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Sunday, July 19, 2015

Reviving The Greatest Forgotten Artist of the Renaissance



Andrea del Sarto: The Renaissance Workshop in Action

At the Getty in Los Angeles until Sept. 13, 2015  
At the Frick in N.Y. from Oct 7, 2015, to Jan. 10, 2016

“The greatest forgotten artist of the Renaissance,” according to J. Paul Getty Museum curator Julian Brooks, Andrea del Sarto was once well-known like Michelangelo and Raphael, and collected by the Medici family and European royalty. Over the years, the Florence-based artist lost favor and fame, but a new exhibit at the Getty aims to resuscitate Del Sarto’s renown and reputation.

The exhibit features 48 drawings and paintings from provate art collections and museums worldwide. It includes 18 on loan from the Uffizi Gallery Museum in Florence, Italy, which owns half of the 180 surviving works by the artist.

The exhibit includes the “deconstruction” of two of  most admired paintings, The Sacrifice of Isaac and  The Medici Holy Family, to show the process by which they were made. Using infrared reflectograms, viewers can see beneath the layers of paint to the under-drawings that outlined the artist’s plan for figures ahd their positions, and the changes that he made as the paintings evolved.





Saturday, July 18, 2015

Alexander the Great Meets Hebrew Priest



 An ancient  mosaic believed to depict Alexander the Great meeting a Hebrew high priest has been discovered in a 5th century synagog in Hoqoq,  Israel, unearthed by a team of archaeologists led by Professor Jodi Magness, of the University of North Carolina.

The scene shows a bearded soldier wearing battle dress and a purple cloak leading a bull by the horns, followed by other soldiers, and elephants with shields tied to their sides. He is meeting with a bearded elder who wears a ceremonial white tunic and mantle, accompanied by young men with sheathed swords, also in ceremonial clothes.

According to Professor Magness “Battle elephants were associated with Greek armies beginning with Alexander the Great, so this might be a depiction of a Jewish legend about the meeting between Alexander and the Jewish high priest.” 

An article in the Daily Mail describes other fabulous mosaics discovered previously during this excavation project, which began in 2012 in cooperation with a team from the Israel Antiquities Authority.

This is a unique and important discovery because of the high level of artistic skill it evidences, as well as the fact that the depiction of Alexander the Great is the first non-Biblical figure ever to be discovered in a mosaic in an ancient synagogue.

Wednesday, July 15, 2015

Seven Museums Celebrate Sin



Collaboration is in the cultural air this summer.   

Here in Santa Fe, we have the Summer of Color, with museums each featuring an exhibit celebrating a different color. For example, at the Museum of Internatinal Folk Art, The Red that Colored the World  (through September 13, 2015) is a beautifully curated exhibition that tells the story of the extraordinary global spread of cochineal after its first encounter by Spain in 16th century Mexico. Most people know red, but few know of its most prolific and enduring source: American Cochineal, a tiny scaled insect that produces carminic acid.


On the other side of the country, seven cultural institutions of the Fairfield/ Westchester Museum Alliance (FWMA) are doing a similar thing, concurrently presenting exhibitions that explore the Seven Deadly Sins. Interpretations range from Old Master paintings to cutting-edge contemporary art.

For example, at the Bruce Museum in Greenwich CT, The Seven Deadly Sins: Pride (through October 18) explores the heights of human hubris and vanity -- as well as the sometimes cataclysmic falls that have resulted -- through objects of art and material culture from the Renaissance into the contemporary period. In an exhibition of exquisite master prints, drawings, paintings, rare books, and a video installation the breadth and endurance of the imagery of this deadly sin of arrogance is explored, including the peacocks and lions that have long symbolized the sin.


The other museums participating in this collaboration are
The FWMA museums are offering a two-for-the-price-of-one same-day pass. Print it and have it validated when you pay for admission at the admissions desk at any one of the participating museums. The pass will entitle you to free admission at any other one of the eight museums that same day. Simply present the validated pass to receive free admission.

Hot summer day?  Head for a museum!

Sunday, July 12, 2015

Two Michelangelo Bronzes Discovered?



Michelangelo was a stone cutter … we know this from David and his other extraordinary sculptures in marble.

So how could a pair of  three-foot tall bronze sculptures be attributed to him recently? On what basis, when there is no other Michelangelo bronze to compare to, stylistically?

The figures are a non-matching pair of men riding in triumph on two sinuous panthers, one man older and lithe, the other young and athletic. They have long been admired for the beauty of their anatomy and expression, their first recorded attribution was to Michelangelo when they catalogued in the collection of Adolphe de Rothschild in the 19th century. But, since they there was no other documentation and they are unsigned, this attribution was dismissed and, for the past 120 years, the bronzes have been attributed to various other sculptors.

That changed last autumn when Prof Paul Joannides, Emeritus Professor of Art History at the University of Cambridge, connected the bronzes to a drawing by one of Michelangelo’s apprentices. The drawing is in the Musée Fabre, Montpellier, France.

According to the press release issued by The FitzwilliamMuseum in Cambridge, England, “A sheet of studies with Virgin Embracing Infant Jesus, c.1508, is a student’s faithful copy of various slightly earlier lost sketches by Michelangelo. In one corner is a composition of a muscular youth riding a panther, which is very similar in pose to the bronzes, and drawn in the abrupt, forceful manner that Michelangelo employed in designs for sculpture. This suggests that Michelangelo was working up this very unusual theme for a work in three dimensions.”

So, the drawing provides a clue.  And – although none remain to us – there is the documented knowledge that Michelangelo did produce works in bronze. I’d say it that production of works in bronze was expected of a Renaissance sculptor of any standing. It’s known that one of two documented Michelangelo sculptures was destroyed during the French Revolution; the other, a twice life-size statue of Pope Julius II,  was melted down for artillery just three years after it was completed.

The recent  insight provided by the drawing triggered a program of concentrated art-historical research. When compared with other works by Michelangelo the bronzes were found to be very similar in style and anatomy to his works of 1500-1510. That dating was confirmed by preliminary interpretation of initial scientific analysis. Interdisciplinary research continues. 

Dr Victoria Avery, Keeper of the Applied Arts Department of the Fitzwilliam Museum says, "It has been fantastically exciting to have been able to participate in this ground-breaking project, which has involved input from many art-historians in the UK, Europe and the States, and to draw on evidence from conservation scientists and anatomists.

The bronzes and a selection of the evidence are now on display in the Italian galleries at the Fitzwilliam Museum, Cambridge, from February 3 until 9 August 2015.