Florence Museo dell’Opera Stone Fragments Mosaic

Dear Art Lover,

     Fragments tend to interest me sometimes more than “perfect compositions.”  Maybe it is the idea of “less is more,” but I tend to think it has more to do with the simultaneous feeling of mystery (what did it look like originally when complete?) with education.  With fragments, one can often understand more about the process used… in a sense:  removing a mystery, albeit a different one.

  

     Here, I am still in the Museo dell’Opera del Duomo in Florence, Italy.  Here is what the museum wrote for the display titled, “Fragments of Magnificence.” 

“During demolition of the unfinished medieval Cathedral façade in 1587, most of the surface decoration was lost; the few surviving fragments are shown in this room.  Among these are pieces found while excavation beneath the nave of the Santa Maria del Fiore to uncover the remains of the old cathedral, Santa Reparata.  In the course of those excavations in 1965-1973, the pavement of the new Cathedral had to be removed, and on the underside of some white marble slabs 14^th-century decoration came to light, confirming that the Opera del Duomo had recycled its costly stone to suit the needs of an evolving project.
     The carves slabs and those with colored and gold mosaic inserts made the Duomo façade an image of the heavenly Jerusalem described in the New Testament, whose walls are made of precious stones (Revelation 21, 18-21).  Especially at sunset, when the Cathedral front glows in the waning light, the allusion to that future city must have been clear.”

   Enjoy.

What might look like popcorn under the mosaic is actually marble.

     I am not above taking a donation.  Even five bucks is a help, if you enjoy what you read about and see in my images here on this blog.  Thank you.  [You may make a donation via the PayPal links on the side bar on the blog site:  http://artbyborsheim.blogspot.com ]

Peace,

Kelly

~ Kelly Borsheim, sculptor, painter, writer, teacher

Florence Museo dell’Opera Donatello Christ

Dear Art Lover,

  In Florence, Italy, the Museo dell’Opera, which houses the treasures of the famous Florence Cathedral (or Duomo in Italian), recently received a facelift.  You may now view more of the art and in a better context with how it was all intended to be viewed in the first place.  In some cases, you are viewing the original sculptures since pollution was causing too much harm to it in its original position on the Duomo or the nearby Baptistry. 

     I am often struck by how the quality of the figurative art changed back and forth over the centuries, as well as how much was accomplished only with hand-powered tools.  But then, they likely had other technical abilities of which I am simply unaware.  Still, did we lose the skills after Greek art or did artists just make a point to change styles?  I have heard that the current beliefs of the church often affected how representational artists were allowed to portray the human figure.  And churches tended to be the only ones wealthy enough to pay for difficult-to-create art. 

    I was surprised to see this marvelous piece of stone carving among some fragments on exhibit from the Porta della Mandorla (the Almond Door).  It turns out that this relief figure of the Man of Sorrows Christ that decorates an arch border is by Donatello!  It is funny seeing his work paired with obviously less stunning carved figures.  Here is a part of the museum’s own description:

     “The most richly decorated side-door of the Cathedral, that to the northeast call the Porta della Mandorla (Almond Door), was realised [sic] by various sculptors in the years 1391-1422.  The components shown here, from the archivolt and lateral pilasters, belong to the years 1404-1409 and illustrate the range of styles used in the early 15^th-century Florence, with some of the figures still gothic while others proclaim a reborn interest in Greco-Roman sculpture.  The Suffering Christ from the door’s keystone, a work by the young Donatello, appears to be an early study for that artist’s wood crucifix in the Basilica of Santa Croce.”

Note that the Italians, as I suspect most Europeans, used British English more than American [hence the “sic” above.]

Note also that another sign under the arranged fragments titles the work by Donatello as “Rilievo con Cristo Vir dolorum” (Relief with Christ Man of Sorrows).  1404-1409.  Perhaps the two titles is simply a matter of different translations.

     In the image of the architectural drawing, the blue section of the pointed arch above the doorway, labeled F, is where the Donatello and gothic fragments originally resided.

     Enjoy!  I am happy to report that I am back to painting and drawing daily in my new temporary home.  Most of my things are still in storage until my real home is ready, but I have taken what I need from there and am working away with lovely views and birds singing daily.  Sanity is starting to return.

Happy birthday to my first brother, Paul! 

Peace,

Kelly

~ Kelly Borsheim, sculptor, painter, writer, teacher

http://BorsheimArts.com

Cancer Fighting Kitchen

Dear Art Lover,

     JudyWitts Francini is a friend of mine here in Italy.  She has always been a great resource for all sorts of things that I have needed guidance on over the years that I have known her.  Given her high energy levels and optimism, I can only surmise that she feeds off of doing good deeds!  Judy teaches classes and gives tours about Tuscan cooking.  She loves to show people Sicily as well.  Check out her site:

http://www.divinacucina.com/

     Most all of us know someone, even a family member or two, who have, are, or will suffer through the fear of a cancer diagnosis.  I have a lot of caretakers in my family, as well.  And perhaps this is a stupid thing to say, but often caretaking is like suing someone:  You may not be on the scariest side of the fence, but your life is still not gonna be fun for a while. 

     I began hearing about nutrition ~ EXTREME nutrition ~ being a strong antidote to cancer back in the early 1980s.  Since that time, I began to pay attention to a lot of foods and what they do.  However, I am not really into cooking or food prep, so my actions have been more towards trying to avoid the not-so-good stuff to hedge my health bets.  Sadly, the “not-so-good” is often a typical American diet.  And since most countries and people watch what the US does and US Corporations have a way of sneaking into everyone’s lives, nutrition has seen the slippery slope for decades now.

     I was chatting with Judy recently about my grave concerns over someone in my family with cancer.  Judy immediately told me about her friend Rebecca Katz and her book, The Cancer-Fighting Kitchen: Nourishing, Big-Flavor Recipes for Cancer Treatment and Recovery  Written in English and available on Amazon,   Rebecca’s book gives recipes for nutrient-rich foods of all sorts of colors and textures, geared towards a variety of tastes and levels of eating. 

    What I also enjoy about the book is how she explains that the different stages of chemotherapy affect appetite.  For example, if chemo makes stuff taste funny [often metallic], one loses the desire to eat.  However, the last thing one should ever do is to starve oneself of life-giving nutrients!  It is horrible enough what chemo is doing to our bodies!  Rebecca has solutions for most everything.

     Judy also reiterated that it is not just the nourishment.  The simple acts of the cooking and smelling the flavors in the preparation help both caretaker and cancer-fighter heal and also feel as if they are not helpless.

 

     Anyway, Judy does not live in Florence, Italy, any longer, but she does come up here for private clients and tours.  So, I was thrilled to meet her at the Savoy hotel in one corner of Piazza della Repubblica the other day.  She loaned me her signed copy of Rebecca’s book.  I then shopped at the Vivimarket that sells foods that Italians consider ethnic.  The images I include in this post are from an autumn flower arrangement within the Savoy that I photographed since I had arrived early and was amusing myself, as I do.

      I have a favor to ask now:  I recently found out that I lost my Amazon affiliate status.  It was my fault since I procrastinated on responding to their e-mails about updating my status.  They have some new child protection clauses I was apparently supposed to sign off on.  I just saw e-mails to update my ad links.  Boh.   So, I started a new account and Amazon told me that they will verify it once I make my first sale. 

    If this book interests you or could interest someone you know, please click on my new affiliate link below.  You pay the same, but Amazon helps support my art career just a little.  Thank you!  Seriously, the recipes in this book look so good, I would not limit it to cancer patients.  It might even prevent cancer by keeping you strong and less polluted inside by processed foods.  Where is the downside to that?

Peace,

Kelly

~ Kelly Borsheim, sculptor, painter, writer, teacher

http://BorsheimArts.com

How long did it take you to make THAT?

Dear Art Lover,

Perhaps one of the most common questions artists get asked is, “How long did it take you to make that?” Discussions among artists usually result in the ultimate response, “My entire life: Each thing I ever learned became the foundation of each new work.”      This is hardly fulfilling to the onlooker, though, is it? He just wanted a simple answer to satisfy a curiosity, not really the whole truth.      I hate this question because I have no easy answer. Most of the problem lies in that I rarely work on one piece at a time. And, no, I do not punch a time clock with each changing task or project. The other problem is that there is a difference between how long it REALLY takes to create a work of art and how long it takes just to EXECUTE the idea. For me, it happens in the brain for some indefinite amount of time, often longer than it takes to paint or even sculpt the baby.      However, I decided to take a stab at some time frames and hope to satisfy some curiosity. As smarts would have it, these works are still available at the time of this writing. Just contact me if you would like to make one or more yours (or give as a gift). Subtle, huh?      And please do not forget to visit the galleries who exhibit my work: See Don Elliott and Chuck at The Franklin Barry Gallery in Indianapolis and Mark Palmerton in Norman, Oklahoma, at The Crucible Bronze Foundry and Gallery. Thank you for your interest!

Pelican Lips: Started carving in March 2006, after I had already begun the Lips Series of stone carvings. Finished: August 2006 Available: $3000. ++++++++++++++++++++

The Lookout started out in the Spring of 1999 as “Jennifer,” a full-standing 3-d figure half-life-size, modeled from life. In those days, in order to jumpstart my career, I was casting two bronzes at once in each edition: one for a gallery and the other for my own exhibitions. However, the foundry in Bastrop, Texas, did a terrible job on the mold and wax work. When I called to make an appointment to proof the wax, I was told that they had already begun the ceramic slurry mold and it was too late! The result was that one bronze had a much-distorted thumb and a few other things that made me unhappy. I was so new to the sculpting business that I did not know I could refuse such work. It was not until 2007 that I decided to cut her up and keep what I liked about her. I created a new composition, casting swirly fabric designs and then had them welding onto the existing figure. My new foundry needed a couple of months for this and John and I did the finishing work for this one-of-a-kind bronze. “Jennifer” became a wall-hanging as The :Lookout. So… eight years in the making? She is available for only $5,200. Here is a convenient price list for all the available sculptures: http://www.borsheimarts.com/pricelist.htm#sculpture

Stairway to Heaven, in Texas awaiting a new home

Then you have Stairway to Heaven, an angel (and a stairway!) carved out of a PINK limestone from Texas. I started March 8, 2011 and finished in October 2011. During that same summer, I also finished the marble “Gymnast” and the writing and editing of my book, “My Life as a Street Painter in Florence, Italy” when I spent about two months living with my pregnant sister while her husband was in Afghanistan. Do you see the problem about “how long did that take you?” Stairway to Heaven, is available for $900, if you do not mind the natural patina she has developed. Message me for more information, please. Here is a convenient price list for all the available sculptures: http://www.borsheimarts.com/pricelist.htm#sculpture

Comfort is a sculpture I made in clay [terra-cotta] that took about 2-3 days. I did not use models for this work. And while the Web page says that I made a mold of this for a future bronze edition, I do not think that I ever did it, as life got in the way. So this is a unique piece. $1,200. Here is a convenient price list for all the available sculptures: http://www.borsheimarts.com/pricelist.htm#sculpture

2008 fall: "Niccolò da Uzzano":

Here I am with my charcoal drawing of a gesso (plaster) portrait sculpture. The gesso is a copy of the famous Italian sculptor Donatello's portrait of the banker of the Medici family, Niccolò da Uzzano. The original terra-cotta portrait sculpture is in the collection of the Bargello Museum in Florence, Italy.

For this project, I used the sight-size method of drawing [which means that all observations and judgements are made from about 2 meters from the art and LOTS of pacing the floor]. If you would like to learn more about sight-size, as well as see the finished artwork, click on the link below.

This work took me on average five hours, six days per week for about ten weeks. Niccolò is available for only $2600, or giclée reproductions are available for less than $500.

See the drawing process for Niccolò here:
http://www.borsheimarts.com/charcoal-drawing/2008/niccolodauzzano.htm

and check out the sizes and prices for the high quality reproductions here:
http://www.borsheimarts.com/giclee.htm

     Birds of Paradise probably took me two-to-three afternoons, between stone carving times: $575 for the pair 12 x 12 inch thick-gallery-wrapped canvas with metallic paint.

Happy, happy birthday(s) to my Aunt Nancy and my beautiful friend Kumiko Suzuki!

Thank you.

Peace,

Kelly

~ Kelly Borsheim, sculptor, painter, writer, teacher

http://BorsheimArts.com

Ti Ringrazio - Thanksgiving

Dear Art Lover,

     While many of my friends are backing out of the dinner we all signed up for that raises money to restore a work of art in the Church of Carmine in the Oltarno of Florence, Italy, I still feel grateful that each one of them is a part of my life. 

     I feel grateful to you, too, for sharing an interest in the arts, Italy, and or just living life as fully as we can and helping others to do so, as well.  And I wish you ever more abundance in love and health and even, happiness.

Thank you.

Peace,
Kelly

~ Kelly Borsheim, sculptor, painter, writer, teacher

http://BorsheimArts.com

San Miniato Florence Italy Gregorian Chant

Dear Art Lover,

      Saint Minas (or San Miniato in Italian) was an Armenian prince.  He served in the Roman army, which is how he found himself in Florence, Italy.  He later survived being fed to a panther [the panther’s choice apparently], in the amphitheatre (Via Torta?) at the order of the Emperer Decius, because it sucks to have a religion that is different from the prevailing masses or leadership.  This Emperor (from the years 249 to 251) later watched as Minas was beheaded.  It is said that the newly dead saint then collected his head and walked across the Arno River and up towards what is now known as the San Miniato al Monte (St. Minias on the Mountain).


     The church was started around 1013 with various improvements added over the centuries.  Today the Olivetan monks still live and work there.  They still sell their own made honey, herbal teas, and famous liquers. 

     To learn more about San Miniato al Monte in Florence, Italy, check out these pages:
http://www.sanminiatoalmonte.it/
     
https://en.wikipedia.org/wiki/San_Miniato_al_Monte

    For years I had heard of the special masses in Latin in which one could go to San Miniato and hear Gregorian Chanting. I imagined many male voices singing in harmonies and I have wanted to see/hear this for years, although I tend to forget a lot or have other plans on the weekends.  However, I decided to make a point to attend one such mass before I leave Florence this time.  My friend Alessandra said she would join me.

     Ale and I had met up in Piazza Santo Spirito to see friends and the antique/hand-made market that fills the square each second Sunday of the month.  Afterwards, we walked down to Porta Romana and caught Bus 12 up to the Basilica, the exit just before Piazzale Michelangelo.  I was glad that we arrived early.  The mass was to start around 5:30 and the fading light up on the hill overlooking Firenze was lovely.  We were too late to see the cemetery, which features wonderful sculptures, as well as the graves of Carlo Lorenzini [author of Pinocchio] and the artist Pietro Annigoni.

I found this unfinished fresco especially intriguing.

     While I have been to the cemetery several times before, I had never been inside of the basilica. What a treat!  I really love the hand-carved and painted wooden beams on the ceiling, the mosaics in stone, and the sculpture and fresco.  The church goes mostly dark until someone puts a coin in a machine.  For some reason, I enjoyed being in the dark there, but I did take advantage of the light to photograph these images for you.

     The views from San Miniato overlooking the Arno River and downtown Firenze are pretty good, I would say.. er, I did say!

 













     The mass did not take place in the main open area with the pews.  Instead, it was a more intimate mass at a lower level “behind” the altar you see as you enter the church.  During the mass, Ale asked me if I understood the words.  I had already forgotten that the mass was in Latin.  As a child I remember enjoying the Latin mass.  It added to the mystery (along with tons of incense and bizarre rituals).  Not understanding the words was a blessing and was a great excuse for the daydreaming I have done all of my life when expected to sit still for any length of time.  Whether the mass had been in Italian or English, I would have daydreamed through most of it.

     I kept waiting for what I had come to see.  The priest was singing the mass… alone.  On occasion, a few voices in the audience joined in; sometimes I did, as well.  Then an old woman sitting to my left added her high and slightly off-key voice to the mixture.  I smiled.  I remembered going to Catholic Church as a child.  One time an old lady turned around and said to my father, “My, young man, what a lovely voice you have!”   My dad beamed:  he felt that he had been given TWO compliments with that one!

     I still waited.  At some point, Ale asked me if I had heard enough.  I was unsure of how to respond, but since the money basket was being passed around, I understood the end was near.  She put some coins in and the next time the people stood up, we escaped.  Outside the mass, I apologized to her for making a mistake about which mass had the Gregorian Chants.  She looked at me in surprise.  She explained that Gregorian Chant just really means that the mass is sung and that all are welcome to join in.  Sometimes you will witness many monks singing, as I had in my head, and others, it would be just one man leading the show, as was our night out.   Hmmmm.

     We walked down the hill to the Ponte alle Grazie together.  She went to meet with our friends, while I went home to continue my work.  At home, I immediately went to youtube.com and sought out Gregorian chant music videos.  It was the peace I wanted to fill the air and it was lovely, the many voices in unison.

To learn more about Gregorian Chanting, check out:
https://en.wikipedia.org/wiki/Gregorian_chant


     I am not above taking a donation.  Even five bucks is a help, if you enjoy what you read about and see in my images here on this blog.  Thank you.  [You may make a donation via the PayPal links on the side bar on the blog site:  http://artbyborsheim.blogspot.com ]

Peace,
Kelly

~ Kelly Borsheim, sculptor, painter, writer, teacher

http://BorsheimArts.com

A Side Chapel inside San Miniato:

Leighton House Museum London

Dear Art Lover,

    Thanks to painter Vicki Sullivan in Australia, I was told about the Lord Leighton House/Studio and Museum in London.  Frederick (Lord) Leighton lived from 1830 to 1896.  He is probably most famous for his painting Flaming June, which consists of a sleeping curled-up young woman in a flowing semi-transparent orange gown.  I would include the image here, but I already have one image for each letter of the alphabet in this post!  Perhaps you know the work already: https://en.wikipedia.org/wiki/Flaming_June

     As logistics would have it, I ended up exiting the tube (subway/metro) at Holland Park and thought that I would walk south to the museum.  I do not know much about London and it was a lovely day for taking a walk anyway.  Holland Park is a charming little getaway when one needs a Nature fix.  And they have a pretty good public sculpture collection started that enhanced my stroll.
    

     I must say that I found it difficult to locate street signs in London.  However, sometimes I missed “the obvious” because the signs were large and low, so it very well could just have been my training to look up.  However, on this pair of signs shown, I must ask you, which side is the actual Abbotsbury Road?
    

     I have also decided that the Lord Leighton House just might be one of London’s best kept secrets.  It was a little difficult to find (my map was too simplified and I do not own a smart phone with GPS or online access).  More than half of the locals I asked for directions as I neared had no idea of what I was asking about.  The two who did told me that it was worth the search.

     Allora, as you enter the ground floor (after paying a seven British Pound fee, there are five rooms, one being a square sort of corridor that houses the wide staircase and shows off a stuffed male peacock.  Beyond that is a “red room” that appeared to be a possible dining room [no photo here].  A large and fairly empty room with an out-jutting area for sitting.  I actually do not remember seeing a kitchen.



     The main attraction on that floor is the chapel.  Or Turkish bath?  Anyway, you can tell where the artist’s taste lies.  It is pretty impressive and I wondered what it was like to live with such a space…fancier than any place that I have ever lived.

      To the left of that gorgeous room is a more English-looking study.  I love sketches and was thrilled that this image turned out.  [No photos are permitted at all in the home.]  You may see the figure for the Flaming June on the back left.  I love sketches.. in fact, I often like the preparatory sketches better than the final painting.  I have yet to pin down exactly why, but in general, the sketches seem more touchable.

     Once up the stairs, this exotic sitting space overlooking the Turkish room is the first one you see. And having lived in Florence, Italy, so long, it is impossible not to know who is the monk Savonarola.  However, I had no idea that he has a chair named after him!

    To the left is another sitting room with a fireplace (and peacock feathers sit in front of it).  I especially enjoy this circular composition by Frederic Leighton, Boy Saving a Baby from the Clutches of an Eagle, c. 1850-1852.  I found his slightly odd play of shadows over the figures interesting and I enjoy how the boy and the eagle fill the space with sort of parallel diagonals.

     The bedroom is sparsely furnished, but I am not sure if it is because this is not the original furniture and they kept things minimal or if the artist truly lived this simply.  The Web site says that Lord Leighton lived alone in that huge house, so that may explain the single bed as well.  No need for clutter in a space that large for only one man.

     Looking back into the stairway, one sees some truly lovely paintings.  I was especially enchanted with the one of the old bearded man (father, doctor?) hovering over a reclining boy.

     And finally we move into the studio.. how grande!  And I love the warm colors.  Most of Lord Leighton’s art is NOT in this house anymore.  I guess that is one of the perks of being famous.  However, I still enjoyed my visit. 

     I was intrigued by the ceiling window.  It looks as if there are various configurations possible up there for having or not having a certain light enter the room.  I wanted to know more . . .  Note also at the end I show you two snapshots of the large lawn in the back of the house.  I do not know much about London, but I suspect that is some costly real estate!  When I left, I walked along the Kensington area and took a bus down to Trafalgar Square… but likely I will write about my visit to the National Gallery in my next art newsletter (go to my site http://BorsheimArts.com to sign up for THAT subscription).

To read more about the Leighton House and Studio, as well as connected museums, check out:
https://www.rbkc.gov.uk/subsites/museums/leightonhousemuseum/aboutthehouse.aspx

 

     I am not above taking a donation.  Even five bucks is a help, if you enjoy what you read about and see in my images here on this blog.  Thank you.  [You may make a donation via the PayPal links on the side bar on the blog site:  http://artbyborsheim.blogspot.com ]

Peace,

Kelly

~ Kelly Borsheim, sculptor, painter, writer, teacher

http://BorsheimArts.com