Several years ago, I traveled to Italy - an artistic pilgrimage of sorts, to see Pisa, gaze at the mosaics of Ravenna and walk the streets of Florence. As an art
historian (in my other life) I had always heard about Italian art and culture, so I felt obliged to go. I even
read all of the literature I could get my hands on - including travelogues by Frances
Mayes, Henry James, etc.
When I got there, what I discovered was something quite different from
what I expected. Certainly the
"obligatory" art work was beautiful - but it was by no means
representative of the collection at large.
I found extraordinary mosaics and sculptures and tapestries and architecture
that were essentially ignored because they had no "name " attached to
their provenance...and I found thousands of tourists clamoring to see all of
the great and leaving the rest of the museums virtually unseen. It was rather sad - that so much artistic
angst and passion would go unnoticed. I
think my favorite was the statue of St. John in a palace museum near the river - the only one opened on a Monday. This casting of John was frail and entreating; not the robust neo-Hellenic or
Renaissance representation of the saint as we tend to see him.
Ravenna was beautiful. A
small town, loaded with history (prior capital of the Roman Empire rates some
status I guess) and blessed with talent beyond anything I expected. Whole churches were encrusted with azures and
golds - the most illusory was the transfiguration of Christ at Sant Apollinaire
de Classe - lots of imagery that I doubt the simple people
of the 6th century would have understood.
I was also fascinated by the sheer effrontery of the mosaics of the emperor
and empress in San Vitale - Justinian and Theodora - as they are depicted with
popes and saints in the altar of the church. It says a great deal about the separation of
church and state for the period.
Most people just thought they were interesting, but did not consider the
implications.
My Italian journey made me want to return
to college for my PhD in Art History so that I could teach my own art history
curriculum: "Art History for
non-conformists" or Art History for the politically challenged." Maybe in a few years you will see me as the guest
lecturer at the National Gallery leading non-sheep through the halls and
listening to them spout opinions about little known Renaissance artists.
One final note about the place I stayed in Pisa - Santa Croce di Fossabanda ( an old convent ) - I stayed in one of the novices rooms - very Spartan, overlooking a courtyard. It was just what the doctor ordered. Quiet, charming, close to the river, and utterly disarming. There was even an old and venerable rabbit who watched over the place - one which would perhaps have caught the eye of Albrecht Durer in his search for the perfect rabbit to draw. Of course, all I could think of was Monty Python...."It's just a bunny...but it had HUGE teeth...." The mind can produce the most perverse turn to even the most idyllic of moments.
The trip to Italy was challenging, enlightening, and a bit tiring. I think it warrants a second visit - maybe a
stay of two weeks or so - to soak up the culture and really understand why
Tuscany is what it is. Then perhaps I
may never want to leave - between the sun and the passion for life which
Italians seem to embrace, it would be intoxicating.....
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