Saints Remembered Florence Italy

 Dear Art Lover,

     A lot of cultures have quite exotic rituals about the dead, especially those they deem important dead.  Italy, perhaps being Italy, tends to create elaborate sculptural containers out of precious materials.  They hold the relics of saints, often parts of bones.  The creativity of these containers, as well as the metals and stones that were used, give one an idea of how treasured are these revered creatures.

      The images on this page come from some of the collection of the Museo dell’Opera in Florence, Italy.  Two of the Florentine-based artists responsible for such artworks are Giovanni Battista Foggini and Bernardo Holzmann.  They created the Reliquary of Saint Agatha’s Veils and other relics between 1710 and 1714.

G.B. Foggini, sculptor:  https://en.wikipedia.org/wiki/Giovanni_Battista_Foggini

     Sig. Foggini sculpted the tomb of Galileo Galilei inside Basilica di Santa Croce.  After he became his time’s favored sculptor of the Medici, he bought a bronze foundry on Borgo Pinti in Firenze.  It was once owned by Giambologna.  Who believes this?  Sometimes it blows my mind, this city so full for centuries, of artists, architects, and artisans.

     Not much is known about Bernardo Holzmann, as far as the place of his birth or the date, but he is likely German.  His work is known in Tuscany, mostly connected with the Gran Ducal workshops and G.B. Foggini.  He died in 1728 in Florence, Italy.

Here is an article (in Italian) about the artist:

http://www.treccani.it/enciclopedia/bernardo-holzmann_%28Dizionario_Biografico%29/

 but you may also put his name into Google and then click on “Images” to see much more of his work.

     While these designs are too ornate for my personal taste, I like the idea of them.  They are signs that we cherish someone with desirable qualities.  We cherish a “brava persona,” a person whose words match his actions, a person who thinks of and helps others.  We cherish those who truly know how to love. 

Cherishing is one of the qualities that we need more of in the world.  I love it because it is a cousin to Gratitude and Appreciation.  And on that note:

Happy birthday, MOM!  You make 70 years look good!  Keep on keepin’ on.

     Happy 70th birthday to you, my mamma! You made it possible for me to do so many things, most notably, the artist that I strive to be and the courage to try it all. Thanks, Mom. I love you!

Happy 23 December to you all.

Peace,

Kelly

 

Niccolò Barabino Painter Florence Italy

 Dear Art Lover,

     In the Museo dell’Opera del Duomo in Florence, Italy, I discovered an artist to admire.  I had never before heard of Niccolò Barabino (1831–1891), but I think his painting in the museum is fantastic.  I share it with you here.  It is titled, Christ Enthroned with Mary and Florentine Saints and was created from 1882 to 1883.

    The composition is brilliant and I admired so many things that I see as definitely intentional.  The composition is set up as symmetrical, but then the variations create a situation that hardly leaves one with a feeling of repetition.  Christ at the center, with the largest area of white or light colors is no doubt the subject of the painting.  The lilies in their vase serve as an obvious pointer, in case our eyes could forget.  The vertical columns on either side of him lend a strength and stability, and even a calming effect (assurance of a sense of well-being?) to the painting.

     The figures on the left are all aligned mostly horizontally in their halos, yet there is enough of a change that there is no stiffness in the postures of the figures or their relationships to one another, while the diagonally line of the figures are right (and continued by the raised arm of Christ) serve to point to our subject. 

     I enjoyed the perspective in the scene, as well as the 3-dimensionally painted dark niche behind Christ’s figure that really helps to again, put the focus on him.  I like how he plays the lights and darks against one another to emphasize (or play down) each of the personalities of the saints while never losing sight of compositional interest.

     One might think that red is such a strong color that an artist would be a fool to paint the only really large red shape off to one side. But if you look, you will see that he has spread around the staircase and the right background enough of this same muted red serves as a sculptural base or even a frame (if you count the darker, cooler reds in the niche behind Christ’s head).  The artist has done the same thing with the whites or light shapes in the composition.  Christ receives the largest and most eye-catching white shape in his robes.  However, the worshiping figures each contain a figure in “white,” but they do not take up as much real estate and are beautifully designed to strengthen the composition.

     I love it that the faces are individuals and beautiful.  I also love it that the artist snuck in a half-dressed man next to the nun.  Each character’s head is different, in hair style or hat or veil… lovely variety! 

     Anyway, I truly admire this work of art and I am glad that the next time I walk past the Duomo, I will look more closely at the painting under the same-shaped arches and hope to see more of Niccolò Barabino’s paintings. 

     If you would like to learn more of this artist, this may be a decent start: https://en.wikipedia.org/wiki/Nicol%C3%B2_Barabino

Peace,

Kelly

~ Kelly Borsheim, sculptor, painter, writer, teacher

http://BorsheimArts.com