Donatello Bernini Sculpture Siena Italy

Donatello Bernini Sculpture Siena Italy

Cari Amici (Dear Friends),

On a rare occasion, some hoity toity artist lets me know that I have no taste in the finer artworks throughout history.  Fine… just because someone is famous or is important to art history because of a new way of creating images or influencing future artists does not mean that I have to actually adore every work by that artist.  I can still honor the significance of their contribution and be grateful that the work exists today.

One such artist I feel lukewarm about is Donatello.  Here I include an image of one of his more well-visited sculptures, a bronze.  He stands inside the magnificent Duomo of Siena, Italy, of which I cannot seem to stop sharing images with you.

On the other hand, I am a huge admirer of Bernini, who was born about two centuries after Donatello.  No doubt they are both part of the important continuation of great sculpture in human history.  I hope you enjoy these images of Bernini’s marble sculptures, also inside Siena’s amazing cathedral.  Bernini’s frenzied fabric designs rarely take away from the grace of the gesture in his figures.  Perhaps they show a contrast of struggle in the pursuit of a faith.  Lovely and full of movement, his work is.

If you find yourself in Tuscany before 26 October 2013, I hope you will go see the temporary unveiling of the highly decorative stone floor of the Duomo (Cathedral) in Siena. http://www.operaduomo.siena.it/

More of the Divina Bellezza or “Divine Beauty”exhibition and the Duomo in Siena in the next post.

If you would like more information about Siena and its gorgeous Duomo, check out these links:

http://www.operaduomo.siena.it/

http://en.wikipedia.org/wiki/Siena_Cathedral
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Kelly

The Horne Museum Florence Italy

Yesterday, for my ‘free museum’ jaunt in Florence, Italy, I tried to visit the Casa di Dante, but it was not free to enter after all, so I turned back. I then went to Il Museo Horne and asked, “L’ingresso è libero oggi?” (“Is the entry free today?”) The response in English was basically, “No, but tomorrow it will be,” with an explanation of why it was not free on Friday.

I then said, in very nervous and therefore, incorrect Italian (because I forgot words I knew even), “Why is it that all the Florentines speak with me in English?” “Because the information you ask for is complicated.” I responded, “Sì, lo so, ma vorrei imparare la lingua qui. Forse non è possibile?” (“Yes, I know, but I would like to learn the language here. Maybe it is not possible?”)

I was then treated to warmer smiles by the two women behind the counter, which I took to be kindness to an American who was apparently not a typical tourist. They told me that I spoke well, but this is not possible either, although most Italians are polite to those who at least try to speak the language of the land. I then asked what hours they would be open on Saturday. As I left, I made another language mistake: I cheerfully said, “Ciao, domani!” (See you tomorrow.) But this is informal and since I did not know them, I should have said, “Grazie. Arrivederci.” (or “Arrivederla”)

I walk by The Horne Museum on Via dei Benci almost every day and decided that instead of hitting the major museums during Cultural Heritage Week, I should take a chance on discovering a new place that I may or may not enjoy. Allora, I returned this morning.

The best thing about The Horne Museum, for my taste, was the house itself and the furniture. I loved the wooden shutters that folded around large stone walls, the round glass in the windows, the rooms with high ceilings, and all of the inlaid wood that was in the doors and tables, chests, and chairs.


The museum is the historic Corsi building and was bought in 1911 by an English architect and art historian Herbert Percy Horne. He wanted to showcase his entire collexion of over 6,000 pieces of art, coins, and decorative items in an authentic Renaissance home. The Italian government received his gift as The Horne Foundation upon his death in 1916.

I was not particularly enchanted by most of the artworks or even the ceramics on exhibit. However, my friend Rodney asked me some time ago if I would create a self portrait. So, here I am reflected in this ivory mirror. At least I think the material is ivory. I have always admired the craftsmanship in ivory sculptures, but in truth, I have a difficult time forgetting what price the elephant paid for each piece.


I was delighted to discover a terra-cotta maquette by Gian Lorenzo Bernini (1598-1680) in a charming wooden display case. The titolo of the small and loosely detailed sculpture is “Angeli in gloria”. Sometimes I cannot decide which fascinates me more: the creative process or a finished work. Journeys are amazing, but it does feel great to actually see something to completion!

È finalemente, I know that I am supposed to know this artist. I have seen this image or a similar one of this same man in many of the art history lectures I have heard here in Florence. This man’s nose is quite distinctive and there are various theories about what happened to him – war injury or defect? One theory I heard was that he lost his eyesight in one eye in a battle and the bridge of the nose was cut away to help him see all around him with the remaining good eye! Anyway, since I did not receive a programme, I do not know the artist or even if this is a copy or derivative work. Mi dispiace!

Oh – and the diagonal shadow across the bottom left of the painting is caused by a nearby wardrobe. I must say that the lighting in this building was not ideal. Even in the main rooms, there was so much light bouncing around from the multiple windows that one could not view the artworks without glare. But then again, the collector’s intent was to showcase art in a typical environment. So, perhaps he succeeded.

Now, back to painting . . .