’s works, issues of decorum were raised when placing highly realistic art in a religious context. These issues are amplified by their placement across the church from a chapel by Domenichino, another popular artist of the time. In Caravaggio’s “Calling of St. Matthew,” the figures are placed in a very secular setting and the scene is difficult to read. There is a strong contrast of light and shadow which partially obscures Christ and there has even been some debate as to exactly which figure is St. Matthew. In contrast, the wall frescoes in the chapel by Domenichino (which also include an altar by Guido Reni) is dedicated to St. Cecelia. By using a pastel colors, clearly readable gestures, idealized figures and a clear study of Classical architecture, Domenichino’s work achieves a legibility not found in Caravaggio’s paintings. Domenichino also demonstrates serious deliberation in his composition and a mastery of effete, the portrayal of emotion.

The comparison of these two chapels leads one to wonder, what is more effective? In terms of aesthetics, a modern viewer would certainly be more interested in Caravaggio’s work as it is highly original and more in line with contemporary aesthetics. However, the legibility and careful deliberation seen in Domenichino’s work makes the work more readable and less confusing, an important aspect of church art. And yet, the directness and down-to-earth qualities in Caravaggio’s painting brings religious subject matter into the earthly realm thus making it more accessible to the viewer.

Art History Blog 5

This morning, we went straight to Bromanti’s tiny yet lovely Tempietto, an excellent introduction to High Renaissance architecture in which symmetry and purity are highly valued, particularly through a Classical lens. Amy gave an excellent presentation on this site in which she described the commission of the small temple by the king and queen of Spain on the supposed spot of St. Peter’s crucifixion (although this has been proved highly unlikely). This temple exemplifies the Classical aesthetic imitated High Renaissance architects for its simple Doric columns and its pure façade.

We followed this introduction to High Renaissance architecture with a leisurely return to villa life at the Villa Farnesina. Originally commissioned by the Agostino Chigi, this villa is decorated with some incredibly famous frescoes by Raphael and other popular contemporaries. During the 15^th century, wealthy indivuduals (usually associated with the Church) emulated the villa lifestyle of antiquity based on the discovery of places like Hadrian’s Villa in which scholarly leisure outside of central Rome was considered healthy and appropriate retreat. Many of these High Renaissance villas exhibit some of the most exquisite secular art of the time as it was decorous to include pagan imagery and study of Classical mythology in villa art. Included amongst the frescoes at the Villa Farnesina are Raphael’s “Galatea” (a totally classic idealization of female beauty) as well as a ceiling fresco of the story of Cupid and Psyche and a highly eroticized scene of Alexander the Great and his wife on their wedding night. All of the frescoes included in the Villa Farnesina illustrate not only a study of Classical art and mythology, but also a playful jokery and blatant sexuality not seen in Classical examples. This type of work would have only been appropriate in an entirely secular setting such as a villa or secular retreat.

After a brief wine and cheese break and an awkwardly sweaty nap (an Italian dietary requirement, at least for me when it is hotter than the surface of the damn sun), we headed to the Villa Borghese, the home of the papal nephew of Pope Paul V, Scipione Borghese a well known patron of artists such as Bernini and Caravaggio.

I have to note that this gallery was a major highlight of my entire Italian vacation and I will gladly explain why. One of the first rooms in the gallery exhibits work by Baroque artist, Caravaggio. Caravaggio was well known for his intense realism after a century of highly idealized religious subjects. Caravaggio painted directly from models with intense chiaroscuro (contrast of light and shadow) with a distinct focus on unsightly details such as wrinkles and other imperfections. While some patrons, such as Scipione Borghese appreciated his style for its ability to connect to common people, others criticized it for the overly-humanized depictions of holy individuals such as Christ and other saints and disciples. For example, this first room includes an altarpiece by Caravaggio created for St. Peter’s Basilica. However, the altarpiece was rejected for a general failure as a religious artwork. Caravaggio struggled to depict supernatural events as legible symbolism is nearly impossible when working directly from reality. Thus, the Virgin appears only as the barmaid you recognize from down the street and the Christ child, nothing but a baby.

In stark contrast, the works of the sculptor Bernini are also included in the Borghese collection and were highly prized by the Church and papacy. Due to their location in the villa, the sculptures by Bernini are quite secular although he also executed many Church commissions included St. Longinus at St. Peter’s as well as entire churches and massive monuments declaring papal power. Bernini was well known for his ability to sculpt narrative scenes usually reserved for painting. Unlike other sculptors of his time, Bernini was able to depict multiple moments within one sculpture with remarkable naturalism. Perhaps it was the heat or just that time of the month, but I nearly cried when I saw two of Bernini’s sculptures included in this gallery. First of all, the sculpture of Persephone being dragged into the underworld by Hades. Bernini is able to turn solid marble into flesh and hair and tears. I almost felt compelled to reach out and touch it to be sure it wasn’t real but I value my fingers too much to see them publically amputated by a museum guard. Similarly, the sculpture of Apollo and Daphne. As the myth goes, Cupid shoots Apollo with an arrow making him fall desperately in love with the River nymph, Daphne. Of course, Daphne shows no interest in Apollo yet he continues to pursue her until she begs her father, the River god to help her escape. In the sculpture, Apollo reaches for Daphne only to see her shift into a laurel tree beneath his finger tips. As you walk around the sculpture, the scene unfolds in ways I cannot explain unless you see it. You can literally see Daphne transform and grow roots from her toes and leaves from her fingers in the most exquisite display of sculptural prowess ever seen. I tear up even thinking about it. Again, flesh, hair, leaves, bark and branches are depicted so seamlessly that one can hardly believe they are looking at solid marble.

disclaimer

Dear friends and family,
I apologize for not posting on my blog all week! Don't worry, I'm not dead. I have been blogging daily but have been too lazy to wait the 45 minutes it takes to upload pictures to this stupid website!
I will slowly be added all my posts. Hopefully I will get them all up before I come home.
Ciao!

Art History Blog #5

I spent my first free days in Rome doing all the expected stuff.

There was a little of this:

Some of that:

And way too much of this and this:

We attempted to head to the Modern Art Museum because, although Rome is not particularly well known for modern art, it would have been pretty cool to see some works by the Italian Futurists up close. Alas, in typical Italian fashion, half the museum was closed leaving only a number of depressing 19^th century war paintings and some seriously creepy sculptures available for viewing. Epic fail.

On Monday, we were given a tour of Roman public transportation. For those of you that know me from home, I abhor public transportation. I suffer from severe motion sickness on all moving vehicles (busses, cars, boats, roller skates, scooters, elephants, etcetera). Now imagine me on the short bus speeding at 40mph through the winding alleyways of Rome. Just image the look on my face.

After the dreaded 116 ride, we boarded the metro. After the metro we got on another bus where the grumpy Italian woman sitting next to me proceeded to pop arm zits (if you don’t know what an arm zit is, I will not bother to explain). Luckily, I was able to rest for about an hour and wake to find myself in the charming town of Tivoli, outside of Rome. We waited by a lovely fountain spewing crystal clear water while a number of teenage couples groped each other and we took photos (of the fountain/town, not the gropers). We then got on another bus and raced through the streets of Tivoli. After disembarking from this final bus, we walked to the entrance to Hadrian’s Villa, a miraculously preserved ancient site which offered an opportunity to get up close and personal with the ruins in ways the Forum and Palatine could not.

Hadrian was emperor of Rome from 117-138 CE and was well known for his interest in Egyptian art and revival of Classical Greek styles. Desiring a retreat outside of Rome, Hadrian had a villa built in Tiber (modern day Tivoli) where he could indulge in learned, scholarly relaxation outside of the city as well as exhibit art collected from his travels to Egypt, Greece and the Near East.

Based on miniature reconstructions of the complex, the site include a number of residential buildings as well as reflection pools, baths and meeting places. Much like the Palatine ruins, the sheer scale of the buildings included in the complex demonstrate Roman ingenuity and the importance of the Roman invention of concrete, despite the influence of Greek architecture. While very few of the original sculptures remain (although a few are preserved in a small museum on site which are heavily guarded by one very intense-looking Italian woman), the copies of Roman originals include a number of larger-than-life Egyptian-style statues lining the refection pool of the Otium as well as a few very flattering portraits of Hadrian’s lover, a youth by the name of Antinous. Although Antinous died at a very young age, it is clear Hadrian loved him deeply as he had him deified and immortalized in the sculptures kept at his villa.

In comparison to the other ancient sites we have visited, the experience of visiting Hadrian’s villa very much reflected the leisurely yet academic reflection for which this villa was intended. Not only was it devoid of the usual tourist hoards, but we were able to wander in and out of the ruins as if we were retracing Hadrian’s footsteps. Aside from the ancient works kept in the gallery, Hadrian’s villa is open to aimless wandering. Of course, being the overly imaginative type, I like to pretend we are all wearing Greek-style togas the way Hadrian would have liked (rather than wearing sweating clothes and being covered in dust) leisurely walking the corridors of the Otium or enjoying the cool baths and discussing the merits of Classical Greek sculpture (which we are actually doing) and eating delicious fruit (rather than mushy Nutella and banana sandwiches).

Viewing this site also gives us a good introduction to villa life, a lifestyle imitated during the High Renaissance amongst the wealthiest Italians wherein the emulation of Classical symmetry and perspective are seen in the secular retreats of Rome’s religious elite.

Art History Blog #4

The class spent our Friday afternoon exploring St. Peters Basilica and the Vatican Museum. The most obvious must-see locations in Rome, the place was so loaded with obnoxious/rude tour groups that the winding halls to the Sistine Chapel were more like a trip through Dante’s inferno into the depths of hell. Despite the heat and the tourist stank, I had the incredible opportunity to see some of the most infamous works of art ever created. It’s like art history’s greatest hits.

We began with St. Peter’s Basilica which is pretty much to most major church on the planet as it is the location where the Pope gives Sunday mass. The façade of St. Peter’s and the corresponding colonnade were meant to draw in pilgrims into the Vatican. Home to the tomb to St. Peter (one of Christ’s disciples and considered the first Pope), the location was originally the location of a basilica founded by Constantine which was then renovated to house the vast numbers of pilgrims. The building is an example of high Renaissance architecture and Baroque decoration, a synthesis of Classical purity and direct emotional content.

Exellent examples of this Baroque directness are Michelangelo’s Pieta (now hidden behind smudged glass and a swarm of tourists because of some jerk who had to come at it with a hammer one time) as well as the statues surrounding the Baldacchino by Bernini François Duquesnoy, Andrea Bolgi and Giuliano Finelli.

The Vatican museum was sweltering, smelly and probably unsafe for art. I nearly punched an old man who attempted to obstruct my frontal photograph of only my most favorite sculpture ever, the Laocoon as well as being shoved into a few other significant works of ancient sculpture. After many miles of Raphael frescoes and equisite hallways, we arrived in the Sistine chapel. In the typical Italian fashion, the security guards were too busy making Friday night plans on their cellphones to enforce the no photography/no talking policy in the chapel. I only about 50 pictures of Michelangelo’s Last Judgement (my all-time favorite Renaissance work) and Birth of Adam as well as the surrounding frescoes by Perugino, Botticelli,Rosselli and Ghirlandaio.

And just like that, I checked about a hundred things off my bucket list. Gratzi, Roma!

(To see more pictures from this and other excursions, remember to look at my Facebook albums.)