Renaissance
Jasper Rees
It was the fate of Benozzo Gozzoli (c 1422-1497) to be a contemporary of the immortals. A merry journeyman dauber, his talents were overshadowed in his lifetime and are overlooked now. He had a good start in life, working for both Fra Angelico and Ghiberti, but his beautiful frescoes are to be found tucked away in hill towns, innocently crumbling in wayside Tuscan chapels, or locked in the basements of the great museums. In the last 30 years of his life, Gozzoli painted a vast cycle of Old Testament scenes in Pisa's Camposanto. Allied firebombs destroyed all but the odd fragment. Art Read more ...
Jasper Rees
There is a wonderful play to be written about the month in 1502 when Cesare Borgia was holed up in a castle in northern Italy with Leonardo da Vinci and Niccolò Machiavelli. Which of these two was working for the fearsome Borgia? Wrong. It was the creator of the Mona Lisa, not the author of The Prince. Machiavelli was a young diplomat of the new Florentine republic without a thought of realpolitik in his idealistic young head. Meanwhile back in Tuscany another young republican was working on that symbol of civic liberty, the statue of David.It would be 10 years later that the Medicis grabbed Read more ...
Claudia Pritchard
When Leonardo da Vinci went for a job in Milan, he wrote ahead mentioning his bridge-building skills and then turned up at court with a lyre he had made in the shape of a horse’s skull. But had he finished compiling his illustrated treatise on the human body - said Alastair Sooke in this Edinburgh Culture Show special - it would have been as a scientist, rather than as an artist, that he would have been remembered for centuries.Some of the hundreds of anatomical drawings he made are on show at the Queen’s Gallery, Holyrood House now, many on loan from Windsor Castle, having passed from a 16th Read more ...
fisun.guner
Much of Michael Landy’s work concerns destruction or decay. The British artist, who recently turned 50 and is part of the YBA generation, came to prominence in 2001 with the Artangel commission Break Down, which saw all his worldly possessions destroyed in an industrial shredder. His next project saw him scale right down, surprising everyone with an exhibition of beautifully executed drawings of weeds.Landy’s love of close observational drawing continued with a series of arresting portraits. But then we saw the cathartic destruction of Art Bin, in 2010, where he'd invited members of the Read more ...
Jasper Rees
It’s an instinct of curators to put the pieces back together, to reintroduce works of art which time and market forces have scattered to the four winds. In recent memory, exhibitions have reunited in one space all of Monet’s haystacks, Cézanne’s card players and, in the case of the National Gallery’s momentous Leonardo show, both versions of The Virgin on the Rocks. A new exhibition opened this week in Florence which takes the business of synthesis to the next level.The Florentine Renaissance – as implied by the name conferred on it by Burckhardt in The Civilization of the Renaissance in Read more ...
Jasper Rees
The images in this gallery illustrate some of the links and juxtapositions made in The Springtime of the Renaissance. Classical statues which influenced Florentine artists, works reunited for the first time in centuries, sculptural forms reproduced in two-dimensional paintings (see main image) - you can find all of them below. The 20 images are arranged in 10 pairs, each of which represents a theme of the exhibition.Click on the images to enlarge, and read the full article about the exhibition here.Row 1: The Dawn of the Renaissance The first-century BC Boy with Thorn in marble (Galleria Read more ...
Marina Vaizey
Federico Barocci, who he? According to the National Gallery, a great Renaissance, mannerist and Baroque painter hardly known outside Italy, the National’s own Madonna of the Cat his only easel painting in a public collection in the UK. So while the Catholic church may be in turmoil, in central London there is a collection of images of colourful serenity, inspired by the Counter-Reformation of four centuries ago, and now appropriately resurrected for a contemporary audience. The show is a project over eight years in the making and for the gallery-going public, Barocci (c Read more ...
Sarah Kent
I’ve always loved this painting in the National Gallery by Sandro Botticelli. The jewel-like colours and exquisite clarity of detail create a consoling sense of lucidity, as though everything has been revealed to be alright.The reason for this optimism is, of course, the birth of Christ. Framed in the triangular entrance to a cave with a thatched portico, an extremely tall Madonna kneels at the feet of a similarly large infant (their size indicates their status). Mother and child, the sleeping Joseph and the ox and ass form the still centre of a dynamic composition filled with angels dressed Read more ...
fisun.guner
In what ways was the Northern Renaissance distinct from the Italian one? When we look at a painting by Holbein we’re struck by the painting’s rich surface: we admire the finely delineated weave of a Turkish rug, the individual hairs of fur lining a heavy coat, the intricate calligraphy of musical notation in an open hymn book. Since all is sumptuous surface and detail, our eyes feast upon the mass, weight and texture of objects firmly rooting us to the material world.This isn’t to say that Italian Renaissance artists such as Leonardo, or Giovanni Bellini, aren’t enamoured by the finely Read more ...
Marina Vaizey
Alonso Berruguete, Vicente Carducho, Juan Antonio Conchillos y Falco and Pedro Machuca are hardly familiar names in the Anglophone art world, but their drawings are on view in a revelatory exhibition. The British Museum is showing nearly all its Spanish drawings and a fine, succinct collection of prints, in an anthology called From the Renaissance to Goya. It makes for a particularly piquant sequel – or rather, prequel - to the high art of that temperamental genius, the Spaniard Picasso, whose Vollard Suite has just been on view. The milestones it encompasses are various. There was the Read more ...
Sarah Kent
Three paintings by Titian depicting stories from Ovid’s poem Metamorphoses welcome you to the National Gallery’s exhibition Metamorphosis: Titian 2012. Diana and Callisto shows Diana casting out the pregnant nymph Callisto from her company. Diana and Actaeon depicts the young Actaeon out hunting and stumbling into a sacred grotto where Diana and her nymphs are bathing; and in The Death of Actaeon, we see the goddess exacting vengeance on the intruder by turning him into a stag to be torn to pieces by his own hounds.You may remember the public appeals that helped save these splendid paintings Read more ...
stephen.walsh
Such a pity about Beatrice and Benedict! As a musical visualiser, a creator of musical tableaux, a radio composer avant la lettre, Berlioz had few equals. The Damnation of Faust is surely the greatest radio opera ever written. But for some reason he had no grasp of the stage. Benvenuto Cellini is a lifeless succession of spectacular tableaux. The Trojans must have more superb music per square yard of ineffective drama than any work of comparable length.As for Berlioz’s singing-telegram version of Much Ado About Nothing, it would have merited that title all too well if Berlioz had risked it. Read more ...