I am so so sorry to anyone who ever gets caught up in a conversation with me about the trip - I will get very emphatic, have a slightly crazed glint in my eye and not shut up for a good hour or so.
Now onwards with the geeky blog!
I have tried to cut this down to a limited number of art works... but just bear with me on that front.
I'm sorry about the quality of some of the pictures - I used some of my own but had to nab a lot off the internet - we weren't allowed to photograph everything.
'Assumption of the Virgin' - Titian (The Frari - Venice)
This was the first artwork on the trip that really had me in awe. What's incredible about this altarpiece is that it works so well with the rest of the church - something people should go to The Frari to experience. Still, here's my crummy attempt at trying to explain why it works so well. If you stand in front of the main doors of the church (where there is a big open space) and look down towards the altar it's a powerful experience. Just before the altar a large amount of space is taken up by choir stalls and there is an arch as you enter them - when standing at the back of the church you can see that the arch lines up perfectly with the altarpiece. The framing of the altarpiece draws you to it and Titian's warm, bold colours are so strong even from far away. What I really like about the Frari is that at the back of the church you have a very open space and as you get closer to the altar the space gets more intimate. I developed a nice theory with my tutor that the church layout represents life - you have all this space at the beginning to experiment and possibly make mistakes but a close experience with God in the afterlife is at the end of all of this.
My tutorial group started at the back of the church and gradually moved to sit in front of the altar - this is where Titian's work was at its most powerful for me. If I had to suggest what is most impressive about this work I would say how accessible it is. The colours are so warm and have a sort of gentle glow that really encompasses you - I was lucky to be there in the early morning when the light was just coming through the altar windows in a gentle haze. I also find the figure of Mary particularly interesting - her gaze upwards gives a sense of awe but her open arms show her faith. I could go on and on about this altarpiece but I'll leave it there for now. Titian is just... ahhhh... such a genius!
The Basilica of Sant'Antonio (Padua)
To be fortunate enough to have stood in Sant'Antonio is something I will treasure for a long time. Architecturally outside and inside it is beautiful. However, I'm not going to focus on the architecture. I think what makes this church so special is the atmosphere inside of it - you can't take a picture of that and I know my explanation will never capture how moving it is to be in that church. St Anthony is the saint specifically prayed to when one feels lost. The tomb of St Anthony is in the church and therefore it is a site of pilgrimage for lost souls - it is custom for people to lay their hand on St Anthony's tomb and pray. On certain parts of the tomb photographs or objects related to the lost being prayed for are displayed. It's an overwhelming experience to look at the photographs and pleas for help.
The Basilica of Sant'Antonio (Padua)
To be fortunate enough to have stood in Sant'Antonio is something I will treasure for a long time. Architecturally outside and inside it is beautiful. However, I'm not going to focus on the architecture. I think what makes this church so special is the atmosphere inside of it - you can't take a picture of that and I know my explanation will never capture how moving it is to be in that church. St Anthony is the saint specifically prayed to when one feels lost. The tomb of St Anthony is in the church and therefore it is a site of pilgrimage for lost souls - it is custom for people to lay their hand on St Anthony's tomb and pray. On certain parts of the tomb photographs or objects related to the lost being prayed for are displayed. It's an overwhelming experience to look at the photographs and pleas for help.
Before the trip I had some hard experiences and upon entering the church I thought that I would lay my hand on St Anthony's tomb and ask for guidance. However, the second I got in there, before I'd even seen the tomb, I knew that I didn't need to anymore. The hopeful yet reverent atmosphere of the church took me in entirely and I felt a wave of calm pass over me. I went to the tomb and looked at the photographs of truly lost people - I laid my hand on St Anthony's tomb and thanked God for my life. We all go through trials and sometimes it seems like you're not getting anywhere but really upon reflection it could be so much harder. I've had a blessed life - it doesn't go smoothly all the time - but there is so much to be thankful for. It's experiences like being in Sant'Antonio that remind you of this.
The Scrovegni Chapel - Giotto (Padua)
To be in the Scrovegni Chapel is a real privilege. The chapel is decorated entirely in frescoes which are extremely delicate - there's a scientific explanation about why the painted image starts to fade on the plaster but I won't get in to the nerdy details. Groups of limited numbers are allowed in to the chapel at a time and we all had to be dehumidified before entering it - that's how delicate the work has become. Giotto's frescoes illustrate the lives of Joachim and Anne (the virgin Mary's parents), the life of the virgin Mary, the life of Jesus and the last judgement. Whilst on a grand scale the chapel is absolutely beautiful, I was really touched by the minor details - something you need to be in the chapel to observe. Whilst Giotto's work accurately depicts passages from the bible, he adds minor details that are observations from life - certainly not laid down in the bible. For example, there is a depiction of Joachim and Anne embracing - as they kiss Anne is stroking his beard - it's a very simple gesture Giotto has added to the scene but it brings such tenderness to it. Another example of Giotto's skill is his scene of Judas betraying Jesus with a kiss. Giotto depicts Jesus staring calmly but directly in to Judas' eyes as he betrays him - there is such power and knowledge in him from a minor detail added by Giotto. Giotto is a master of understanding and portraying human mannerisms.
'Holy Trinity' - Massaccio (The Santa Maria Novella - Florence)
I haven't used a picture of the entire work for a reason. Whilst as a whole it is spectacular and there are so many aspects of it that I could talk about - I have decided to focus on one. Mary is commonly the aspect everyone focuses on - and that's for a good reason. I could try and be out of the box and focus on another part of the work but her presence is completely unavoidable. This depiction of Mary reduced a member of my tutorial group to tears and has an intensity I was amazed that art could be capable of. This is such a unique depiction of Mary - in most portrayals she is a motherly or lamenting figure. The anger and accusatory gaze of Massaccio's Mary is so powerful that when the work was first seen people thought she was real. Her gaze and hand gesture suggests to the viewer - 'You did this. The sins of mankind are responsible for the death of my son'. Her gaunt face, heavy eyes and the arm holding her clothing close to her chest emphasise her vulnerability and utter despair at the death of her son. It is often said that the worst thing a mother can experience is the death of her child - Massaccio's Mary is the ultimate depiction of a grieving mother.
'Annunciation' - Pontormo (Santa Felicita - Florence)
The centre of this picture should be entirely ignored - Pontormo's work is Gabriel on the left and Mary on the right. In terms of colour, delicacy and light I think this is one of the most beautiful works of art I have ever seen. I bought about five different postcards which focus on varying aspects of this work because I think it is so lovely. Whilst most people focus on Gabriel, I think both figures are equally beautiful. My tutor said 'That Gabriel is love. He doesn't need any explanation.' I think she's entirely right. The awe and contentment on Gabriel's face as he basks in Mary's beauty is incredibly romantic. The softness of her gaze passes over him and encompasses every aspect of his being - it's present in the tilt of his head, the swirl of his clothing, the gentle strokes of his wings etc. Ahhh I could ramble on about what a divine figure he is for a long time but I think I'll leave it here. I think Pontormo's depiction of Mary is one of the loveliest in the world. Sadly you can't see the detail in this picture but her face has a softness and innocence, yet there's a certainty in her gaze. She's a gentle character but has an element of strength. The light falls so elegantly across her face and clothing. Again, it's not visible in this picture but the soft light brings forward different hues of pale blues and mauves to frame her elegant face. In terms of colour, expression and light I think Pontormo is an absolute god!
'The Deposition' - Michelangelo (Museo dell'Opera - Florence)
I was lucky enough to see Michelangelo's David in Florence and he is just incredible. However, this was the work by Michelangelo that struck me. This was the only sculpture Michelangelo created for his own personal pleasure and not for commission. What's really remarkable is that he created this in his seventies - imagine how dedicated to his work he must have been? And imagine how agile he was at that age to still be physically pushing himself to sculpt? There's a tragic story behind this work - whilst making it Michelangelo discovered a flaw in the marble (I think it was a vein in the arm or leg of Christ?) Michelangelo had worked on the sculpture for roughly ten years so his fury was understandable when he discovered the flaw - as a reaction he started hacking away at the sculpture and you can see some of the damage today.
'Magdalene Penitent' - Donatello (Museo dell'Opera - Florence)
This is the only piece of art I've cried in front of. Our tutor had the incredible idea of taking each member of the tutorial group separately to stand in front of her. Magdalene is life size - so it felt like you were standing in front of a real person. It was extremely powerful to be the only person standing in the room with her and look her in the eye.
'The Sistine Chapel' - Michelangelo (Vatican City)
This photograph and all other photographs I have seen of the Sistine Chapel do not do it justice. I went to the chapel with the idea in my head that it was quite dark and that the colours in it are quite muted. Whilst the lower half of the chapel is quite dark, when you look up at the ceiling it is so light and has bright colours. Standing and just gazing up at the Sistine Chapel ceiling really is a remarkable experience. I understand that when things are overly discussed and revered you can become sceptical about them or even disappointed upon finally seeing them. When people discuss how entrancing it is too look at the Sistine Chapel they are not exaggerating. Michelangelo's use of colour and ability to project figures forward makes you feel like there is this entire world above you. There is such a vibrance to the ceiling that I honestly felt I could just float upwards and enter it myself.
'Apollo and Daphne' - Bernini (Villa Borghese - Rome)
I love love love Bernini and was lucky to see a lot of his work at the Villa Borghese. It was hard deciding which of his sculptures to write about - there are so many and they are all incredible. However, at the end of the day, my favourite Bernini sculpture is always Apollo and Daphne. Again, this picture just cannot do this work justice - you really need to walk around it to appreciate all of the different angles of it. Upon seeing it I kept thinking 'I can't believe this was once a block of marble. Surely it entered the world in this state?' The sculpture has such extraordinary grace. The incredible detail, such as the leaves sprouting from Daphne's fingers, the flow of Daphne's hair and the swirl of Apollo's clothing just seems so beyond man made. When you look at this work it just looks like they're gliding through the air together. This work has the unbelievable combination of delicacy and dynamism.
'Madonna del Pellegrino' - Caravaggio (Sant'Agostino - Rome)
This year at university I learnt about Caravaggio and fell in love with his work. There were a number of works I learnt about specifically, including this one, but I always placed this work to one side and focused on what I thought to be his more dramatic and interesting works (e.g. The Calling of St Matthew, The Martyrdom of St Peter etc.) However, after standing before this work, it has become my favourite work by Caravaggio. I was discussing the painting with my tutor and she told me that she felt the work is about Mary's strength - and then it just clicked. This work has a hugely emotional element to it that I had been entirely ignorant of until I actually stood in front of it. When I finally realised the emotional importance of the work I just turned to my tutor and said 'My god, it's a version of the pieta isn't it?' The pieta is a depiction of Mary holding the dead body of her son. What makes Caravaggio's work so powerful is that in this picture Christ is still an infant. At the crucifixion it has been estimated that Christ was about 33 years old but what I think this picture represents is that in Mary's eyes he was still a child - her child. This portrayal alludes to her sacrifice and her strength - she endured the loss of her son - the worst thing that can happen to a mother.
I saw so many beautiful pieces of art on the trip. I keep going through this blog and my AHA notebook and thinking 'Oh I loved that! Why didn't I write about that?!' Still, I have decided to not bore everyone to death and try to keep it limited - that didn't really work out in the end but oh well!
When we were at the Biennale in Venice I came across an interesting film where people were talking about the impact of art etc. There was a man who said 'Art is the best way to define life'. I think that's true. We often get frustrated that we can't quite vocally convey an experience accurately - art is a form of expression that says what words can't. I think this blog is evidence of this idea. All of the works I have written about touched me and I will treasure the memory of my visceral reactions when I stood before them. These works communicated so much to me that here I am trying to communicate their message to you.
The Scrovegni Chapel - Giotto (Padua)
To be in the Scrovegni Chapel is a real privilege. The chapel is decorated entirely in frescoes which are extremely delicate - there's a scientific explanation about why the painted image starts to fade on the plaster but I won't get in to the nerdy details. Groups of limited numbers are allowed in to the chapel at a time and we all had to be dehumidified before entering it - that's how delicate the work has become. Giotto's frescoes illustrate the lives of Joachim and Anne (the virgin Mary's parents), the life of the virgin Mary, the life of Jesus and the last judgement. Whilst on a grand scale the chapel is absolutely beautiful, I was really touched by the minor details - something you need to be in the chapel to observe. Whilst Giotto's work accurately depicts passages from the bible, he adds minor details that are observations from life - certainly not laid down in the bible. For example, there is a depiction of Joachim and Anne embracing - as they kiss Anne is stroking his beard - it's a very simple gesture Giotto has added to the scene but it brings such tenderness to it. Another example of Giotto's skill is his scene of Judas betraying Jesus with a kiss. Giotto depicts Jesus staring calmly but directly in to Judas' eyes as he betrays him - there is such power and knowledge in him from a minor detail added by Giotto. Giotto is a master of understanding and portraying human mannerisms.
'Holy Trinity' - Massaccio (The Santa Maria Novella - Florence)
I haven't used a picture of the entire work for a reason. Whilst as a whole it is spectacular and there are so many aspects of it that I could talk about - I have decided to focus on one. Mary is commonly the aspect everyone focuses on - and that's for a good reason. I could try and be out of the box and focus on another part of the work but her presence is completely unavoidable. This depiction of Mary reduced a member of my tutorial group to tears and has an intensity I was amazed that art could be capable of. This is such a unique depiction of Mary - in most portrayals she is a motherly or lamenting figure. The anger and accusatory gaze of Massaccio's Mary is so powerful that when the work was first seen people thought she was real. Her gaze and hand gesture suggests to the viewer - 'You did this. The sins of mankind are responsible for the death of my son'. Her gaunt face, heavy eyes and the arm holding her clothing close to her chest emphasise her vulnerability and utter despair at the death of her son. It is often said that the worst thing a mother can experience is the death of her child - Massaccio's Mary is the ultimate depiction of a grieving mother.
'Annunciation' - Pontormo (Santa Felicita - Florence)
The centre of this picture should be entirely ignored - Pontormo's work is Gabriel on the left and Mary on the right. In terms of colour, delicacy and light I think this is one of the most beautiful works of art I have ever seen. I bought about five different postcards which focus on varying aspects of this work because I think it is so lovely. Whilst most people focus on Gabriel, I think both figures are equally beautiful. My tutor said 'That Gabriel is love. He doesn't need any explanation.' I think she's entirely right. The awe and contentment on Gabriel's face as he basks in Mary's beauty is incredibly romantic. The softness of her gaze passes over him and encompasses every aspect of his being - it's present in the tilt of his head, the swirl of his clothing, the gentle strokes of his wings etc. Ahhh I could ramble on about what a divine figure he is for a long time but I think I'll leave it here. I think Pontormo's depiction of Mary is one of the loveliest in the world. Sadly you can't see the detail in this picture but her face has a softness and innocence, yet there's a certainty in her gaze. She's a gentle character but has an element of strength. The light falls so elegantly across her face and clothing. Again, it's not visible in this picture but the soft light brings forward different hues of pale blues and mauves to frame her elegant face. In terms of colour, expression and light I think Pontormo is an absolute god!
'The Deposition' - Michelangelo (Museo dell'Opera - Florence)
I was lucky enough to see Michelangelo's David in Florence and he is just incredible. However, this was the work by Michelangelo that struck me. This was the only sculpture Michelangelo created for his own personal pleasure and not for commission. What's really remarkable is that he created this in his seventies - imagine how dedicated to his work he must have been? And imagine how agile he was at that age to still be physically pushing himself to sculpt? There's a tragic story behind this work - whilst making it Michelangelo discovered a flaw in the marble (I think it was a vein in the arm or leg of Christ?) Michelangelo had worked on the sculpture for roughly ten years so his fury was understandable when he discovered the flaw - as a reaction he started hacking away at the sculpture and you can see some of the damage today.
What I love about Michelangelo's work is that whilst his figures often have an overwhelming physicality, there's also an emotional level to them. When I stood before this work the thing that had me in awe was Mary's tenderness upon holding her dead son. Christ's body has such a sense of heaviness - the exaggerated muscularity contrasts with the limpness of his limbs and roll of his head. By contrast Mary is just gently resting her head against this hulk-like figure, with her eyes closed - being a comfort even in death. The gesture between Mary and her son in this work just had me in awe. It's almost like Christ is just exhausted and she's lulling him to sleep. It made me think of all the times I've come home from a hard day and my parents let me lean against their shoulder. Michelangelo captured the love between parent and child perfectly.
'Magdalene Penitent' - Donatello (Museo dell'Opera - Florence)
This is the only piece of art I've cried in front of. Our tutor had the incredible idea of taking each member of the tutorial group separately to stand in front of her. Magdalene is life size - so it felt like you were standing in front of a real person. It was extremely powerful to be the only person standing in the room with her and look her in the eye.
This is Donatello's depiction of Mary Magdalene in the desert after the death of Christ. Donatello's Magdalene is an embodiment of strength and frailty. The effects of her penitence are evident in her gaunt face and withered body. However, her praying hands, the traces of gold that cover her body and her piercing blue eyes show her faith and strength. I think she moved me to tears because her sense of grief was so powerful to me. Her dishevelled appearance made me think of the state of my great aunt after my uncle died. The disintegration and personal neglect you can undergo once you've lost the most important person in your life is harrowing. I think the contrast between Donatello's Magdalene and my great aunt is that Magdalene still had the hope and strength that my aunt lost towards the end of her life. I became very caught up in the suffering of Magdalene and my tutor simply reminded me 'There was hope'. I think the hope Magdalene embodies is something I had overlooked and it is as important as her suffering. Despite her dishevelled appearance she has a simple strength and looking at her in that way gave me a new perspective.
'The Sistine Chapel' - Michelangelo (Vatican City)
This photograph and all other photographs I have seen of the Sistine Chapel do not do it justice. I went to the chapel with the idea in my head that it was quite dark and that the colours in it are quite muted. Whilst the lower half of the chapel is quite dark, when you look up at the ceiling it is so light and has bright colours. Standing and just gazing up at the Sistine Chapel ceiling really is a remarkable experience. I understand that when things are overly discussed and revered you can become sceptical about them or even disappointed upon finally seeing them. When people discuss how entrancing it is too look at the Sistine Chapel they are not exaggerating. Michelangelo's use of colour and ability to project figures forward makes you feel like there is this entire world above you. There is such a vibrance to the ceiling that I honestly felt I could just float upwards and enter it myself.
'Apollo and Daphne' - Bernini (Villa Borghese - Rome)
I love love love Bernini and was lucky to see a lot of his work at the Villa Borghese. It was hard deciding which of his sculptures to write about - there are so many and they are all incredible. However, at the end of the day, my favourite Bernini sculpture is always Apollo and Daphne. Again, this picture just cannot do this work justice - you really need to walk around it to appreciate all of the different angles of it. Upon seeing it I kept thinking 'I can't believe this was once a block of marble. Surely it entered the world in this state?' The sculpture has such extraordinary grace. The incredible detail, such as the leaves sprouting from Daphne's fingers, the flow of Daphne's hair and the swirl of Apollo's clothing just seems so beyond man made. When you look at this work it just looks like they're gliding through the air together. This work has the unbelievable combination of delicacy and dynamism.
A cool experience, that happened entirely by accident, was that by drifting off in the Villa Borghese I ended up amongst the sculptures by myself when it was time for everyone to leave. I will always remember the magical experience of just standing before Benini's work entirely alone.
'Madonna del Pellegrino' - Caravaggio (Sant'Agostino - Rome)
This year at university I learnt about Caravaggio and fell in love with his work. There were a number of works I learnt about specifically, including this one, but I always placed this work to one side and focused on what I thought to be his more dramatic and interesting works (e.g. The Calling of St Matthew, The Martyrdom of St Peter etc.) However, after standing before this work, it has become my favourite work by Caravaggio. I was discussing the painting with my tutor and she told me that she felt the work is about Mary's strength - and then it just clicked. This work has a hugely emotional element to it that I had been entirely ignorant of until I actually stood in front of it. When I finally realised the emotional importance of the work I just turned to my tutor and said 'My god, it's a version of the pieta isn't it?' The pieta is a depiction of Mary holding the dead body of her son. What makes Caravaggio's work so powerful is that in this picture Christ is still an infant. At the crucifixion it has been estimated that Christ was about 33 years old but what I think this picture represents is that in Mary's eyes he was still a child - her child. This portrayal alludes to her sacrifice and her strength - she endured the loss of her son - the worst thing that can happen to a mother.
I saw so many beautiful pieces of art on the trip. I keep going through this blog and my AHA notebook and thinking 'Oh I loved that! Why didn't I write about that?!' Still, I have decided to not bore everyone to death and try to keep it limited - that didn't really work out in the end but oh well!
When we were at the Biennale in Venice I came across an interesting film where people were talking about the impact of art etc. There was a man who said 'Art is the best way to define life'. I think that's true. We often get frustrated that we can't quite vocally convey an experience accurately - art is a form of expression that says what words can't. I think this blog is evidence of this idea. All of the works I have written about touched me and I will treasure the memory of my visceral reactions when I stood before them. These works communicated so much to me that here I am trying to communicate their message to you.
