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.