Category: History of Art

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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.

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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

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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.

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Michelangelo at Siena Cathedral

*Three Grace’s work is a 3rd century copy of Greek statue

Introduction: Michelangelo Buonarroti, one of the most influential artists of the Italian Renaissance, left an indelible mark on the world of art through his masterful works. While his sculptures and paintings at the Vatican and the Florence Cathedral are widely celebrated, his involvement at Siena Cathedral is often overshadowed. This essay explores Michelangelo’s contributions to Siena Cathedral, highlighting the convergence of his artistic brilliance and the cathedral’s architectural majesty.

Background on Siena Cathedral: Siena Cathedral, formally known as the Cathedral of Santa Maria Assunta, stands as a testament to Gothic architecture and medieval religious devotion. Situated in the heart of the city of Siena, Italy, the cathedral boasts intricate marble facades, soaring spires, and a breathtaking interior. Construction of the cathedral began in the 12th century, and it continues to be a cherished cultural and spiritual landmark.

Michelangelo’s Connection to Siena Cathedral: In the early 16th century, Michelangelo was commissioned by the Opera del Duomo of Siena, the governing body responsible for overseeing the cathedral’s construction and maintenance. Despite the fact that his involvement was limited compared to his other renowned projects, such as the Sistine Chapel, his contributions at Siena Cathedral left an indelible impression.

Introduction: Michelangelo Buonarroti, one of the most influential artists of the Italian Renaissance, left an indelible mark on the world of art through his masterful works. While his sculptures and paintings at the Vatican and the Florence Cathedral are widely celebrated, his involvement at Siena Cathedral is often overshadowed. This essay explores Michelangelo’s contributions to Siena Cathedral, highlighting the convergence of his artistic brilliance and the cathedral’s architectural majesty.

Background on Siena Cathedral: Siena Cathedral, formally known as the Cathedral of Santa Maria Assunta, stands as a testament to Gothic architecture and medieval religious devotion. Situated in the heart of the city of Siena, Italy, the cathedral boasts intricate marble facades, soaring spires, and a breathtaking interior. Construction of the cathedral began in the 12th century, and it continues to be a cherished cultural and spiritual landmark.

Michelangelo’s Connection to Siena Cathedral: In the early 16th century, Michelangelo was commissioned by the Opera del Duomo of Siena, the governing body responsible for overseeing the cathedral’s construction and maintenance. Despite the fact that his involvement was limited compared to his other renowned projects, such as the Sistine Chapel, his contributions at Siena Cathedral left an indelible impression.

Legacy and Influence: Michelangelo’s involvement at Siena Cathedral, though limited, left a lasting legacy. His contributions serve as a testament to his mastery of marble sculpture, his dedication to craftsmanship, and his ability to infuse spirituality and emotion into his works. Additionally, his unfinished projects offer glimpses into his creative process and continue to inspire contemporary artists.

Conclusion: Michelangelo’s influence on Siena Cathedral may be overshadowed by his more prominent works elsewhere, but his contributions remain significant. The Libreria Piccolomini and the statue of Saint Paul bear witness to his artistic genius and his ability to enhance the cathedral’s architectural splendor. While his unfinished projects may leave us longing for what might have been, they serve as a testament to the depth of his artistic vision.

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Ghiberti’s Baptistry Door at Florence Cathedral

Introduction: The Baptistry Door at Florence Cathedral, known as the “Gates of Paradise,” is one of the most celebrated and significant works of art in the history of Western civilization. Created by the Italian sculptor Lorenzo Ghiberti, this masterpiece of Renaissance art stands as a testament to the artistic and cultural brilliance of Florence. The Baptistry Door not only showcases exceptional craftsmanship but also encapsulates profound religious symbolism and humanist ideals, making it an enduring symbol of the Florentine spirit and the Renaissance era.

Artistic Brilliance and Technical Mastery: The Baptistry Door consists of a set of bronze panels adorned with intricate relief sculptures. Ghiberti spent over two decades meticulously crafting these panels, displaying his exceptional skill as a sculptor. The craftsmanship demonstrated in the Baptistry Door is remarkable, with each panel featuring exquisite details and a sense of naturalism that brings the scenes to life. Ghiberti’s ability to manipulate the bronze material to create depth, texture, and perspective is a testament to his technical mastery.

The narrative scenes depicted on the panels tell stories from the Bible, such as the Creation of Adam and Eve, the Story of Noah, and the Sacrifice of Isaac. Ghiberti’s skillful composition and use of perspective give the figures a sense of movement and dramatic tension. The artistry displayed in the Baptistry Door reflects the ideals of the Renaissance, which emphasized the revival of classical aesthetics and the celebration of human potential.

Religious Symbolism and Iconography: Beyond its artistic brilliance, the Baptistry Door serves as a rich source of religious symbolism. The panels not only convey biblical narratives but also communicate deeper theological and philosophical themes. Ghiberti skillfully employed iconographic elements to convey spiritual ideas and engage the viewer in contemplation.

For instance, the central panel portrays the story of Abraham’s sacrifice of Isaac, a tale that epitomizes the concept of faith and obedience. Ghiberti captures the emotional intensity of the moment, depicting the anguish and resolve of Abraham as he prepares to sacrifice his son. Through this scene, Ghiberti invites the viewer to reflect on the themes of sacrifice, devotion, and the complexities of human existence.

Humanist Ideals and Renaissance Spirit: The Baptistry Door stands as an embodiment of the spirit of the Renaissance, a period characterized by a renewed interest in human potential, intellectual curiosity, and artistic innovation. Ghiberti’s creation of the Baptistry Door marked a significant departure from the rigid medieval artistic tradition, showcasing a profound understanding of human anatomy, expression, and perspective.

The work also reflects the influence of humanist ideals, which placed a strong emphasis on the dignity and worth of the individual. The figures depicted on the panels possess a sense of individuality, with distinct facial expressions and gestures that convey their unique personalities. This humanistic approach to art was a departure from the medieval tradition that emphasized the spiritual and otherworldly.

The Influence and Legacy: The impact of the Baptistry Door on the art world cannot be overstated. Its exceptional craftsmanship and innovative approach to composition and perspective set new standards for artistic achievement. The success of Ghiberti’s work also led to him being commissioned to create a second set of doors for the Baptistry, which further solidified his status as a master sculptor.

Moreover, the Baptistry Door became a source of inspiration for future generations of artists and sculptors. Its influence can be seen in the works of renowned artists such as Michelangelo and Donatello, who were inspired by Ghiberti’s innovative use of relief sculpture and mastery of bronze casting techniques.

The original set of doors created by Lorenzo Ghiberti for the Florence Baptistery is no longer in place. Due to preservation concerns, the original doors were replaced with replicas, and the original panels were moved to the Museo dell’Opera del Duomo (Museum of the Works of the Cathedral) in Florence. The museum houses a collection of sculptures, artifacts, and artwork related to the Florence Cathedral complex, including Ghiberti’s original panels from the Baptistry Door. Visitors to the museum have the opportunity to admire and appreciate these historical and artistic treasures up close.

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San Gimignano, Tuscany and the Cathedral (Collegiate Church of Santa Maria Assunta)

San Gimignano, is a small medieval hill town in Tuscany, Italy. San Gimignano is known for its well-preserved medieval architecture, including its iconic towers, which were built by wealthy families as a symbol of their power and status during the 14th and 15th centuries

Today, San Gimignano is a popular tourist destination, attracting visitors from all over the world who come to admire its historic buildings, beautiful views, and delicious local cuisine, including its famous Vernaccia di San Gimignano wine.

San Gimignano has a beautiful cathedral called the Collegiate Church of Santa Maria Assunta. The cathedral is located in the heart of the town and is easily recognizable by its tall, white facade and intricate Romanesque and Gothic-style architecture.

The interior of the cathedral features stunning frescoes and artwork by several renowned artists of the time, including Taddeo di Bartolo, Benozzo Gozzoli, and Lippo Memmi. One of the most famous pieces in the cathedral is the cycle of frescoes by Gozzoli, depicting scenes from the Old and New Testaments.

The cathedral also houses several important relics, including a venerated relic of the Holy Nail and the relics of Saint Fina, the patron saint of San Gimignano. Overall, the San Gimignano cathedral is a must-see attraction for anyone visiting the town and is a testament to the rich history and culture of Tuscany.

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Siena Cathedral Library (Piccolomini Library)

Shaun Everett

The Library of the Siena Cathedral, also known as the Piccolomini Library, is a famous library located within the Siena Cathedral complex in Siena, Italy. It was built in the late 15th century for Pope Pius II, who was born in Siena and was a member of the Piccolomini family.

The library is known for its elaborate frescoes, which were painted by the artist Pinturicchio and his assistants between 1502 and 1508. The frescoes depict scenes from the life of Pope Pius II and include allegorical figures, landscapes, and architectural motifs.

The library’s collection includes over 5,000 manuscripts, including illuminated manuscripts and early printed books. Many of these works were donated by the Piccolomini family and other wealthy Sienese families.

The Library of the Siena Cathedral is considered one of the most important Renaissance libraries in Italy and is a popular tourist attraction.

Shaun Everett

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Leonardo’s The Last Supper an artwork fading…

Leonardo da Vinci’s Last Supper, which is located in the Convent of Santa Maria delle Grazie in Milan, Italy, has suffered from deterioration and fading over the centuries due to several factors.

One major factor is the technique that Leonardo used to create the painting. Instead of traditional fresco painting, where pigments are applied directly onto wet plaster, Leonardo used an experimental technique known as tempera on plaster. This method involved painting directly onto dry plaster, which made the painting more vulnerable to damage.

Additionally, the painting has been subjected to various environmental factors over the years, such as humidity, temperature fluctuations, and pollution. These factors have contributed to the fading and deterioration of the painting.

In recent years, restoration efforts have been made to preserve and protect the painting. However, despite these efforts, the painting remains fragile and continues to suffer from deterioration over time.

The Last Supper is a famous painting created by Leonardo da Vinci during the Renaissance period. The painting depicts Jesus and his disciples during the last meal they shared before Jesus’ crucifixion. The painting is located in the Convent of Santa Maria delle Grazie in Milan, Italy, and is considered one of the most important works of art in the world.

The painting was created between 1495 and 1498, during Leonardo’s time in Milan. The painting was commissioned by Ludovico Sforza, the Duke of Milan, for the refectory of the Convent of Santa Maria delle Grazie. Leonardo used an experimental technique known as tempera on plaster to create the painting, which involved painting directly onto dry plaster instead of traditional fresco painting.

The Last Supper painting is massive in size, measuring approximately 4.6 meters by 8.8 meters, and is located on the wall of the refectory. The painting depicts the moment when Jesus announced that one of his disciples would betray him, causing a stir among the group. Leonardo masterfully captures the emotions of the disciples in the painting, creating a sense of drama and tension.

One of the most remarkable features of the painting is the way that Leonardo has used perspective to create depth and a sense of three-dimensionality. The painting is set in a large room with a vaulted ceiling, and Leonardo has used this setting to create the illusion that the room extends far beyond the confines of the painting.

In conclusion, the Last Supper painting in Milan is a masterpiece of Renaissance art that continues to captivate audiences around the world. The painting’s use of perspective, masterful composition, and dramatic portrayal of the disciples have made it an enduring symbol of artistic excellence. Despite the challenges that the painting has faced over the centuries, it remains one of the most important works of art in the world, a testament to the genius of Leonardo da Vinci.

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Pisano’s Pulpit in Siena Duomo: a masterpiece of architectural significance

Introduction: The Siena Duomo Pulpit is a stunning masterpiece of Renaissance sculpture created by Giovanni Pisano. The pulpit is located in the Cathedral of Siena in Tuscany, Italy. The pulpit is a unique and important example of Italian Gothic art and architecture. It is a symbol of the city’s cultural and artistic heritage and is considered one of the most important works of art in the world. This paper will provide an overview of the Siena Duomo Pulpit, its history, architecture, and artistic significance.

History: The Siena Duomo Pulpit was built in the early 14th century by Giovanni Pisano. The pulpit is a hexagonal structure made of white Carrara marble and features six panels decorated with scenes from the life of Christ. The panels are arranged in a circle and are supported by columns and arches. The pulpit was created to replace an older pulpit that had been destroyed in a fire. The work on the pulpit began in 1265 and was completed in 1268.

Architecture: The Siena Duomo Pulpit is a stunning example of Italian Gothic architecture. The pulpit is supported by six columns that are decorated with carved figures and intricate details. The columns rest on a circular base that is adorned with reliefs depicting scenes from the Bible. The panels on the pulpit are arranged in a circle and are separated by columns and arches. The panels are decorated with scenes from the life of Christ, including his birth, baptism, crucifixion, and resurrection.

Artistic Significance: The Siena Duomo Pulpit is a masterpiece of Renaissance sculpture. The pulpit is known for its intricate details and lifelike figures. The panels on the pulpit are decorated with scenes that are rich in symbolism and emotion. The pulpit is also known for its use of perspective and three-dimensional space. The figures on the pulpit are arranged in such a way that they appear to be moving and interacting with each other. The pulpit is a testament to the skill and talent of Giovanni Pisano and his mastery of the art of sculpture.

Conclusion: The Siena Duomo Pulpit is an important work of art that reflects the cultural and artistic heritage of Siena. The pulpit is a masterpiece of Renaissance sculpture and is considered one of the most important works of art in the world. The pulpit’s intricate details, lifelike figures, and use of perspective make it a stunning example of Italian Gothic art and architecture. The Siena Duomo Pulpit is a must-see for anyone interested in art, history, and culture.

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Bruges (Brugges) Triennale May 5th – September 19th 2018: LIQUID CITY

 

Skyscraper, StudioKCA
Photograph copyright Shaun Villiers Everett 2018

As part of a planned trip to ‘Flander’s Fields’, I took some time out to look in on the opening week of the latest Bruges’ event, which gets underway, and I mean ‘gets’ in its most positive sense. There is certainly no hurrying the curators and artists this year, which include Tomas Saraceno, Renato Nicolodi and Obba (Office for Beyond Boundaries Architecture), the ltter being founded in May 2012, by Sojung Lee and Sangjoon Kwak. Multiple installations are to be found across the city on th theme of Liquid City, this following on from the 2015 theme of Megapolis, which examined the different aspects of global urbanization. The new theme concentrates our minds on how flexible, liquid and resilient can a historic city like Bruges be in a global age, when nothing seems to be certain any longer?

Well, it has to be flexible in early May 2018, since I discovered several of the installations still at thier earliest stages of construction. So if you are thinking of attending, hang on a few weeks for the artists to realise the opening this time is a couple of weeks earlier than the last event in 2015! The wonders of democratic art, or an indexical attack on the senses?

Skyscraper, StudioKCA
Photograph copyright Shaun Villiers Everett 2018

Nevertheless, I found several complete pieces, all merging with the water of the extensive canal system that is Bruges, and all of which, are either partially immersed in or in hybridised contact with some part of the canal water. For instance, I disciovered Skyscraper, the Bruge Whale from StudioKCA, an innovative architecture and design agency led by Jason Klimoski and Lesley Chang, based in Brooklyn, New York, by accident whilst paying homage to Jan van Eyck. Made of 5 tonnes of waste hauled off Hawwaii beaches, it is a constant reminder to the visitor, of the delicate balance the planet finds itself having to cope with and of our guilt in making it that way, and of the mountains of plastic waste affecting the oceans in all parts of our globe.

The work though, is going to also be a ‘fun’ visit for even the most hardened Neanderthal, and the kids seem to love it too! What struck me more than anything else, was the way it leaps out of the water, with the aim of devouring Jan van Eyke, in the square dedicated to this city’s most celebrated master. If striking the master is the price for clearing up the global plastic invasion, then so be it.

The other completed projects included OBBA’s Floating Island, placed up by the Snaggaardbrug to the north. An interactive piece, the local youth are already finding it most convenient in the heat of the city day, and it attracts residents and visitors alike and reminds us that Bruges is a city that has prospered on its contact with the sea, though a maze of canals that reach around the entire city and beyond.

Floating Island, OBBA
Photograph copyright Shaun Villiers Everett 2018

There’s a lot to be said for interactive art, even surreptitiously placed artwork, that appears more functional than formal. Nice move OBBA!

Positioned not more than two stone throws away from the this island oasis is Renato Nicolodi’s Acheron, a floating mass of stone placed aside a bridge and seemingly acting as a barrier to canal traffic. Actually, little traffic is seen in this peaceful region of the canal, and anyway who wants the constant disturbance by those pesky tourist boats!

From the website:

With ACHERON I, an installation in the water, Renato Nicolodi suggests a link between our contemporary society and the mythological underworld. Acheron, derived from the Greek word achos, in mythology

Acheron I, Renato Nicolodi
Photograph Shaun Villiers Everett copyright 2018

symbolizes the ‘river of sorrow’. The mythical river is the way to the underworld, where the dead cross over under the guidance of Charon. Acheron is also a real river in northwestern Greece, which flows partly underground. This natural phenomenon may be the basis for the myth. In Bruges, Nicolodi’s artwork embodies this transition which forms a link between life and death. The surface of the water serves as a boundary. The sculpture is a haven, a gateway, a port between the present, the future and the past.

Probably the most evocative installation, it is however, very understated and could have done with a more prominent position in this year’s event. If peace and tranquility represent the portals to the underworld and the afterlife, then it is certainly well placed from that viwepoint. A very calming installation.

The Bruges Triennale runs to the 19th September 2018. Elsewhere in the city, the Groeningemuseum has Haute Lecture by Colard Mansion. Innovating text and image in medieval Bruges (March 1st 0 June 3rd 2018) presenting the 15th century world of illustrated books (Manuscripts). At the height of Bruges’ success, it was a cosmopolitan, dynamic city, famous for its book production. Luxury books held a central place in international trade and the broader Burgundian culture and many are on display in this temporary exhibition.

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