Category Archives: Art

Visiting Galleria Borghese

26 Sunday Aug 2018

Posted by in Art, Art history, Roma, Travel tips

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La Galleria Borghese was an opulent 17thCentury suburban home of Cardinal Scipione Borghese, nephew of Pope Paul V.  It was also home to his amazing personal art collection.  In 1808, Prince Camillo Borghese was forced to sell the Roman sculpture and antiquities collection to his brother in law Napoleon, for below what it was worth. 340 or so pieces, including the Borghese Gladiator from Ephesus are now in the Borghese collection at the Musée du Louvre.  The Borghese estate in Roma was sold to the Italian government in 1902 and turned into a museum and urban park.

Even though I go to Roma every year, I had yet to visit la Galleria Borghese. It requires booking tickets in advance, which is something I really do not like doing.  Prebooking interferes with my spontaneity!  I tried to book online 2 and 3 years ago when I had a longer time in Roma, but kept getting forwarded to secondary resell sites charging double the price, which really annoyed me.  This year, I decided to try booking a few days before my departure for Roma.

The Galleria is not that easily accessible. It is at the far end of Villa Borghese, a large (200 acre) urban green space. Buses #92, 217, 360 and 919 from Stazione Termini stop at the Galleria. The other most direct route is to take the Metro A line (red) to Flaminio, just outside of Piazza del Popolo. Enter Villa Borghese by the unmistakeable big gates and walk about ½ hour to Galleria Borghese.  Keep right until the bike rentals then left.  It is an uphill walk.  An alternative ….to avoid being late and losing the reservation, is to take the Metro to Flaminio and then take bus #61, 160, 490, 491, or 495 to the Galleria, or even a taxi if you are running late.  It will not cost much, then walk back to Piazzale Flaminio, as it is downhill or take a bus down.  Do not follow the ‘Villa Borghese’ signs at the Spagna Metro station.  These lead to a long underground walk, and then up an escalator to a random forested area in Villa Borghese-the park, nowhere near the museum!

Piazza del Popolo

Tickets must to be reserved. The price of admission is €13 plus €2 for the reservation fee, and if booking online, another €2 for the online booking site-Ticket One.  If using the RomaPass for admission, a reservation is still required. Domenica al Museo, the first Sunday of every month, admission is free, but a reservation is required and the €2 fee.  This is the website for Galleria Borghese.  Reservations can be made by emailing info@tosc.it or calling 39 06 32810 (dial 011 before this number if calling from North America).  I booked online, but had to register for an account with Ticket One, and enter my codice fiscale, which most visitors will not have. Ticket One charges an extra €2 booking fee, so my total cost was €17. I think booking by email is easier! Tours can also be booked with the reservation, but I prefer to wander on my own.  There are also independent tour groups that you can book, which include admission.

Bookings are Tuesday to Sunday for 2 hours, from 9-11am, 11-1pm, 3-5pm and 5-7pm.  The ticket office is in the lower floor-the central lower door in my photo- and you need to arrive 30 minutes before the reservation time or risk losing the spot.  This is not a convenient location to just show up and see if there are any last minute cancellations.  Security is strict and all bags, backpacks, helmets and selfie sticks must be checked before entering.  This includes purses.  Cameras are ok, and photos are allowed.  To rent the 90 minute audioguide (€5), make sure to pay before checking bags or carry pocket cash.

There are 360 reservations per 2 hour time slot. To spread everyone out over the 22 rooms, half of the ticketholders are directed to the Pinacoteca (picture gallery) upstairs and half to the main floor sculpture gallery.  It does not feel too crowded unless you happen to be in a room with more than one tour group.  I was worried about being rushed with a 2 hour limit, but I found it was enough time to see all of the works  It is not enough time to sit and sketch though. Do not forget to look up and admire the ornate painted ceilings and tromp l’oeil painting in every room. 

Cardinal Borghese considered himself an amateur architect and had an eye for art.  He was an early patron of Bernini and collected Caravaggio works.  He also had a knack for unscrupulously swooping in and getting a bargain.  For example, he acquired the Madonna dei Palafrenieri from Caravaggio in 1606 for a pittance when the patrons, the Papal grooms, immediately rejected it.

Madonna dei Palafrenieri. Photo Wikimedia

The painting is also known as Madonna and Child with Serpent or Madonna and Child with St Anne. Why did the Palafrenieri reject this incredible painting?  They did not like that their patron, St Anne, appeared as a passive old woman, nor did they like the Madonna’s ample cleavage, or the fact that Jesus was a naked older boy. There are 5 Caravaggio paintings in Galleria Borghese, all in one room! Some of you may know that I am a huge Caravaggio fan!

Gianlorenzo Bernini is also well represented in the Galleria Borghese with 4 early sculptures.  His Baroque masterpiece David capture the intense moment just before hurling the stone from his slingshot, while his body is twisting and he has a look of fierce determination on his face. 

Bernini’s realism is incredible, he has the ability to turn marble into flesh, as with Hades grip on Proserpina/Persephone’s back and thigh.

Bernini’s sculptures are so lifelike, he is known for attention to detail, such as sculpting the inside of his figures mouths and their tongues! This is really apparent on the figure of Daphne in the sculpture Apollo & Daphne seen below.  I love the way he portrays her fingers growing leaves and branches, roots growing from her toes, and her hair becoming leaves as she turns into a laurel tree.  Stay tuned for a post about this work.

There are countless other fabulous pieces in the Borghese collection, such as Paolina Bonaparte as Venus by Antonio Canova.  The upper floor has paintings by Raphael, Titian, Rubens and Antonello da Messina, to name just a few. I left the Galleria Borghese in a Caravaggio/Bernini art coma!  What did I do before going to have a rest?  Well, I stopped in at Santa Maria del Popolo after my walk down from Villa Borghese to see the 2 Caravaggio paintings there! Then I walked to Piazza Navona to meet a friend. We went to Sant’Agostino to see the Madonna dei Pellegrini then stopped to have a caffè freddo and had an hour long discussion about Caravaggio!  By that time, I was really in a stupor-a happy one, and I did go and have a much needed rest!

Have you been to the Galleria Borghese? What did you think?  Let me know in the comments.  Ciao, Cristina

Mercato Inspiration

30 Friday Jun 2017

Posted by in Art, Art projects, Inspiration

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Sometimes you unexpectedly find inspiration when you really need it.  I had a bancarella at the Mercato Italiano at the Italian Cultural Centre a few weeks ago.  I was selling cartoline, incisioni e monotipi stampato a mano- cards and hand-pulled etchings and monotypes. Setting up and organizing is a lot of work, but it is always fun to meet people and discuss the art process at these events.

Last week, I was having una settimana di merda-a really crappy week….until I received a lovely and very encouraging email from someone I met at the mercato.  He had bought one of my small drypoint etchings and commented on how much he enjoyed our conversation and continued to enjoy the print-so much so that he wrote about it on his blog!

The Print MakersPhotographers should hang around artists. I’ve talked before here about the benefits for a photographer of going to art galleries and shows. If you are thinking about your craft seriously these events will get your mind churning. I am not talking about photo exhibitions. That becomes intellectually incestuous. No, I am talking about getting out amongst other graphic artists to see how people in other mediums represent the world we all share.

Take last Friday night for instance. Here in Vancouver we have a very active Italian Cultural Center and in the summer they hold a series of Italian Markets in the parking lot of the Center. Last Friday was the first market for this year. Susan and I were walking through the stalls looking at the wines, breads, flowers and crafts on display when I came upon Cristina Pepe’s booth where she had some of her hand made prints for sale…….

Read the rest of the post here or at http://flynngraphics.ca/print-makers/ 

Here’s to mutual inspiration!  Ciao, Cristina

Palazzo Massimo alle Terme, Roma

16 Monday Jan 2017

Posted by in Art, Culture, Italia, Roma, Travel

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giardinovillaliviaOne of the best museums in Roma is nascosto in piena vista. Hidden in plain sight near Stazione Termini, Palazzo Massimo alle Terme contains one of the most important collections of classical art.  It is right across the street from Stazione Termini, visible from the bus loop on the way to Piazza dei Cinquecento. The first time I visited Palazzo Massimo was in 2006 when my friend who lives in Roma recommended it. There were only about 10 other people in the building!palazzomassimo

When I was in Roma this summer, it was too hot to be out in the afternoon, so I decided to visit the museum. This turned out to be a great idea, since the top floor with the mosaics and detached frescos is downright cold!  Brrrr!  It was so refreshing! There were more than 10 people in the museum this time, but I still felt like I almost had the place to myself.

Built by Principe Massimiliano Massimo for the Jesuit Collegio Romano, the Palazzo became the first Liceo (high school) in Roma in 1871. Except for a brief period as a WWII military hospital,l the Liceo was open until 1960.  In the 1980’s, in a state of neglect, it was purchased for the Museo Nazionale Romano.  Renovations were completed in 1998.  Palazzo Massimo is now 4 stories of classical amazingness.  700 years (200 BC to 500 AD) of Ancient Roman history, myths, artistic culture and everyday life are on display in the form of sculpture, fresco, mosaic, jewellery and coins.

Central Courtyard, Palazzo Massimo

Central Courtyard, Palazzo Massimo

What is extra cool about the artifacts in Palazzo Massimo is how they got to be there. Previous to the museum opening, most of this priceless stuff was in storage in the Roma city works yard!  In a city as old as Roma, anywhere you break dirt, something will be found.  During construction of the Metro, new roads, or any municipal work involving digging, artifacts were found, tagged and stored. Every piece in the museum has a sign with a written description in Italian and English.  In between the two is stated (in Italiano only) precisely where and when it was found, and in some cases by whom.  For example ‘Roma, Piazza Venezia, Construction of National Monument to Vittorio Emanuele II’, or ‘Subiaco, recovered by the Guardia di Finanza (revenue or tax police, involved in recovery of stolen artifacts)’.  Reading these signs is exciting because you may have walked over that very spot the day before!  Ok, maybe you won’t be as excited as me, but I am a total archeology geek so I find this fascinating!

The ground floor of Palazzo Massimo displays Greek originals discovered in Roma, such as The Dying Niobid, and the magnificent Pugile in riposo, the 2nd Century BC bronze Boxer at Rest, wearing leather hand wraps.  He is so realistic with his broken nose, cuts and deformed ears, you can feel the emotion in his face.

'Pugile a Riposo' Found in 1885 on the Quirinale Hill, where the Baths of Constantine once were.

‘Pugile a Riposo’ Found in 1885 on the Quirinale Hill, where the Baths of Constantine once were.

This floor also has a Roman calendar, portraiture from the Republican and Imperial ages, and sarcophagi, such as the sarcophagus of Portonacci with battle scenes carved in relief.statuarypalazzomassimo

The first floor (2nd floor to North Americans) has masterpieces of statuary, including the Maiden of Antium, Il Discobolo, a Crouching Aphrodite after Diodalses found at Villa Adriana in Tivoli in 1920, and the Sleeping Hermaphrodite.  There are also all the surviving bronze sculptures, fittings and a head of Medusa that decorated Caligula’s floating palaces, the Nemi ships.  These vessels were recovered in the 1920’s by draining Lago di Nemi, only to be destroyed by enemy fire in 1944.

Il Discobolo and a Crouching Aphrodite from Villa Adriana in Tivoli. Both are Roman reproductions of Greek originals

Il Discobolo and a Crouching Aphrodite from Villa Adriana in Tivoli. Both are Roman reproductions of Greek originals

The top floor takes us on an intimate tour of the domestic decor inside Roman homes. An amazing discovery was made right across the street in 1947, during the renovations to Termini and construction of Metro line B. It was a complex from 130-140 AD built in a grid system of private homes, public baths, warehouses, and apartments with shops at street level.  There was pavement and a functioning drainage system. It was all destroyed to make way for quick construction of the new buildings! Aaaahhh!  Luckily the site was well-documented so that the 270 m² of wall frescos and pavement mosaics that were preserved could be reassembled. Part of it is displayed here where 3 rooms of a Domus (Roman house) have been reconstructed to their original size.  Ironically, these rooms face a window looking out at where they used to be.

The 1948 photo from Palazzo Massimo of the site across the street. You can see that the mosaic is the same one that is now in the museum

The 1948 photo from Palazzo Massimo of the site across the street. You can see that the mosaic is the same one that is now in the museum

The Augustan Villa of the Farnesina was discovered in Trastevere in 1879 during work along the river.  The site has since been destroyed, but the vibrantly coloured frescoes were detached and stored for 120 years before being installed in Palazzo Massimo, in accurately reconstructed rooms of their original dimensions.  There is a portico, dining room and 2 Vermillion coloured cubicola (bedrooms) with mythological and erotic paintings, and several hallways.  The rooms are reassembled how they were, so it is like walking through a Roman villa.  Decorating the walls of upper class houses with paintings of mythological or literary subjects was supposed to stimulate cultured conversation. In this villa, there are many references to the Egyptian world in the decorations, celebrating the conquest of Egypt. The owner is thought to have been General Marcus Vipsanius Agrippa, son-in-law of Augustus, who defeated Marc Anthony and Cleopatra at the Battle of Actium in 31 BC.villafarnesinacollage

The final treasure is the 1st Century BC frescoes from Villa Livia, discovered on Via Flaminia in 1863.  The villa belonged to Livia Drusilla, wife of Emperor Augustus.  The paintings of a lush green garden with birds, pomegranate and lemon trees, roses, irises and other plants decorated a vaulted room that was half underground. The large room is recreated here.  It was probably a cool triclinium, a living and dining room for  the summer. villaliviaThe basement has the history of the Roman Empire in coins. It has been converted into a vault for the Medagliere, the coin cabinet and jewellery.

Palazzo Massimo is one of 4 musei that make up the Museo Nazionale Romano. Tickets are €7 for adults, valid for 3 days for all 4 sites.  The other sites are:  Terme di Diocleziano, Palazzo Altemps and Crypta Balbi. Open Tues to Sunday 0900-1945. If you love antiquities, don’t miss it! Ciao, Cristina

Madame Gautreau

18 Friday Mar 2016

Posted by in Art, Art history, Art projects

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Madame Gautreau Drinking a Toast. After John Singer Sargent. Cristina Pepe 2016Finalmente!  An unfinished painting after John Singer Sargent’s ‘Madame Gautreau Drinking a Toast’ was propped up on my bookshelf for 4 years.  She is finally finished!  I started it as part of an assignment for a painting course involving taking a drawing and turning it into a painting.  I got as far as the background and basic shape of the figure and glass.  My images tend to be landscapes, architecture or food.  Figures, especially ones in colour and with faces aren’t really my thing.  This was the first time I painted skintone. Scary! My painting was actually starting to look kind of like a human….. then I was afraid to work on it any more.  So it sat untouched for a few years.

Recently, with some coaching from the amazing Val Nelson, I completed the painting!  Below are the various stages. I didn’t think to photograph them all in the same place at the same time of day, so the lighting is not consistent.  You might notice she had a nose job, facelift, forehead enhancement, and ear repositioning.Madame Gautreau Drinking a Toast, Cristina Pepe 2016 www.unpodipepe.ca

John Singer Sargent is one of my favourite artists.  He was born in Firenze to expat American parents.  They lived off his mother’s small inheritance and he had a very Bohemian upbringing.  Sargent is mostly known as a formal portrait painter.  I love his acquerelli, the watercolours he painted of friends and family while on vacation.  They are so fluid, spontaneous, and bathed in light.  He could do so much with each brushstroke.  This painting was an oil sketch but has same spontaneity as his acquerelli.  It was a study in preparation for ‘Madame X’.

Madame Gautreau is the same subject of ‘Madame X’, a very famous, or shall we say ‘di cattiva fama’, a notorious Sargent painting. The subject, Virginie Avegno Gautreau was an expat American socialite married to an older Parisian banker.  Sargent thought a painting of her unusual features would bring him increased portrait commissions.  Madame Gautreau thought being painted by Sargent would elevate her social status and add a dash of celebrity.  Perhaps she is related to the Kardashians?She posed for the portrait wearing a slinky black velvet dress with an impossibly fitted bodice, her skin powdered in lavender.  While posing, the jeweled right strap of her dress slipped from her shoulder, and Sargent painted it that way.

When the painting premiered at the Paris Salon of 1884, it caused an outright scandal.  We could call it ‘Strap-Gate’.  ‘Madame X’ was considered sexually provocative and in extremely bad taste.  A humiliated Madame Gautreau retreated to the country and she refused to buy the painting.  Sargent was critically panned by the Salon.  He moved to London soon after the controversy and poor critical reception.

Sargent in his studio with Madame X. Image www.metmuseum.org

Sargent in his studio with Madame X. Image http://www.metmuseum.org

Sargent eventually repainted the strap back on the shoulder, and ‘Madame X’ was kept in his studio for 30 years. After the death of Madame Gautreau, he sold it to the Metropolitan Museum of Art in Manhattan for a pittance.  There is also an unfinished version with a single strap at the Tate Gallery in London.  I was lucky enough to see this one in person in 2001 at the Seattle Art Museum.  Madame Gautreau finally did get the fame and attention she craved.

'Madame X' Metropolitan Museum of Art and 'Unfinished Madame X' Tate Gallery. Images Wikimedia Commons

‘Madame X’ Metropolitan Museum of Art and ‘Unfinished Madame X’ Tate Gallery. Images Wikimedia Commons and jssgallery.org.

‘Madame X’ has been the subject of several books including ‘Strapless’ by Deborah Davis and ‘I am Madame X’ by Gioia Diliberto.  Just last month the one act ballet ‘Strapless’ premiered in London.

‘Madame Gautreau Drinking a Toast’ lives at the Isabella Stewart Gardner Museum in Boston.  The Gardner Museum has a large Sargent Collection including many of his acquerelli di vacanze and the amazing gypsy dance ‘Il Jaleo’.

At the moment, I have no plans for a new career as una falsaria d’arte-an art forger.  Studying and reproducing a Master painting is a valuable learning experience. They don’t call them ‘i Maestri’ for nothing! I think I will tackle Vermeer’s ‘Girl with a Pearl Earring’ next.  Or maybe my own scandalous full size version of Madame X? Che pensati?

©2016unpodipepe.ca

Centrale Montemartini

15 Sunday Feb 2015

Posted by in Architecture, Art, Art history, Culture, Italia, Photography, Roma

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Centrale Montemartini is an amazingly awesome, undervisited museum and a stunning example of 20th Century industrial archeology.  Built in 1912 in Art Nouveau style (Stile Liberty), it was the first public electric plant in Roma, providing power for the surrounding area until it was abandoned in 1963.  Luckily the amazing architecture and historical importance saved it from demolition!

Amazon warrior in front of a diesel engine

Amazon warrior in front of a diesel engine

In 1997 during the Capitoline Museum renovation, Centrale Montemartini was used for a temporary exhibition ‘Le Macchine e gli Dei’ (The Machines and the Gods).  In 2005 it became a permanent space for part of the Capitoline collection, with all of the original thermoelectric equipment left in place.  Now you can visit a unique display of classical sculpture against an industrial  backdrop of steam boilers, diesel engines, catwalks twisting pipes and gauges.  It’s a blend of ‘vecchio e più vecchio’ (old and older), a stark contrast of ancient and industrial, art and science.  Antique white marble appears translucent against the blackness of the machinery.  The space is immense and silent, with high ceilings and tall windows providing natural light. The works of art are carefully chosen and placed so there is space to appreciate their beauty while you walk among them and contemplate the passage of time.Centrale Montemartini Sala Macchine3

The 400 pieces include ancient Roman sculptures, rare Greek originals brought to Roma, and Roman copies of Greek originals. They date from the 5th Century BC to the 4th Century AD and were found in the late 19th and early 20th Century. Most of the works are on the upper floor in 2 massive rooms.

Partial female head, discovered in the garden of Villa Rivaldi in 1933 during construction of Via dei Fori Imperiali

Partial female head, discovered in the garden of Villa Rivaldi in 1933 during construction of Via dei Fori Imperiali

In Sala Macchine (Machine Room or Hall of the Machines) 2 hulking diesel engines are surrounded by Roman replicas of Greek statues.  At one end, a reconstruction of the pediment of the Temple of Apollo Sosiano depicts a battle between Greeks and Amazons.  These pieces are Greek originals found in the 1930’s near the Theater of Marcellus.  Above this installation hangs the old ‘carroponte‘ (Gantry crane).

Centrale Montemartini, Sala Macchine

Centrale Montemartini, Sala Macchine

Centrale Montemartini Apollo Sosiano

Other ‘meraviglie’ (wonders) include a bust of Cleopatra and the giant head, right arm and feet of an 8m high statue of the Goddess Fortuna found near Largo Argentina.  Her feet look very modern with their ‘infraditi’-thong style sandals!piedidifortuna

Sala Macchine. Bust of Cleopatra (to the right of the large statue)

Sala Macchine. Bust of Cleopatra (to the right of the large statue)

cleopatraSala Caldaie (Boiler Room) is named for its 15m steam boiler and features a large mosaic of a hunting scene found near Santa Bibiana.  The mosaic is surrounded by sculptures once adorning lavish Roman homes.Centrale Montemartini Sala Caldaie

PolimniaI especially like the statue of Polimnia, muse of poetry and dance.  She has her elbows resting on a pillar and her shawl casually wrapped around her.  My other favourite in Sala Caldaie is the Sphinx Frieze, which seems to glow against the red brick wall.

Sala Caldaie. Sphinx Frieze with Acanthus Spirals. This was part of the Gardens of Sallust and likely represents the victory over Antony and Cleopatra.

Sala Caldaie. Sphinx Frieze with Acanthus Spirals. This was part of the Gardens of Sallust and likely represents the victory over Antony and Cleopatra.

There were only 4 or 5 other people in the museum both times I visited.  One of the staff told me that from October to May they have a lot of school groups visiting through their educational program, but June to September is not very busy.  This is opposite to most other museums!  I definitely recommend this amazing place, especially if you want to get away from crowds and lineups and see something truly unique. Even people who don’t like museums will appreciate this one-or at least find it oddly fascinating!Centrale Montemartini WarriorTorso

Centrale Montemartini is in the Ostiense area on the left bank of the Tevere.  It is south of Roma’s historic center but very accessible by Metro B line Garbatella stop.  When leaving the metro stop, you will cross a pedestrian bridge and then reach Via Ostiense.  Bus 23 goes along Via Ostiense and Stazione Ostiense is also nearby.

The view on exiting Garbatella Metro Stop. Via Ostiense is in front, where the yellow building is. Il Gasometro is behind it. Centrale Montemartini is just to the left.

The view on exiting Garbatella Metro Stop. Via Ostiense is in front, where the yellow building is. Il Gasometro is behind it. Centrale Montemartini is just to the left.

The Basilica of San Paolo Fuori le Mura is walking distance, one metro stop away.  In between the Basilica and Centrale Montemartini is one of the oldest restaurants in Roma, Al Biondo Tevere at Via Ostiense 178 www.albiondotevere.it  serving Roman cuisine overlooking the Tevere.

Centrale Montemartini

Centrale Montemartini

www.centralemontemartini.org  Via Ostiense 106, open Tues-Sun from 09-19.  Admission is € 7.50 for adults or €16 for the Capitolini Card (valid 7 days).  The Romapass can also be used.  Don’t forget your sketchbook!

Ciao, Cristina

‘Ratto delle Sabine’

13 Tuesday Jan 2015

Posted by in Art, Art history, Culture, Firenze, Italia

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OLYMPUS DIGITAL CAMERAOne of my favourite works of art is moving!  After 432 years in the Loggia dei Lanzi in Piazza della Signoria Firenze, Giambologna’s ‘Ratto delle Sabine’  (Abduction of the Sabine Women) is being moved to the Galleria degli Uffizi.  In November 2014 the Ministero dei beni e delle attività culturali e turismo (Ministry of cultural works and tourism) announced that the sculpture would be moving once a reproduction is made for the Loggia and funds are secured for the move.  If needs to be moved indoors to protect it from damage caused by pollution, rain, wind and even snow.

The sculpture was carved from a single block of flawed marble.  Does that sound familiar?  Remember the ‘Il Gigante-Michelangelo’s David’ post?.  It features 3 figures intertwined in a ‘figura serpentina’- a serpentine composition.  A man is lifting a woman into the air while another man crouches, and what they are doing is not really clear.  There is no dominant viewpoint or ‘good side’ to this sculpture. It has multiple viewpoints and makes the viewer want to move around and observe it from every angle.  This was probably the first work of art with more than one point of view.

There are 2 interesting things to note about the sculpture’s misleading title.  First of all, it is usually incorrectly translated into English as ‘Rape of the Sabine Women’.  ‘Ratto’ comes from the latin ‘raptio’ meaning abduction.  The second thing is that the subject matter was entirely made up-it was not the artist who gave this work its title!  Giambologna had no subject in mind when he sculpted this piece.  This was very unusual, but he was trying to demonstrate his ability to create a perfect upward spiralling vortex.  He was the official sculptor of the Medici family and you could say he was showing off.  When the work was completed in 1583, Francesco I de’Medici decided to put it on public display at the Loggia dei Lanzi.  The Loggia is like a large covered porch in the Piazza della Signoria, with 2 walls and 2 open sides.  Some guy named Vincenzo Borghini suggested the title and apparently no one could come up with a better one.  Am I the only one who finds this annoying?

I’ve had the opportunity to view this masterpiece many times and have even sketched it from different viewpoints.  I’m sure a lot of people don’t realize this is still the original sculpture and not a copy! I can totally understand that it needs to be protected from the elements, but once it is moved, you will have to book tickets online, wait in lineups……and you won’t be able to admire it for free on a midnight walk in the Piazza. If you have not seen ‘Ratto delle Sabine’ in the Loggia dei Lanzi yet, there is still time to get to Firenze before ‘il trasloco’-moving day!

Cachi

29 Saturday Nov 2014

Posted by in Art, Mangiamo!

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CachiCollageOne of the few good things about November are cachi (kah•kee) or persimmons.  Papà picked them all a few weeks ago, before it got too cold and they fell off the tree.  The cachi have been ripening in the garage.  I took home a plateful and today they looked irresistably juicy and sketchable.  Yes…. a few of my models didn’t make the photo shoot-I couldn’t resist!

Nel Blu Dipinto di Azzurro-A History of the Colour Blue

23 Sunday Nov 2014

Posted by in Art, Art history

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PoggipoggiazzurroThis post is not about Domenico Modugno’s 1958 hit song or the Azzurri, the Italian national team.  It is about the long and fascinating history of blue pigment.  Although the colour blue is all around us-in the sky, the sea and the mountains, blue pigment is rare in nature.  Unlike earth colours, which could be made by going outside and mixing dirt with oil or sap, blue pigment was made with ground minerals which were not easily obtained. This made blue a rare and valuable colour.

The Ancient Egyptians made a pigment called blue frit from blue glass ground into powder, but the complicated process of how to make it was lost. Historically, the most prized blue was ultramarine, a warm blue with a brilliant tone, leaning towards violet on the colour wheel.  Genuine ultramarine blue was made from ground lapis lazuli stone which has tiny specs of iron pyrite in it that make it glitter like gold.  Lapis lazuli comes mainly from one set of mines in the remote Badakhshan area of Northern Afghanistan (formerly Persia).  The Sar-i-Sang (Place of the Stones) mines have been in operation continuously for over 6,000 years!  Marco Polo explored the area in the 13th Century and wrote ‘there is a mountain in that region where the finest azure (lapis lazuli) in the world is found.  It appears in veins like silver streaks’.  The name ultramarine does not refer to the colour of the sea. ‘Azzurro oltre mare’ or ‘azzurro oltremarino’ means ‘blue from across the seas’.  No one knew exactly where it came from or how it was made, giving it an exotic and mysterious aura.

Lapis lazuli from the Sar-i-Sang mines in Afghanistan, courtesy of Mountain Gems, Burnaby BC.

Lapis lazuli from the Sar-i-Sang mines in Afghanistan, courtesy of Mountain Gems, Burnaby BC.

Lapis lazuli was exported to all parts of the ancient world and used for jewellery and adornment.  It is mentioned in one of the oldest known works of literature, the Mesopotamian poem ‘The Epic of Gilgamesh’ (17-18 C BC).  The irises on the Louvre’s 2400 BC alabaster statue of Ebih-II from ancient Mari (modern Syria) are made of lapis lazuli as are the eyebrows of the funeral mask of King Tutankhamun (1341-1323 BC).  Cleopatra may have even used very finely powdered lapis lazuli for eyeshadow.  Try finding that at Sephora!

The process for making a permanent, non-toxic pigment by extracting colour from the lapis lazuli stone was developed in 12th century Persia.  Trade of ultramarine to Europe via Venezia started soon after Marco Polo’s time.  It was used for manuscript illuminations and painting.  In his early 15th century bestseller, ‘Il Libro dell’Arte’ Cennino Cennini writes about how to make the pigment.  Powdered lapis lazuli stone was sifted and mixed with pine resin, gum mastic and wax or linseed oil.  It was wrapped in cloth, soaked and kneaded with a dilute lye solution until the blue colour was extracted.  Cennini wrote ‘ultramarine blue is a color illustrious, beautiful, the most perfect, beyond all other colours; one could not say anything about it, or do anything with it, that its quality would not still surpass’.

Extracting colour from lapis lazuli with lye can be compared to pressing olive oil. The process is done 3 times.  The first ‘press’, like extra virgin olive oil produces the highest quality colour.  The second press, although still good, is a lower quality colour, and the final press would be the equivalent of pomace olive oil.  In the 2009 Australian/French documentary ‘Cracking the Colour Code’ Massimo Zecchi can be seen preparing genuine ultramarine pigment for the restoration of a Renaissance altarpiece.

During the Renaissance, ultramarine became associated with the divine and heavenly, giving works of art both a sense of spirituality and luxury.  Since it was worth more than the same weight in gold, it was used sparingly by Renaissance painters.  It was reserved for the most important parts of the painting-usually the robes of the Virgin Mary and baby Jesus.  Artists would sign contracts with their patrons stating the quality and price to be paid for the pigment.  Zecchi Colori e Belle Arti in Firenze has been making artist pigments for over 300 years. On their website 100g of ‘Azzurro oltremarino di lapis lazuli Afgano’ sells for 510 Euro, 10g is €58  2nd quality is €290 for 100g or €38 for 10g.

Artists often economized for the underpainting by using blue made with azurite, a mineral mined in France.  Then they would add thin layers of ultramarine over top.  Azurite makes a paler, greenish blue.  It was used for painting skies but would turn dark over time.  In one of my favourite paintings, Sandro Botticelli’s 1470  ‘La Madonna dell’ Eucaristia’ (the Madonna of the Eucharist), the difference between the grayed greenish blue of the sky and the brilliant ultramarine of the Madonna’s robe is clearly visible. If you are in Boston, be sure to visit this masterpiece at the Isabella Stewart Gardner Museum because photographs do not do it justice.

La Madonna dell' Eucaristia (1470) by Sandro Botticelli

La Madonna dell’ Eucaristia (1470) by Sandro Botticelli

Ultramarine was not used in fresco painting, as the colour bleaches out in reaction to the acidic wet lime plaster.  This meant an enormous amount of the expensive pigment would be needed.  Azurite was used for fresco painting.  It had a course texture, making it hard to stick to the plaster.  Several layers of azurite were needed, giving the fresco a crusty or chalky look. Ultramarine pigment was mixed with a binder-usually egg yolk, and applied to the fresco ‘secco’, after the plaster had dried. This is how Giotto painted the magnificent Cappella degli Scrovegni in Padova in 1305.

A small section of Giotto's Cappella degli Scrovegni

A small section of Giotto’s Cappella degli Scrovegni

The turban of Johannes Vermeer’s mesmerizing 1665 ‘Girl with a Pearl Earring’ is painted with a mixture of ultramarine and lead white, with many thin glazes of pure ultramarine painstakingly painted over it. Vermeer went into debt buying the pigment!

Girl with a Pearl Earring (1665) by Johannes Vermeer

Girl with a Pearl Earring (1665) by Johannes Vermeer

In the 18th Century, oxides from cobalt were used to make a blue similar to the Ancient Egyptian blue frit. Several other blue pigments were also developed, but none could compare to ultramarine.  In 1826, the French government offered a prize to produce a synthetic version of ultramarine. Many attempts failed. The final product was named ‘french ultramarine’.  Large quantities could be produced at a much lower price. This is the ultramarine blue pigment we use today.  It is one of the most important colour discoveries in the history of artist pigments.   The next time you crack open a tube of ultramarine blue, squeeze it onto your palette and load it on your brush….you can recall the long and fascinating history that led to the manufacture of your paint!

The Italian word for blue is azzurro (ahz·ZOOR·roh), from the Persian word lazhward which morphed into lazulo then became azzurro.  The same word is the root of English azure, French azur, Polish lazur, Romanian azuriu, Spanish and Portuguese azul, and Hungarian azúr.  Lapis is Latin for stone, thus lapis lazuli means blue stone.

Forza Azzurri!

Forza Azzurri!

©2014 http://www.unpodipepe.ca

Il Torchio

25 Saturday Oct 2014

Posted by in Art, Inspiration

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My new torchio!

My new torchio!

Finalmente!  I finally have my etching press (torchio per incisione)!  It’s a Richeson 11 inch ‘Baby press’.  I’ve been waiting to buy this bambino for a long time.  During the 2010 Winter Olympics, I ‘accidentally’ rented out my guest room to a very nice couple of lawyers from Michigan.  I decided I would use the money to buy myself the Baby press from Daniel Smith in Seattle.  I knew 3 printmakers who had one so I knew that it was small but sturdy and very well-built. I made several attempts to get one in Seattle, but something always went wrong.  One time I called ahead to make sure they had one in the store, but by the time I arrived it had been sold, another time the only one available had a dent in the press bed, another time I got stuck in traffic and didn’t make it there before closing time, and when I went to see U2 in Seattle, I was with too many other people and it was out of our way.  Uffa! I thought I would never have my little torchio and be doomed to printing with a pasta machine!

I recently found out that a printmaker I know bought a bigger press, so I asked her if she wanted to sell her bambino.  She was apprehensive at first, but I assured her he would get a good home and lots of love.  She finally agreed to the adoption and yesterday I picked him up from her studio.  It only took me 4½ years to get my torchio!  I can’t wait to use it for monotipi, punta secca and xilografia (monotypes, dry point etching and wood cut).  Grazie Mitch, Ellen and Kari!

Autoritratto~Mixed-Media Collage

02 Friday May 2014

Posted by in Art, Art projects

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Autoritratto, 2013

Autoritratto, 2013

Autoritratto (ow∙tow∙ree∙TRAT∙tow) means self-portrait. Who says ‘selfies’ can only be done via phone? Try this mixed-media collage project to make your own selfie at home.

You will need:

  • 3 self portraits on paper, all close to the same size
  • a hard surface such as a wood panel, cradled wood panel or board
  • acrylic matte medium. This is acrylic paint without the colour, and it can be used as a glue and also as a protective coating over top of your work.  (white glue can also be used if you do not have matte medium, but it is not archival).
  • bits and pieces of old artwork to collage

selfiestuff

  1. Draw or paint 3 ‘selfies’ on paper. If you are like me, you have lots of them lying around from different art classes. You can also make 3 photocopies of the same image, and colour each one differently.
  2. Crumple each selfie into a ball.
  3. Open them up again and tear into several pieces.
  4. Find your ‘inner Picasso’.  Create a new mixed-media selfie using the torn, crumpled pieces from the original 3. Collage them onto a firm surface with acrylic medium. I recycled a cradled wood panel that was previously painted and sanded by my nipotino Vito. I let parts of his original underpainting show through, such as the blue squiggle on my forehead. We think it makes me look smart!
  5. Collage in other bits of paper. My selfie actually looked a bit creepy before I added the hair! The hair is old pieces of monotypes and lift prints on rice paper. I also added some text using photocopy transfer with acrylic medium.
  6. Add more details to the selfie with acrylic paint, ink, oil or chalk pastels.
  7. When it is done, brush on a few coats of acrylic matte medium to protect the surface. Use gloss medium if you prefer a shiny surface. If chalk pastels were used, spray with a fixative before brushing on the medium.

Ecco, fatto! Un autoritratto tecnica mista!

Ciao, Cristina