Florence Cathedral: A Timeless Marvel of Art and Architecture

Florence cathedral(Duomo)

Introduction: Nestled in the heart of Florence, Italy, the Florence Cathedral, also known as the Cathedral of Santa Maria del Fiore, stands as a testament to the city’s rich history, architectural prowess, and artistic splendor. In this post, we’ll explore the magnificence of the cathedral, its iconic artworks, and practical details for planning an enriching visit.

History and Architecture: Built over several centuries, with construction commencing in 1296, the Florence Cathedral is a masterpiece of Gothic and Renaissance architecture. Its stunning dome, designed by Filippo Brunelleschi, is an engineering marvel and remains the largest brick dome ever constructed. The intricate façade, adorned with polychrome marble panels, showcases the craftsmanship of generations.

Artistic Treasures Inside: 1. The Last Judgment by Giorgio Vasari:

Ceiling Mural, Georgio Vasari, 1572 and completed by Zuccari 1579

Adorning the interior of the dome, this fresco depicts the final judgment and is a testament to Vasari’s mastery of composition and storytelling.

2. The Baptistry Doors (Gates of Paradise) by Lorenzo Ghiberti:

Baptistry showing Ghiberti’s doors (copies). Originals in museum.

Located on the Baptistery adjacent to the cathedral, these bronze doors are a Renaissance masterpiece, showcasing scenes from the Old Testament with exquisite detail.

3. The Duomo Museum:

Michelangelo’s Deposition (incorrectly known as the Florence Pieta)

Housing original sculptures from the cathedral, the museum offers insights into the art and history of the Florence Cathedral. Visitors can marvel at Michelangelo’s unfinished Pietà and other precious artifacts.

Opening Times:

  • Cathedral: Daily from 10 a.m. to 4:30 p.m.
  • Dome: Daily from 8:30 a.m. to 7 p.m.
  • Baptistery: Daily from 8:15 a.m. to 10:15 a.m. and 11:15 a.m. to 7:30 p.m.
  • The Duomo Museum: Daily from 9 a.m. to 7 p.m. (closed on the first Tuesday of each month)

Planning Your Visit: To make the most of your visit to the Florence Cathedral, consider purchasing a combined ticket that grants access to the cathedral, dome, baptistery, and museum. Be mindful of dress codes, as visitors are expected to dress modestly when entering religious sites. Climbing to the top of the dome provides not only panoramic views of Florence but also a close-up look at the magnificent frescoes.

Experiencing Florence’s Cathedral: Wandering through the grandeur of the Florence Cathedral is a journey through time and artistic innovation. As you marvel at the architectural details, gaze upon masterpieces, and absorb the ambiance of this sacred space, you’ll find yourself immersed in the rich cultural tapestry of Florence. Advance tickets are recommended. Queues can be long especially in summer months and at weekends.

Conclusion: The Florence Cathedral stands as a beacon of art, culture, and spirituality. From its awe-inspiring architecture to the masterpieces housed within, a visit to this iconic landmark promises an enriching experience for art enthusiasts and history lovers alike. Plan your visit thoughtfully, and let the Florence Cathedral unfold its tales of centuries past before your eyes.

The Medici Family: Patrons, Power, and the Renaissance in Florence

The Medici family, synonymous with the Italian Renaissance, played a pivotal role in shaping the cultural, economic, and political landscape of Florence during the 15th and 16th centuries. Rising from modest beginnings, the Medici became one of the most influential and affluent families in Europe, leaving an indelible mark on art, politics, and finance.

Cosimo the Elder, by Jacopo Carucci, known as Pontormo (Pontorme, Empoli, 1494 – Florence, 1552), Oil on panel, 1519, Uffizi Gallery Florence, Italy

Early Rise to Power:

The Medici ascent began with Cosimo de’ Medici, known as “Cosimo the Elder,” who skillfully navigated the complexities of Florentine politics. Establishing the family bank, Medici became indispensable to the Papacy and various European rulers, amassing considerable wealth. Despite facing political exile at one point, Cosimo returned triumphant, solidifying the Medici influence.

Portrait of Lorenzo the Magnificent,1533-34
Oil on wood, 90 x 72 cm
Galleria degli Uffizi, Florence

Lorenzo the Magnificent:

Cosimo’s grandson, Lorenzo de’ Medici, is often hailed as the most illustrious of the family. Known as “Lorenzo the Magnificent,” he not only expanded the family’s financial empire but also became a passionate patron of the arts. Under his rule, Florence flourished culturally, witnessing the birth of the Italian Renaissance. Lorenzo’s court attracted some of the greatest minds of the time, including Leonardo da Vinci and Sandro Botticelli.

Artistic Patronage:

The Medici were prolific patrons of the arts, recognizing the transformative power of culture. They commissioned renowned artists and architects, contributing to the creation of masterpieces that define the Renaissance. The Medici-sponsored projects include Michelangelo’s “David” and the construction of the Medici Chapel. The family’s commitment to art fostered an environment where creativity thrived.

Political Machinations:

While the Medici were great patrons of the arts, they were equally adept at navigating the treacherous waters of politics. Balancing power between republicanism and oligarchy, the family skillfully maintained control of Florence. However, their rule faced challenges, including the Pazzi Conspiracy, an attempted coup against Lorenzo and his brother Giuliano, in which Giuliano lost his life.

Legacy and Decline:

Following Lorenzo’s death, the Medici legacy continued, but the family faced periods of exile and instability. The last Medici ruler, Gian Gastone, witnessed the decline of the family’s power. The extinction of the Medici line marked the end of an era, but their contributions to Florence’s cultural renaissance endured.

Gian Gastone de’ Medici, the seventh and final Grand Duke by Niccolò Cassana (often called Nicoletto; 1659–1714)

Conclusion:

The Medici family’s impact on Florence and the Renaissance cannot be overstated. From humble beginnings in banking to becoming influential patrons of the arts and political powerhouses, the Medici played a multifaceted role in shaping the course of history. Their legacy lives on in the artistic treasures of Florence, the city they helped transform into a cultural epicenter during one of the most dynamic periods in human history.

The influence of existential philosophy on the arts

Existentialist philosophy, including the writings of Jean-Paul Sartre, had a significant influence on various forms of art and literature in the 20th century. Here are some ways in which existentialism intersected with the world of art:

  1. Themes of Existential Angst: Existentialism often explores the angst or anxiety that arises from the realization of one’s freedom and responsibility. This sense of existential dread and uncertainty found its way into literature and art. Artists and writers depicted characters and scenes that captured the inner turmoil and alienation of individuals, reflecting existential themes.
  2. Absurdity and Nihilism: Existentialist thinkers like Albert Camus explored the concept of the absurd, where life is perceived as devoid of inherent meaning. This notion resonated with artists who embraced a nihilistic perspective, leading to works that challenged traditional notions of purpose and order.
  3. Individualism: Existentialism places a strong emphasis on individuality and personal choice. This concept inspired artists to break away from conventional norms and create works that were highly personal and expressive, leading to various artistic movements like Abstract Expressionism and Surrealism.
  4. Existential Literature: Existentialist literature, particularly Sartre’s works like “Nausea” and “Being and Nothingness,” encouraged authors to explore complex characters facing moral dilemmas and existential crises. This influence can be seen in the writings of authors like Albert Camus, Samuel Beckett, and Jean Genet.
  5. Theatre of the Absurd: Sartre’s influence is evident in the Theatre of the Absurd, a dramatic movement that emerged in the mid-20th century. Playwrights like Samuel Beckett and Eugène Ionesco created works that depicted characters trapped in absurd and meaningless situations, echoing existential themes.
  6. Visual Arts: In the visual arts, artists like Alberto Giacometti and Francis Bacon explored the human condition through distorted and haunting depictions of the human form. These works often conveyed a sense of existential isolation and despair.
  7. Film: Existentialism also found its way into cinema, with filmmakers like Ingmar Bergman and Michelangelo Antonioni exploring themes of alienation, existential crisis, and the search for meaning in their films.

While existentialism had a profound impact on the arts, it’s important to note that not all modern art and literature from this period were directly influenced by existential philosophy. Nevertheless, existentialism’s exploration of the human experience, freedom, and the absurdity of existence provided a rich source of inspiration for many artists and writers during the 20th century.

Awards for services to the restitution of Nazi looted art

On 17 June 2023 David Lewis and Anne Webber, the co-founders and co-chairs of the Commission for Looted Art in Europe, were each awarded a CBE in King Charles’s first Birthday Honours List for ‘services to the Return of Looted Art’. In a short statement, they said how much they appreciated the great honour and recognition of their work, and in particular the acknowledgement of the importance of restitution. One of the United Kingdom’s highest honours, the CBE – Commander of the Order of the British Empire – is awarded to individuals with a prominent role who have made a distinguished and innovative contribution.

Note:

I had the privilege to work alongside the recipients for about 12 months. I appreciate more than most, how painstakingly difficult it is to return looted artworks. Many are in full view of the public in museums and art galleries. It takes great patience and determination to deal with current owners, public officials and the descendents of former owners of stolen artworks. Congratulations to the recipients of these prestigious awards.

Top Ten Madonna and Child artworks to see around the globe

*The choice is of course subjective, as there are many depictions of the Virgin and Child.

Madonna and child artworks have been a popular theme in Christian art throughout history, and many famous artists have created their own interpretations of this subject. Here are 10 notable Madonna and child artworks, along with their locations, sizes, and materials:

1 “The Sistine Madonna” by Raphael Location: Gemäldegalerie Alte Meister, Dresden, Germany Size: 265 cm × 196 cm (104 in × 77 in) Materials: Oil on canvas

2 “Madonna and Child with Two Angels” by Filippo Lippi Location: Uffizi Gallery, Florence, Italy Size: 92 cm × 63 cm (36 in × 25 in) Materials: Tempera on wood panel

3 “The Madonna of the Rocks” by Leonardo da Vinci Location: Louvre Museum, Paris, France Size: 199 cm × 122 cm (78 in × 48 in) Materials: Oil on wood panel

4 “Madonna with the Long Neck” by Parmigianino Location: Uffizi Gallery, Florence, Italy Size: 216 cm × 132 cm (85 in × 52 in) Materials: Oil on wood panel

5 “Madonna del Prato” by Raphael Location: Kunsthistorisches Museum, Vienna, Austria Size: 113 cm × 88 cm (44 in × 35 in) Materials: Oil on wood panel

6 “The Madonna of the Chair” by Raphael Location: Palazzo Pitti, Florence, Italy Size: 71 cm × 71 cm (28 in × 28 in) Materials: Oil on wood panel

7 “Madonna and Child with Saints” by Andrea Mantegna Location: San Zeno Basilica, Verona, Italy Size: 386 cm × 285 cm (152 in × 112 in) Materials: Tempera on canvas

8 “Madonna and Child Enthroned with Saints” by Duccio di Buoninsegna Location: Museo dell’Opera Metropolitana del Duomo, Siena, Italy Size: 450 cm × 290 cm (177 in × 114 in) Materials: Tempera on wood panel

9 “Madonna and Child” by Giotto located National Gsllery, Washington DC. Tempera on Poplar Panel, circa 1310 – 1315

painted surface: 85.4 × 61.8 cm (33 5/8 × 24 5/16 in.) overall (including added strips): 87.7 × 63.2 × 1.3 cm (34 1/2 × 24 7/8 × 1/2 in.) framed: 128.3 x 72.1 x 5.1 cm (50 1/2 x 28 3/8 x 2 in.)

10 “The Virgin and Child with Saint Anne” by Leonardo da Vinci Location: Louvre Museum, Paris, France Size: 168 cm × 130 cm (66 in × 51 in) Materials: Oil on wood panel

*All images public domain

There is a second Leonardo version “of the rocks” located at the National Gallery, London.

“The Virgin of the Rocks” (National Gallery version)
Location: The National Gallery, London, United Kingdom
Size: Approximately 189.5 cm × 120 cm (74.6 in × 47.2 in)
Materials: Oil on wood panel

The National Gallery version of “The Virgin of the Rocks” is the second rendition painted by Leonardo da Vinci. It was commissioned for the chapel of the Confraternity of the Immaculate Conception in Milan but later acquired by the National Gallery.

The above artworks represent a range of styles and periods in art history, showcasing the enduring popularity of the Madonna and child motif.

Titian: A Comparative Analysis of Titian’s Venus and Adonis “Farnese” and “Prado” Types

Introduction:
Titian’s Venus and Adonis is an iconic masterpiece that showcases the artist’s unrivaled ability to capture the complexities of human emotion and the sublime beauty of the human form. The painting, created during the Italian Renaissance, has been revered for centuries for its exceptional composition, use of color, and narrative power. Two renowned versions of this painting exist, one housed at the Farnese Gallery in Rome (probably a lost version and there are 30 versions overall) and the other at the Prado Museum in Madrid. This essay will explore the similarities and differences between these two versions, shedding light on the distinct artistic choices made by Titian and the impact they have on our interpretation of the narrative.

Top – Farnese type Bottom: Prado type

  1. Composition and Scale: The Farnese version of Venus and Adonis presents a horizontal composition, with the figures arranged in a linear manner across the canvas. Venus, the goddess of love, occupies the left side, reclining sensuously on a bed of sumptuous fabrics. Adonis, the handsome mortal lover, stands on the right, dressed in hunting attire. The Prado version, on the other hand, adopts a more vertical composition. Venus and Adonis are brought closer together, emphasizing their physical proximity and emotional connection. This altered composition creates a more intimate atmosphere in the Prado version.
  2. Color Palette and Brushwork: Titian’s skillful use of color is evident in both versions of the painting. In the Farnese version, the color scheme leans towards warmer tones, with rich reds, golden yellows, and lush greens dominating the landscape. The colors evoke a sense of passion and vitality, reflecting the intense emotions associated with love and desire. In contrast, the Prado version exhibits a cooler palette, with a greater emphasis on blues and silvery hues. This cooler color scheme lends a more melancholic and contemplative mood to the scene, capturing the impending tragedy of Adonis’s fate.
  3. Emotional Expression and Narrative Depiction: One notable difference between the two versions lies in the portrayal of the characters’ emotions. In the Farnese Venus and Adonis, Venus’s face exudes a sense of longing, her eyes fixed on Adonis with a mix of desire and concern. Adonis, however, appears more detached, focusing his attention on his hunting dogs. This contrast highlights the tension between their respective desires and foreshadows the tragic outcome of their story. In the Prado version, both Venus and Adonis display heightened emotional intensity. Venus’s expression is anguished, her hand reaching out to prevent Adonis’s departure. Adonis, in turn, conveys a mixture of hesitation, resolve, and sorrow, enhancing the dramatic impact of the impending separation.
  4. Symbolism and Surrounding Elements: The surrounding elements in the two versions contribute to the narrative and symbolic context of the painting. In the Farnese version, a group of playful cupids hovers above Venus and Adonis, symbolizing the divine intervention that will ultimately lead to Adonis’s demise. Additionally, a landscape with a distant cityscape suggests the temporal nature of mortal existence. In the Prado version, the landscape is simplified, focusing attention on the emotional connection between the two figures. The absence of the cupids in the Prado version enhances the sense of impending tragedy, stripping away the divine intervention that offers a glimmer of hope in the Farnese version.

Conclusion: Both the Farnese and Prado versions of Titian’s Venus and Adonis are exceptional examples of the artist’s mastery in capturing the essence of human emotion and beauty. While the two paintings depict the same narrative, their differences in composition, color palette, emotional expression, and surrounding elements contribute to distinct interpretations and emotional impacts

Alfred Stieglitz, early 20th century art dealer and photographic master

Stieglitz in 1902 by Gertrude Käsebier

Alfred Stieglitz, a pioneering photographer and influential figure in the world of modern art, played a crucial role in elevating photography as a legitimate art form in the early 20th century. Through his innovative techniques and relentless dedication to pushing the boundaries of the medium, Stieglitz transformed photography into a powerful means of expression and opened new avenues for artistic exploration. His profound understanding of the craft and his unwavering commitment to capturing the essence of the subject matter revolutionized the field and established him as a true master of the art of photography.

Stieglitz’s significance lies not only in his technical expertise but also in his visionary approach to photography as an art form. He believed that photographs could communicate emotions and ideas as effectively as any other art form, and he set out to prove this through his own work and by promoting the works of other photographers. In 1902, he founded the Photo-Secession movement, a collective of photographers dedicated to advancing the artistic potential of photography. Through exhibitions, publications, and lectures, Stieglitz and the members of the movement sought to challenge the prevailing notion that photography was purely a documentary tool or a mechanical reproduction of reality.

One of Stieglitz’s most famous works is the series of photographs known as “Equivalents.” Created between 1923 and 1934, these images are abstract representations of clouds, devoid of any recognizable subject matter. Stieglitz saw the clouds as a metaphor for the intangible aspects of life, and he aimed to capture their ever-changing forms and moods. By stripping away the context and focusing solely on the play of light, form, and texture, Stieglitz transformed these ordinary natural phenomena into powerful symbols of human emotions and experiences. The “Equivalents” series exemplifies Stieglitz’s belief in photography’s capacity to convey the unseen and to evoke profound emotional responses.

Equivalent (1925), one of numerous cloud photographs of the sky taken by Stieglitz

Stieglitz’s technical mastery and attention to detail were instrumental in achieving his artistic vision. He was a relentless experimenter, constantly pushing the boundaries of what was considered possible with the medium. He explored new printing techniques, such as photogravure and platinum printing, to achieve rich tonal ranges and exquisite detail in his images. Stieglitz was also a firm believer in the power of the print itself as the final expression of the photograph. He emphasized the importance of the printing process, employing meticulous care to achieve the desired tonal quality and texture in his prints. Through his mastery of technique, Stieglitz was able to imbue his photographs with a sense of depth, atmosphere, and emotion, elevating them from mere records of reality to works of art in their own right.

Stieglitz’s contributions extended beyond his own photography. As an art dealer and curator, he introduced European modernist painters, such as Pablo Picasso and Henri Matisse, to American audiences and helped to establish their reputations. Through his gallery “291” and his publication “Camera Work,” Stieglitz provided a platform for artists across various disciplines, including photography, painting, and sculpture. He sought to create a dialogue between these different art forms, blurring the boundaries between them and encouraging cross-pollination of ideas. Stieglitz’s efforts to promote photography as a fine art and to bridge the gap between photography and other art forms were instrumental in the development of modern art movements in America.

Alfred Stieglitz’s legacy is profound and enduring. His relentless pursuit of artistic expression through photography transformed the medium into a respected art form and paved the way for future generations of photographers to explore the full potential of the craft.

Essay: The Political Protest Photograph as Artwork

The following essay was produced in 2014  and reworked a few years later.

“When a front cover of the photographic journal Camerawork (Figure One) appeared in the 2007 Who We Are: Photographing Britain exhibition at Tate Britain in London, its inclusion appeared to support the idea that documentary photography is an acceptable material for inclusion in a major exhibition of photography.

Moreover, its inclusion within the confines of an internationally important state funded museum, leads one to also suggest that it is considered a work of art rather than a work of photojournalism on display. Following that exhibition, the inclusion of other political art
photographs have been appearing in exhibitions in major galleries including those under the aegis of the state-funded Tate brand…”

In at Number 11: George Wombwell Biography – The Real Wombwells (Vol III)

At last the project is complete! The third and final part has just been published. It went straight into the Top 100 Best Sellers of Circus Books at No. 11!

In addition, the covers of all three volumes have been updated to the one above. Look out for the distinctive red covers and the subtitles ( volumes I to III, Events at Warwick, The Greatest Showman and The Real Wombwells)

Post free

In paperback:

https://www.amazon.co.uk/George-Wombwell-1777-1850-Wombwells/dp/1705798683/ref=sr_1_1?crid=3UY6MCZVGPSIN&keywords=shaun+villiers+everett&qid=1574437110&sprefix=shaun+vill%2Caps%2C135&sr=8-1

Kindle ebook: https://www.amazon.co.uk/George-Wombwell-1777-1850-Wombwells-ebook/dp/B081QKS46H/ref=sr_1_2?crid=3UY6MCZVGPSIN&keywords=shaun+villiers+everett&qid=1574437347&sprefix=shaun+vill%2Caps%2C135&sr=8-2

This volume also contains many previously unpublished images from the Wombwell Collection and a menagerie events calendar between 1800 and the late 19th century. It is a major addition to the genealogical map of menageries families in the UK and beyond.