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How to (Legally) Bring Home a Piece of a UNESCO Site

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Recently I wrote about the incredible Matthias Church in Budapest which along with Castle Hill has been designated as a UNESCO World Heritage Site.  Given the astounding decorations inside the church, I was definitely going to pick up something from their gift shop.  I thought maybe some note cards or a bag or a book, but I found something way better.  Half-hidden on a shelf at knee level was the most random but also the most incredible “souvenir” I have ever encountered in all my travels.  You better believe I bought one which is how I managed (legally) to bring home a piece of the church itself.

Budapest, Matthias Church tile roof

The Matthias Church from the exterior (Photo: adapted from Wikipedia)

My earlier description of the Matthias Church in Budapest focused on the Exuberant Hungarian interior and skipped the church’s exterior.  The late Gothic architecture is largely original, at least in intent.  The massive bell tower on the West facade dates to 1470.  Late 19th century restorations removed Baroque elements and returned the look of the church to its original design.  As part of the 1873 – 1896 restoration by Frigyes Schulek, the Matthias Church received a colorful tiled roof.  Judging from earlier drawings, the church likely did not not have a patterned tiled roof before.

Drawing from 1686 showing the Matthias Church in use as a mosque.

Drawing from 1686 showing the Matthias Church in use as a mosque. (See the crescents?) Baroque elements were added during the conversion from a mosque back to a church. (Photo: Budu archive)

The roof is beautifully decorated in Hungarian Zsolnay tiles of bright orange, brown, green, red, and white.  The Zsolnay factory was opened in 1853 in Pecs and produced high quality art ceramics.  Since they can withstand cold and hot temperature extremes, you often see these tiles on roofs or as external, decorative elements in Budapest and throughout Hungary.

Matthias Church roof tiles

Section of tiles from the Matthias Church

During the siege of Budapest from 1944-45, the Church suffered massive damage.  The roof almost completely burned down and other many of the remaining portions caved in.  Following World War II, the building was condemned and slated for demolition.  Despite persecution of the Catholic Church at the time, the Communist state government started rebuilding Matthias Church.  The new roof was completed in the 1950’s but was not done properly so that by the 1990’s water was leaking into the church and damaging that gloriously beautiful interior.

Matthias Church roof mid-repair

This photo shows the restoration in progress.  You can see the shape of the individual tiles used on the roof of Matthias Church.

From 2006-2013, the church underwent another massive restoration.  The roof was completely redone to correct poorly repaired structural elements.  Damaged by 20th century pollution and already of a somewhat lesser quality (the government took over the Zsolnay factory in the 1950’s), the old tiles were removed and replaced with a whole new set of decorative tiles.  Approximately 2,500 square meters of roof tiles were installed which translates to 149,500 individual ceramic pieces!  Today this brightly colored roof is visible throughout the city and remains a treasured landmark.

Matthias Church from the river

Matthias Church viewed from the Chain Bridge over the Danube River

In my travels, I’ve been to a lot of restored archaeological sites but haven’t really considered what is done with the material that is removed.  For the Matthias Church, the reconstruction team was left with over one hundred thousand old roof tiles.  Their solution was genius.  The Church gift shop now sells the old tiles.  Each one is individually numbered and comes with authentication.  These tiles are predominantly from the 1950’s reconstruction, but according to the store clerk, the occasional “older” tile pops up.

Matthias church full tile

Matthias roof tile wrapped up in its cardboard package.

Matthias Church tile certificate

Official certification that comes with a Matthias Church tile.

The tiles were on sale for 3750 Hungarian Forints, or approximately $12.50 at the time.  Adorably, the blue tiles were a little more expensive (about $15) because there were fewer available.  At that price, I definitely had to get one!  I actually thought the green color was the best so that’s what I got.

tile edge

The glazing along the tile edge is thin. There is also some chipping from use.

The tile itself looks like it was quickly made.  The edges aren’t perfect and and have been chipped a bit.  There is also some variation in the colored glazing (but also some gorgeous crazing).  Although considering that a lot of these had to be made and no one was ever going to look at them very closely, I can see why the tiles aren’t perfect.

Tile back

Back of the tile

The tile was fastened to the roof very simply.  There is a ceramic peg jutting off that helped sit the tile in place.  Then it was fasten to the roof with wire through two small holes.

Green Matthias roof tile

You can really see the pollution stains on the tile. The portion that was once visible has been etched with an outline of the church.

I like that the tile is dirty.  You can see traces of pollution and soot along where it would have overlapped with other tiles on the roof.  I actually rubbed off some of the soot off my tile (along the upper left edge) while checking to see how well it was on there.  I think you could probably clean it off, but I’m going to leave it as it is.

Matthias Church tiles

Matthias Church tiles and my green tile – a little piece of the church I could take home.

So there’s how I found the perfect souvenir for an art and culture traveler like me.  This tile saw a lot of history if it watched over Budapest from approximately 1950-2010!  It’s a precious addition to my little art collection and has an amazing story.  I’m glad that the tiles removed during restoration could find a new life with the residents and visitors who so admire the beautiful Matthias Church.


Filed under: Hungary Tagged: architecture, art, art history, Budapest, ceramics, history, Hungary, restoration, souvenirs, travel, UNESCO World Heritage Site

The Best Early Christian Tomb Frescoes (Not in Rome)

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I love the early Christian catacombs of Rome.  But since you can only enter as part of a guided tour, visits feel rushed.  The frescoes in these maze-like tomb complexes reveal the first Christian images and thus the stories, priorities, and spiritual direction of the early church.  Even more importantly, here’s where artists started to lay out the visual language, or iconography, of the religion which had a huge effect on the history of Western Art.  But early Christian images aren’t all in Rome.  There is a pocket of fantastic early Christian tomb frescoes in the city of Pécs in southwestern Hungary.  It’s an incredible treasure in a very unexpected place.

Burial Chamber of Saint Peter and Paul, Early Christian burial tombs, Pecs, Hungary

“Mary and Child fresco” in the Burial Chamber of Saint Peter and Paul, 4th century early Christian burial tombs, Pecs, Hungary

Modern day Pecs is built over the Roman city of Sopianae.  In the late 18th century, excavations discovered several elegantly frescoed, early Christian tombs that date to the 4th century.  Given the extent, completeness of the site, decorations and overall high quality of the art and architecture, this cluster of 16 grave monuments of the Early Christian Necropolis of Sopianae were designated a UNESCO World Heritage Site in 2000.

Early Christian Mausoleum, Pecs, Hungary

The so-called “Early Christian Mausoleum” along St. Stephen’s Square – just one component of the Pecs, Hungary UNESCO designated tomb complex.

The sites themselves are scattered between a main museum and several satellites (because ancient Romans didn’t want to build their tombs that close together).  The restoration and presentation of the tombs is excellent.  The modern museum covers about 75% of the sites letting you wander from tomb to tomb.  I really like the creative lay-out which let visitors view and even “pop into” the individual burial chambers.

Cella Septichora, Pecs, Hungary

The foundations and lower walls of the Cella Septichora are preserved below street level.

The largest building in the complex is the Cella Septichora.  This long rectangular building has three semi-circular alcoves along each long wall and one behind the front altar area.  Likely intended as a family mausoleum, it was converted to a church and became focal point for this hillside of tombs.

All the other Sopianae tombs follow the same basic design: a subterranean room for the sarcophagus and a high-ceiling ground level room for feasting and celebration.  While the upper rooms may have been decorated, the only frescoes that remain today are from the basement, burial rooms.

Pecs Burial chambers

Recreation of the Cella Septichora (note the unique architecture) and the individual tombs that are part of the Visitor Center & Museum complex today. Several other tombs can be visited but they are a few block south of this grouping. (Photo: László Klotz, World Heritage Pécs)

The Wine Pitcher Burial Chamber

The Wine Pitcher Burial Chamber

The Wine Pitcher Burial Chamber features this drinking vessel in a small alcove over the tomb.

As you might guess from the name, the Wine Pitcher Burial Chamber features the image of a jug and a cup in small wall niche which you can see from the tomb’s front entrance.  Since the barrel vaulted ceiling was found collapsed, it has been made into a sky-light to view into the tomb from the second story.  Surrounded by the base of the walls, you get a sense for the small size of this free-standing mausoleum.

Wine Pitcher Burial Chamber architecture

The stone foundation and walls show the two stories of the the Wine Pitcher Burial Chamber.

The walls are painted with faux marble panels and vegetation.  Garden imagery is very common in early Christian burial sites.  The afterlife and Eden (or at least a botanical concept of paradise) are very strongly associated.

down into The Wine Pitcher Burial Chamber

Looking down into the Wine Pitcher Burial Chamber

The garden paintings in the the Wine Pitcher Burial Chamber are more representative that naturalistic (unlike other Roman frescoes) but are still impressive for the bright colors and wall to wall coverage.

Garden lattice motif in the down into The Wine Pitcher Burial Chamber.

Garden lattice motif with plants symbolically pressing through the fence in The Wine Pitcher Burial Chamber.

The Saint Peter and Paul Burial Chamber

saints Peter and Paul Burial Chamber, Pecs

Saints Peter and Paul point to Christ’s monogram.

The beautiful barrel-vaulted Saints Peter and Paul Burial Chamber is named after the front mural showing these men pointing to the Christogram.  Along the ceiling are four male portraits that likely represent the deceased buried in this chamber.

saints Peter and Paul Burial Chamber

The back wall of the saints Peter and Paul Burial Chamber with vine designs.

Surrounding these garlanded portraits are elaborate vines, plants, flowers, peacock, and pigeons.  Once again, here we see more of the garden paradise imagery.  The side walls have been damaged but they depict Biblical scenes, including an evocative Mary and Child, Jonah and the Whale, Adam and Eve, and three men in the fiery furnace.

Ceiling in the Saints Peter and Paul Burial Chamber

Ceiling in the Saints Peter and Paul Burial Chamber

By dropping the floor level of this low tomb and creating a glass bubble around visitors, the museum allows you to walk into the tomb and look directly up at the frescoed ceiling.  It was really amazing to stand amid the decorations.  (And definitely something you can’t do in Rome.)

Detail of an unidentified man on the ceiling in the Saints Peter and Paul Burial Chamber

Detail of an unidentified man on the ceiling

The Early Christian Mausoleum

Early Christian Mausoleum, Pecs, Hungary

The Early Christian Mausoleum

Just outside the main Sopianae museum complex is the (poorly named) Early Christian Mausoleum.  The building’s footprint is approximately three times larger than other burial buildings; plus, it must have been very tall since the foundation shows that there were thick buttresses.  The burial room was found to contain 22 individuals, both male and female, who ranged in age from early adult to the elderly.

Christian Roman sarcophagus lid detail

Christian Roman sarcophagus lid detail.

The large sarcophagus in the back corner must have been installed first because there are no paintings on the walls around this coffin, presumably because the artist(s) couldn’t get to the wall to paint it.  The large sarcophagus was found smashed in the tomb and has been reconstructed.

Daniel in the Lion's Den image

Daniel in the Lion’s Den image

What sets the Early Christian Mausoleum apart from the other Pecs tombs is the almost unbelievably good frescoes.  Daniel is shown with arms up-stretched in prayer as two lions roar at this feet.  In another panel, Adam and Eve cover their thick bodies with leaves while a snake looks on.  Adam and Eve do appear in the catacombs of Rome as one of the first set of early Christian images, but this scene is so bright and contains all the iconographic trappings we have come to expect from “the Fall”, that I have a hard time imagining this was painted in the mid-4th century AD.

Roman Adam and Eve

Adam and Eve image

 Other Tombs

Not all the Sopianae tombs designated as part of this UNESCO Heritage Site are painted.  Some of the tomb are little more than their basement masonry.  But even then, walking through the density of tombs gives you some sense of the ancient site.  Rather than the prevalent body-niche tombs of the early Christian catacombs in Rome, ancient Sopianae had a boulevard of two-storied mausoleums.

smaller Roman tomb

A smaller tomb with interesting masonry.

For more information on visiting the Early Christian Tombs, check out the museum’s website.  I was not able to visit all the tombs as several of the satellite sites beyond the main museum complex were being renovated.


Filed under: Hungary, UNESCO World Heritage Sites Tagged: art, art history, Christianity, fresco, Hungary, Pecs, Roman, travel, UNESCO World Heritage Site

Bern’s Fantastic Fountains

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The monthly ArtSmart Roundtable brings together some of the best art-focused travel blogs to post on a common theme.  This month we are discussing Water!  Take a look at all the great stories at the bottom of the page.

Bern old town and fountain

The Zytglogge clock tower and a sculptural fountain in the historic center of Bern, Switzerland

So you already know that Bern is a beautiful city.  The well-preserved, historic center definitely earns this capital its UNESCO World Heritage designation.  But what I didn’t describe in detail last time were the incredible fountains.  These 16th century works of art add to the charm and atmosphere of the old town and are an integral part of the experience.

Server and fountain

Fountains have always been a part of village life.

Medieval urban centers have always centered around fountains.  This public plumbing was essential for daily life and was visited by residents very frequently.  As a central gathering point, these fountains were places for news, gossip, business, and, very importantly, water.  Embellishing the fountains was a matter of civic pride and beautified the city.

Soldier Fountain by Town Hall

The Knight Fountain just beside City Hall.

The eleven great fountain statues of Bern date to approximately 1542 – 1546.  This was a period of urban renewal and growth for the city.  Town leaders commissioned these statues which include allegorical figures, beloved warriors, and Biblical characters.  The figures were originally brightly painted and have been maintained in this state for centuries.  Located at the intersection of major streets or in squares, it is hard to miss these gorgeous fountains.

Warrior Bear fountain, Bern

The Warrior Bear fountain is a tribute to the founding family of Bern (the House of Zähringen).

Mercenary Fountain, Bern, Switzerland

Mercenary, or Marksman Fountain comes with a hunting bear at the man’s feet.

Samson Fountain, Bern, Switzerland

The Samson Fountain recounts a scene from the Book of Judges in which Samson kills a lion.

Justice Fountain, Bern, Switzerland

The Justice Fountain – Note the portrait heads of a Pope, Sultan, Emperor, and Mayor at her feet.

Anna Seiler Brunnen Fountain, Bern

The Anna Seiler Fountain was constructed to honor a 14th century noblewoman who provide for the construction of the first hospital in Bern in her Will.

Ogre (or Child-Eater) Fountain, Bern, Switzerland

The Ogre (or Child-Eater) Fountain is a strange sight just beside the tram station.  While there are several theories about the identity of this character, the net effect is to warn children to behave!

Messenger Fountain

Messenger Fountain (Photo)

Moses Fountain

Moses Fountain (Photo)

Piper Fountain

Piper Fountain (Photo)

Of course not all the fountains have statues, but many of them are decorated.

Obelisk fountain on Kramgrasse, Bern

Obelisk fountain on Kramgrasse

Capped by these impressive statues, the water spouts are simple by comparison but have their own entertaining flourishes.

Ogre fountain spout detail

Spout detail from the Ogre Fountain

Even the pedestals and lower sections of the statues are entertaining.  Details vary from the whimsical to the comical.

Bear with grapes detail from the Warrior Bear Fountain

Bear with grapes detail from the Warrior Bear Fountain

Marching bear detail from the Ogre Fountain

Marching bears detail from the Ogre Fountain

The decorated fountains of old Bern were so unique.  I was captivated by their elegant Northern Renaissance design, playful subjects, and magnificent presence.  These statues must have been so important to the citizens of Bern and a great source of pride.  It’s one thing to draw your daily water from a city fountain; it’s something quite different and far more special to get this water from a fantastic work of art.

Warrior Bear fountain and Bern

The decorative fountains really make Bern special.

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Filed under: ArtSmart Roundtable, Switzerland Tagged: art, art history, ArtSmart Roundtable, fountain, sculpture, Switzerland, travel

Peter the Great Trendsetter: National Change through Fashion

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The monthly ArtSmart Roundtable brings together some of the best art-focused travel blogs to post on a common theme.  This month we are discussing Fashion!  Take a look at all the great stories at the bottom of the page.

Peter the Great statue

A Monument to Peter the Great in Taganrog, Russia (Photo)

Peter the Great is a legitimate candidate for the the Most Interesting Man in the World.  Physically impressive at 6 foot 8 inches tall, he disregarded his royal status and sought out hands-on experience with the military, international trade, and sailing technology.  Realizing this country needed an Atlantic shipping port, he planned and constructed St. Petersburg from absolutely nothing.  Peter I’s reign was a revolutionary time for Russia; he brought the nation from medieval neglect to the Age of Enlightenment.  Emblematic of the massive political and technological changes he made, Peter’s reforms included forcing Russians to completely update their wardrobe – which was not nearly as easy as it sounds.

Tsar boyars Andrei Ryabushkin

Andrey Petrovich Ryabushkin – ”Tsar Mikhail Feodorovich at the session of the Boyar Duma” 1893, Tretyakov Gallery, Moscow. Though he lived from 1862-1904, Ryabushkin faithfully reproduced 17th century Russia in his genre painting.  For example, Tsar Mikhail shown here reigned from 1613-1645. (Image)

Russia of the 17th century had changed little over the last 600 years.  The Tsar was supported by a ruling class of nobles (or boyars) who gained their wealth largely at the expense of a massive, enslaved serf population.  This feudal system worked in concert with the powerful Orthodox church headed by the Patriarch.  Whether they were ready for them or not, Europe’s rapid advances in technology and trade finally brought outsiders to Russia in the 17th century.  At the time of Peter’s birth in 1672, there was a community of merchants and ambassadors from Germany, the Netherlands and the British Isles in Moscow.  Drawing the suspicion of local, these foreigners lived separately in their own neighborhood.

Franz Lefort

Swiss-born Franz Lefort came to Russia as a mercenary in the 1670’s. He eventually became one of Peter’s most trusted advisers. Here he is shown in a Russian costume (but with French wig and shoes) during Peter’s trip to the Netherlands. “Portrait of François Lefort” by Michiel van Musscher, 1698 (Image)

Peter’s mother Natalya, the future second wife of Tsar Alexis I, had been sent to Moscow by her family and was raised by a progressive, Western leaning boyar and his Scottish wife.  As a result of her education, Natalya ensured that Peter was taught mathematics, languages, history, and military strategy by imported European teachers.  Peter spent most of his youth pursing his interest in warfare technology, sailing, and shipbuilding, rather than actively co-ruling with his half-brother.

peter the Great - Pieter van der Werff

Pieter van der Werff “Portrait of Peter the Great”, 1690s, The Hermitage, St. Petersburg. Clearly painted before his study abroad, a young Peter is shown in Russian clothing. (Image)

Shortly after becoming sole Tsar in 1696, Peter took a surprising 18 month trip to the Netherlands and England.  He sought out and absorbed everything he could about Enlightenment science and technology.  Protected by a pseudonym, he even worked building ships for the Dutch East India company.  Forgoing the lavish royal accommodations prepared for him, Peter chose to live in a simple wooden house which can be visited today in Zaandam.

Peter the Great and Dutch Friends

Peter playing cards with perhaps some friend from the shipyard. Unknown Dutch Artist, “Peter the Great in Holland”, 1690s, Hermitage Museum, St. Petersburg. (Image)

After Peter’s impressive “internship” abroad, he brought back new tools, technologies, and ideas to rapidly bring Russia up to speed with the rest of the Western world.  More astutely though, Peter realized that Russia needed more than just technology, it needed a complete paradigm shift in its political and social structure if this modernization was going to be successful.

peter the great shaving the beard of an old believer

Satirical print in which a barber is going after the beard of an “Old Believer” during Peter’s reign. (Image)

The day Peter returned to Moscow in September 1698, a dozen or so top boyars, who had been running the country in Peter’s absence, came to meet him.  He thanked them, they talked, and then he immediately made them shave off their long beards.  The men stood in shock as each one was shaved.  Later that winter, Peter surprised guests at a banquet by announcing that all men had to be shaved right then and there.   Peter shocked guests at another event but cutting off the billowing sleeves of several boyars’ robes, joking that now they wouldn’t be dragging their clothes through their food.

Russian beard tax

Proof that you’d paid the Russian beard tax. (British Museum)

In January of 1700, Peter decreed that all boyars, government officials, and landowners could no longer wear Russian robes and had to wear Hungarian style caftans.  This was followed up by another decree in 1701 stating that men had to wear French or German styled clothing (i.e. waistcoat, breeches, gaiters, boots & hat) and that women had to wear petticoats, skirts, and bonnets.  If you were in traditional clothes (except for peasants), then you had to pay a tax to enter Moscow.  Men who wanted to keep their beards had to pay a significant tax and had to wear a metal proving they’d paid or else roving government barbers could shave them on the street.  Peter’s fashion reforms were swift, extreme, and met with a great deal of resistance.

Russian boyars

Russian boyars in the 16th–17th centuries (Image)

Russian clothing at the time consisted of long robes, coats, and boots.  There was almost an Oriental look to this fashion that hearkened to the steppes of Asia and Russia’s distant past.  Because these items restricted movement, Peter though this fashion was entirely impractical.  Beards were also totally out of fashion in Europe and were equated with ignorance; Peter saw that Russians with their silly long beards were the butt of jokes in the Netherlands.  However, for Orthodox Russian, the beard was a symbol of piety and religious commitment.  Loosing their beards was a horror that many Russian men had trouble accepting.  They found back and were very willing to pay Peter’s beard taxes.  Unsurprisingly, non-religious Peter didn’t care and continued to force Western style clothing and manners on the nobles eventually even eliminating the beard tax option for everyone except the ordained.

Peter the great coat

A coat from the Official Dress Collection of Peter the Great, 1720s, Hermitage Museum, St. Petersburg, Russia (Image)

Ultimately the battle wasn’t just about clothing.  Fashion was a surrogate for the political and social structure of corrupt nobles and religious leaders.  Peter gave government positions to men who earned them through intelligence and merit, rather than to wealthy or important boyar families.  Clothing was an easy way to tell who was willing to evaluate new ideas.  Peter also fought against and disbanded the rebellious Streltsy, a order of Russian knights determined to maintain the feudal structure.  He also made the massively wealthy Orthodox Church pay for schools, hospitals, and supplies for the serfs.  Citing their Christian mission, he argued that the Church should be taking care of both the spiritual and physical well-being of their followers, rather than just profiting.

J.-M. Nattier , "Portrait of Peter the Great"

J.-M. Nattier , “Portrait of Peter the Great”, 1717 (Image)

Peter died at age 52.  During his reign, Russia built a Navy from scratch, became proactively engaged in international trade, won major battles against Sweden, reformed its political system, and opened itself to Enlightenment science and technology.  All of these sweeping changes can be attributed to one great man who brought his country from backward isolation to the modern world.  Peter both figuratively and literally, as we’ve seen from his fashion mandates, changed the look of Russia.

If you’re interested in Peter I or Catherine II (both of which are known as “the Great”), I definitely recommend Robert Massie’s biographies of these leaders!  Don’t let the length stop you, these are amazing books about two incredible people.

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Filed under: ArtSmart Roundtable Tagged: art, art history, ArtSmart Roundtable, clothing, fashion, Netherlands, Peter the Great, Russia, traditions, travel

A Concert in the Beautiful Hungarian State Opera House

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It’s nice to tour gorgeous, historic music venues, but it’s even more enjoyable to appreciate the interior while taking in a concert!  The Hungarian State Opera House in Budapest is a Neo-Renaissance masterpiece from the late 19th century (like many other architectural wonders in the city).  With nearly nightly performances and very reasonable ticket prices, the Opera is a great way to spend an evening.  Just make sure you leave plenty of time before and after the show to wander the elegant lobbies and corridors.

Hungarian State Opera House interior

Empty seats and dimmed house lights in the Hungarian State Opera House after the concert.

The Opera House in Budapest was completed in 1884.  It was designed by acclaimed architect Miklós Ybl, known for transforming Budapest in the late 19th century thereby giving the city its elegant look.  Emperor Franz Joseph’s only stipulation on the project was that the venue couldn’t be as big as the opera house in Vienna.  As instructed, the Budapest opera house is in fact smaller, but Hungarians claim that it is more ornate and more beautiful than the Vienna Staatsoper.  Having been to both, I think the Hungarians may be right.

The Hungarian State Opera

The Hungarian State Opera along the elegant Andrássy Boulevard in Budapest. (Photo, Hungarian State Opera)

The theater is decorated in a Neo-Renaissance style.  The columns, loggias, and grand staircase are well-ordered with the sort of symmetry and harmony you’d expect but with extra splash of drama.

The Grand Staircase, Hungarian State Opera

The ball-gown ready Grand Staircase (Photo, Hungarian State Opera)

Painted and stucco grotesques and floral embellishments are used to decorate the interior.  Within the foyers are grand frescoes of music personified, allegorical scenes, and portraits of Hungary’s great composers.  All the gold walls and trim are off-set nicely by marble and wood paneling.  Overall, there is definitely a high density of decoration which is reminiscent of the Neo-Gothic Matthias Church in Budapest renovated around the same time as the Opera House’s construction.

Amazing hallway decorations, Hungarian State Opera

Amazing foyer decorations.

porch ceiling decoration, Hungarian State Opera

Detailed black and white ceiling decoration above the outdoor portico along the front of the Opera House.

Hallway decorations, Hungarian State Opera

Hallway ceiling decorations.

The Opera company performs in two theaters, this one and the Erkel Theater.  When you visit, make sure you book the correct venue if you want to explore this amazing, historic theater.  During our stay in Budapest, we opted for a concert by the Hungarian State Opera Orchestra.  First floor box seats along the railing were only $30 which seemed like a great deal.  Interestingly, the Orchestra’s program is not published ahead of time, so you only know what they are playing when you arrive.  (As if exploring the theater’s interior wasn’t a big enough surprise already!)

Hungarian Sate Opera Orchestra program

Hungarian Sate Opera Orchestra performance of Mahler’s 3rd Symphony

While I was hoping for some Liszt, we heard a performance of Mahler’s Third Symphony.   The music was excellent!  The piece has some stellar solos including a section where a haunting trumpet performed off-stage.  For the final movement, an alto soloist, a women’s chorus, and a children’s choir were brought on-stage.  There were no intermissions in this 3 hour long piece which is a shame because there was a small table in our box and I think a champagne would have done nicely there.

stage, Hungarian State Opera

The stage is set for the evening’s performance.

Our box seats were amazing!  With a full view of the stage as well as the boxes on the other side of the horse-shoe shaped theater, I couldn’t help but imagine the social undercurrents and intrigues that accompanied being seen at the opera in centuries past.

seats at the Hungarian state opera

Guests arriving for the evening performance.

In the center of the ring was an over-sized royal viewing box decorated with the personification of the four primary vocal parts: soprano, alto, tenor, and bass.

Royal boxes at the Hungarian State Opera

Royal boxes at the Hungarian State Opera

alto statue

Given that she’s pointing downward, I think this is the alto statue.

The ceiling fresco in the theater fittingly shows the Apotheosis of Music with Apollo on lyre in concert with the Muses and the pantheon of Greek gods and goddesses.

Ceiling fresco, Hugarian State Opera

Ceiling fresco in the opera hall.

Between the boxes were elaborate figural armrests.  From decades of use, the gilding was worn off in places showing the rust colored layer used to fix the gold.  Even that layer was worn off in places revealing the tin form of the sculpted element.

arm rest detail

Figural arm rest between boxes.

Stucco design between opera boxes

Stucco design along the divider between boxes and the back of the movable couch in the box.

The front of the each box on the first level contained a shield of two putti and a mask.

mask and cherub detail

Mask and cherub detail from the front of the box.

I definitely recommend visiting the Hungarian State Opera.  Seeing a concert or opera performance is simply the best way to experience the beauty of this theater.  In some ways, the experience also takes you back over a hundred years to a time of great energy and creativity in Budapest.  At the turn of the century, the city was a center for art, literature, and music.  I cannot think of a better way to spend an evening in Budapest than to tap into that legacy through art and live music.

 


Filed under: Hungary Tagged: architecture, art, art history, Budapest, classical music, Hungary, music, theaters, travel

The Insider’s Tour of Basel’s Town Hall

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I’m usually a much better planner than this.  I arrived in Basel with a vague idea to explore the old city center because, as I’d already discovered, old Swiss city centers are amazing.  Basel’s old town is dominated by the bright red Rathaus, or town hall.  Already impressed by the Rathaus’ exterior decorations, I jumped at the chance to take a guided tour of what I thought was a museum inside or minimally a preserved historic interior.  Even though the tour was in German (which I don’t speak), I completely enjoyed this insider’s look at the art, history, and, surprisingly, the contemporary life of the city housed inside this Basel landmark.

Basel Town Hall, or Rathaus, and Marktplatz

My lunch time view of the magnificent Basel Town Hall, or Rathaus, and Marktplatz square.

After Basel joined the Swiss Confederation in 1501, the Canton decided to demonstrate its new political importance with a town hall.  The core of the Rathaus dates to this original construction completed in 1514 and an extension done in 1608.  Following extensive growth of the city in the 19th century, the town hall was extended and substantially rebuilt in 1901.  The impressive tower on the right and the administrative building on the left side of the Rathaus date to this later period.

Outdoor statues

Colorful outdoor statues decorate the facade of the Rathaus.  While this clock dates to 1511, the figures are replacements.

I’ve always appreciated the playful recreation of Gothic and Renaissance designs in turn of the century European art and architecture.  We see this all over Budapest and obviously here as well in the decoration of the Rathaus extension.  Personally, I like this Neo-style of the 1900’s.  It’s a distilled down and stylized homage to the past with a touch of Art Nouveau.

Neo-Gothic Balcony

Neo-Gothic balcony on the 1901 Rathaus administrative wing.

Upon entering the Rathaus, you arrive in a courtyard painted with allegorical images of law, historic judges, and scenes from the Swiss confederation.

town hall Inner courtyard

Basel Town Hall inner courtyard

At the back of the inner courtyard is a colorful and nicely decorated portico.  Back here you’ll find, what I presume to be, the original Swiss guard from the facade who has obviously seen some harsh winters, as well as the original statues of Emperor Heinrich II, Emperess Kunigunde, and the Justice personified.

Original knight statue, Basel

Original knight statue

saint statues, Basel

Original statues from the Rathaus facade.

It was here that I joined my guide.  She excitedly explained that this was her favorite tour to give in Basel, but apologized that she could only do the narration in German.  I said I didn’t mind; I was just looking forward to seeing the interior.  As a few more people arrive, the guide fished around a nearby office and found a couple English brochures for me which I appreciated.

And with that, glossy brochures in hand, the five of us set off.

Back portico lobby doors

Back portico lobby doors

When I saw that tours were only available on Saturday, I should have put it together.  Why would you not give tours during the week?  The Rathaus is a beautiful, historic building, but it is very much a functioning government building!  The Basel Canton Parliament still meets in the Town Hall.

And what a Assembly Hall it is!

Canton Parliament Hall, Basel

Canton Parliament Hall, Basel

The walls were decorated with 1901 frescoes depicting the history of Basel and the unification of the cantons.  I did pick out Erasmus, one of Basel’s famous residents in the mural below.

entrance to assembly hall, Basel

Decoration over the far entrance to the assembly hall. The Latin motto translates to: “The welfare of the people shall be the supreme law”.

The paintings, stucco, and furniture were beautifully detailed.

bird lamp, Basel

The bird lamps were one of my favorite details in the assembly hall. You can also see the symbol of Basel, a bishops crook, in the wallpaper design.

basel council seats

Delegate seats for the Basel Canton inside the Rathaus

The tour went through two small anti-chambers that the elected members use to enter the assembly hall.  In several quaint rows were numbered coat hooks and along one wall were three sinks for hand washing.  Though the decorations were lovely, I found the small rooms to be very humble and authentic.  Since delegates only serve part-time (which I discovered in my brochure), I kept imagining regular people walking in off the street, cleaning up, and getting ready for legislation.

Canton Parliament coat hooks

Numbered coat hooks for the Canton assembly members.

Sink, canton assembly Basel

Sinks in the Canton Assembly members anti-room with soap on a chain.

The interior of the Rathaus is a mix of styles but like the architecture itself.  There are some historic carvings, stucco work and furniture that appears quite old.  Most of the wall frescoes appeared to date from 1901.

Carved table

This exquisitely carved table had an inlaid top of wood and stones.

Basilisk doorway

A Basilisk doorway decoration. This mythical creature has long been associated with Basel, presumably because of their name.

Neo-Gothic red and black stairwell decorations

Neo-Gothic red and black stairwell decorations dating to 1901.

Some of the meeting rooms were spectacular.  I particularly liked the one I nicknamed the “medieval meeting room” with its hunting lodge antler chandelier and super modern desk lamps.

Medieval meeting room

The “Medieval Meeting Room”, Basel Rathaus

There were also several rooms decorated in artistically paneled and carved wood.

Wood paneled reception hall, Basel, Switzerland

Wood paneled reception hall.

wood carving of Swiss soldier

Soldier carving detail from a small conference room.

Another impressive conference room was encircled by an Art Nouveau/Neo-Gothic frieze illustrating the Thread of Life.  Proceeding from the first Fate measuring out string, figures grouped by decade progressed from childhood, to adulthood, to old age, and finally to the scissors of the third Fate.  It’s a sobering message for members of parliament and other government officials conducting business in this room but is delivered so beautifully that it might just lead to wistful reflection.

Circle of life painting

The “Life Conference Room”. The 40’s are

Fate measuring out the Thread of Life.

Fate measuring out the Thread of Life.

The tour eventually made its up to the roof for great views of the tiles and the inner courtyard paintings.  I definitely enjoyed seeing another overlaid ceramic tile roof now that I have some perspective on how they are constructed.

Rathaus town hall roof

Rathaus town hall roof

The Basel Town Hall was really impressive.  Our tour went from amazing room to amazing room.  Though largely devoid of artifacts and historic furniture, the intricate and thorough decorations had a definite presence and conveyed a sense of passed times.  They were probably some of the most beautiful government offices I’ve ever been in.

Basel Rathaus or Town Hall

The bright read Basel Rathaus or Town Hall

The Parliament Hall can be viewed from a gallery during business hours.  Tours are available at 3:30 and 4:30 on Saturday and cost 5 CHF.  Even if you don’t speak German, I highly recommend them as a chance to see all the amazing inner rooms of the Basel Town Hall.  (Plus, you might get some English brochures so you won’t be completely lost.)


Filed under: Switzerland Tagged: architecture, art, art history, Basel, government, history, Switzerland, travel

Changing Paintings After They are “Finished”

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The monthly ArtSmart Roundtable brings together some of the best art-focused travel blogs to post on a common theme.  This month we are discussing Concepts in Art!  Take a look at all the creative interpretations of his topic at the bottom of the page.

Art museums are sometimes criticized for being stale and distant.  Mill about, look at the pieces, and under no circumstances do you touch the art!  Paintings haven’t always received this degree of reverence.  While today we analyze the artist’s intent and interpret the underlying meaning of the work, for centuries paintings we just decorations.  Owners could change something as easily as we repaint a bookcase or substitute a bathroom light fixture.  So today I want to think about the concept of “finished” art and what it means when paintings are changed by people other than the original artist.

"A Dominican, with the Attributes of Saint Peter Martyr" by Giovanni Bellini

(left) “A Dominican, with the Attributes of Saint Peter Martyr” by Giovanni Bellini and (right) a digitally created image based on scientific data illustrating what the original Bellini painting would have looked like. Later alterations transformed the naturalistic portrait into a devotional religious painting. National Gallery, UK (Images)

The first caveat I need to make is that artist do alter their paintings.  This is a natural part of the creative process; but importantly, it is done by the artist and is contemporary to the piece.  Picasso famously reused canvases during his poorer days; I’ve written before about his masterpiece “The Old Guitarist” which is not so subtly painted over an earlier portrait of a woman.  Scientific analysis of materials, examination of brushwork, and stylistic connoisseurship helps art historians determine whether something was re-worked by an artist or is a later addition.

"Death of the Virgin" (1501), Hans Holbein the Elder

Even professional artists make mistakes. In this large altarpiece, “Death of the Virgin” (1501), Hans Holbein the Elder initially painted the Virgin’s hand too small. Taken in the context of the whole piece, he decided they needed to be enlarged and so he used thin layers over this already dried section. Cleaning and wear over the centuries has removed the corrections revealing the first “draft” of the hand. (Kunstmuseum, Basel)

To be clear, I’m not talking about changes made by the artist.  Here we’re talking about when the painting’s owner, potentially centuries later, decides he or she knows better than the original artist.

Switching Up the Subject Matter

Is there a little something you didn’t like about your painting?  It’s easy enough to make small changes and completely alter the meaning of a painting.  Owners felt no reservation about hiring someone to over-paint and rework a piece of art.  Paintings were like any other decorative object and you could alter them as needed.

View of Scheveningen Sands before

Hendrick van Anthonissen, “View of Scheveningen Sands” as received. (Photo: Fitzwilliam Museum, Cambridge, UK).

During routine conservation and cleaning, the Fitzwilliam Museum in Cambridge, UK discovered something hidden in “View of Scheveningen Sands” by Hendrick van Anthonissen.  This 17th century Dutch painting depicted a calm beach scene but a section of the piece had been clearly over-painted.

View of Scheveningen Sands, by Hendrick van Anthonissen

Hendrick van Anthonissen, “View of Scheveningen Sands” following restoration and removal of 19th century overpainting. (Photo: Fitzwilliam Museum, Cambridge, UK).

Conservators decided to remove the over-painting which they believed dated to the 18th or 19th century.  Underneath was a beached whale!  The crowd is gathered not to enjoy the day but to gawk at the creature.  In 17th century Holland, whales were often depicted as sea monsters so this somewhat naturalistic and innocent portrait is helpful for understanding evolving attitudes at the time.  Maybe as whaling declined or went out of fashion, the animal was covered up to make this more of a traditional Dutch seascape.  By restoring the whale, we can now see who very different the original painting was.

Courbet Bride - Dead Girl

Gustave Courbet’s “Dressing of the Bridge (Preparation of the Dead Girl)” (1855), Smith College Museum of Art, USA (Photo)

In Courbet’s “Preparation of the Bride“, three attendants dress a reclining woman while two others prepare the marital bed and one prepares flowers.  This seems like a normal enough scene except there are three other women intently reading from prayer books suggesting that something isn’t right here.

Composite x-ray courbet dead girl - bride

Composite x-ray images of Gustave Courbet’s “Dressing of the Bridge (Preparation of the Dead Girl)” which shows the changes made to the subject via later over-painting. (Images: Smith College)

X-ray analysis showed that the “Bride” was originally nude, her hand resting on her thigh while her head hung forward.  This analysis enabled art historians to correctly identify the painting as Courbet’s “Preparation of the Dead Girl” (1855) which had long been considered lost. Now we can interpret the attendants as washing the body while others prepare for her wake.

It’s not surprising why this work was repainted.  While countryside funerary rituals would have been fascinating to Courbet, art collectors likely found this subject matter disturbing.  Since Courbet’s records always refer to the subject as a dead girl, the woman was probably repainted after Courbet’s death to make the painting more commercially desirable.

Aesthetics and the Owner’s Preference

The contemporary concept of beauty can also change over time.  Paintings can be “freshened up” to be more visually pleasing or more fashionable.  Like the strips of cloth famously painted into Michelangelo’s “Last Judgement” in the Sistine Chapel, morality and modesty could added to an older painting.

Galleria Borghese, Rome

(left) Raphael, “Portrait of a Young Womwn with Unicorn”, Galleria Borghese, Rome; (right) X-ray analysis of the “unicorn”. (Image, Image)

Raphael’s “Portrait of a Young Woman with Unicorn” (1503) is one of three incarnations of this painting.  In the early 20th century, she appeared as Catherine of Siena cradling a wheel in her arms.  This saintly over-painting was removed to reveal a unicorn (i.e. a medieval symbol of purity) in her arms.  But even this was an over-painted addition!  X-ray analysis shows that the woman originally held a dog, a symbol of fidelity, in her arms.  Changing tastes and purposes had recast the woman in two subsequent alterations.

Alessandro" Allori, "Portrait of Isabella de' Medici" before

Alessandro” Allori, “Portrait of Isabella de’ Medici” with partial over-paint, Carnegie Museum of Art (Photo: CMOA)

The Carnegie Museum of Art in Pittsburgh, PA originally thought their painting of Isabella de’ Medici (1542–1576) was a 19th century fake.  Her face was a little too Victorian and a little too pretty.  As restorers started examining the painting, they realized the work was in fact from the 16th century but had been over-painted in select places.  The decision was made to uncover the painting and see what was actually underneath.

Alessandro" Allori's "Portrait of Isabella de' Medici" after treatment

Alessandro Allori’s “Portrait of Isabella de’ Medici” following cleaning and restoration to the original 1574 image. (Photo: CMOA)

Amazing the face and hands of the woman had been repainted to be more graceful and lovely by 19th century standards.  In the restored image, we actually see an older, more humble Isabella.  After a life of misdeeds, she is trying to rehabilitate her image by depicting herself with the symbolic alabaster jar of reformed prostitute Mary Magdalene.  Conservators even found a faint halo around her head.  While the portrait is not as “pretty”, this image tells us more about the historic woman and the sitter’s intent with this painting.

Northern Italian, "Woman at a Window" (circa 1510-30)

(Left) Northern Italian, “Woman at a Window” (circa 1510-30) after restoration, (right) the same painting altered in the 19th century to be less “offensive”. National Gallery of Art, UK. (Images)

Lastly, the Northern Italian renaissance piece “Woman at the Window” at first appeared to be a wide-eyed gentlewoman with brown hair, but this too was over-painting.  Restoration revealed that she was a blonde courtesan.  Her bodice, jaw line, pursed lips, and narrow eyes were too aggressive for Victorian audiences and were redone to mimic a more mainstream concept of beauty and decorum.

Cutting Paintings Down

When I edit travel photos, I often crop the frame to create a more interesting composition or to highlight the subject better.  Digital photography lends itself to re-sizing.  Paintings generally don’t, and yet some panels and canvases have been literally cut to create better images.

cut panel seams, restoration, Leonardo da Vinci, "Saint Jerome in the Wilderness"

Viewed from below, you can see where Leonardo da Vinci, “Saint Jerome in the Wilderness” was cut apart.

Leonardo da Vinci’s unfinished “Saint Jerone in the Wilderness” was cut apart and miraculously reunited after all the pieces were found in a cobbler’s shop.  Clearly someone was interested in the face of the saint and discarded the unfinished surroundings in the rest of the painting.  Leonardo da Vinci was known for reworking and not finishing paintings which is likely why another well-known piece was also cut down.

Leonardo da Vinci - "Ginevra de' Benci"

Leonardo da Vinci – “Ginevra de’ Benci”, National Gallery of Art, Washington DC

The portrait of Ginevra de’ Benci at the National Gallery of Art in DC is an oddly square shape.  From the lopped off inscription on the reverse of the painting, it is clear that this image was cut down.  But unlike St. Jerome, the missing piece(s) did not survive.

Ginevra de' Benci reconstriction - Leonardo da Vinci

Hand sketches and a speculative reconstruction of Leonardo da Vinci’s “Ginevra de’ Benci”. (National Gallery of Art, Washington DC)

Looking at contemporary portraiture and even other works by da Vinci himself, it is likely that this would have been a full torso length painting showing the woman’s folded hands.  Looking through sketches by da Vinci, the National Gallery of Art speculated on what the original painting may have looked like.  Yet why would the hands have been removed?  It’s possible that da Vinci (the perfectionist) hadn’t finished the hands and so a later owner trimmed the piece, salvaging the glowing face of Ginevra, and essentially creating what looked like a finished piece.

Rembrandt - the night watch cut down

Sometimes cutting a painting is viewed as “practical”.  Rembrandt van Rijn’s iconic “The Night Watch” (1642) was cut down in 1715 so that it would fit on a wall in the Town Hall. This copy of the original composition shows were the painting was trimmed. (Image)

So What is a Finished Painting?

I always enjoy seeing altered paintings and scientific analysis of the their “visual history”.  It’s interesting to see the artist’s original intent and to understand the artistic desires of later viewers who changed the piece.  Restoration raises some challenging questions for museums.  What should the final state of the artwork be?  Do you honor the original intent or maintain the well-known, albeit altered appearance?

It’s an interesting thing to ponder next time you’re standing in a quiet gallery where no one would even dream of touching a painting, let alone re-paint it.

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Filed under: ArtSmart Roundtable Tagged: art, art history, art restoration, ArtSmart Roundtable, Conservation Science, culture, museums, Painting, research

Shocking Paintings of Martyred Saints

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The monthly ArtSmart Roundtable brings together some of the best art-focused travel blogs to post on a common theme.  This month we are discussing Death & Darkness!  Take a look at all the creative interpretations of his topic at the bottom of the page.

Peter Paul Rubens - "St Sebastian

While images of St. Sebastian were often an excuse to paint the human figure, not all martyred Saints were this “elegant”. Peter Paul Rubens – “St Sebastian”, 1614, Staatliche Museen, Berlin (Photo)

November 1 was All Saints Day which got me thinking about this pantheon of holy men and women.  The Saints can be grouped based on their spiritual achievements, like the Scholars, Leaders, Mystics and the Martyrs.  For frightening, chilling stories, Halloween’s monsters have nothing on this last group!  While they are revered as holy people, the lives of these Saints contain some gruesome tales of torture and execution.  Since images have historically been used to educate viewers, may of the most disturbing images in art history depict the various grisly deaths of the martyr Saints.

As a religious ideal, martyred Saints were so devout and so committed that they were willing to subject themselves to painful deaths for their faith.  To impress upon viewers the holiness of this suffering, effective images of the Saints had to be pretty graphic.  Since the violence and pain were so linked to the Saint’s story, gruesome images appear across several artistic periods and throughout Europe.

St. Peter (the Martyr) of Verona

Fra Angelico - St Peter Martyr Altarpiece

Fra Angelico – “St Peter Martyr Altarpiece (detail)”, Museo Nazionale di San Marco, Florence, Italy (Photo)

The world can be pretty violent sometimes as St. Peter the Martyr discovered.  A Dominican friar born in 1206, Peter was an Inquisitor fighting heresy in Northern Italy.  Some of his enemies hired an assassin who brutally killed Peter on an isolated road.  He is believed to have written the Nicene Creed with his own blood on the road as he died.

Giovanni Bellini - The Murder of St Peter the Martyr"

Giovanni Bellini – The Murder of St Peter the Martyr (detail)”, 1509, Courtauld Gallery, London (Photo)

In paintings, Peter is murdered with axes, swords, and knives which are often left in his body to illustrate the fatal injuries.  To distinguish Peter from other Dominican saints, he is often shown with a knife right through his head.

Ambrogio Bergognone - "Saint Pierre martyr and a female patron

Ambrogio Bergognone – “Saint Pierre martyr and a female patron (detail)”, Musée du Louvre, Paris, (Photo)

St. Agatha of Silicy

Martyrdom of Saint Agatha in an Initial D

Martyrdom of Saint Agatha in an Initial D: Cutting from an Antiphonary, ca. 1470–73, by Sano di Pietro (Sienese, 1405–1481). Metropolitan Museums of Art, New York (Photo)

As a teenager, Agatha (231 AD – 251 AD) took a vow of piety and purity.  Refusing the advances of a Roman general, she was tortured by having her breasts cut off before finally dying in prison.

The martyrdom of St. Agatha, in a letter "D", Sothebys

Breast removal with saws?! – The martyrdom of St. Agatha, in a letter “D” (detail), Sothebys Auctions, Dec 8, 2009 (Photo)

Maybe because I’m a woman, but I find images of Agatha’s martyrdom to be incredibly gruesome!  Usually massive, garden shear-like pinchers or crude cutting tools are shown snipping off her breasts.

Sebastiano del Piombo - Martyrdom of St Agatha, Palazzo Pitti,

Sebastiano del Piombo, “Martyrdom of St Agatha”, 1520, Palazzo Pitti, Florence, Italy (Photo)

In more gentile paintings, Agatha holds her breasts on a plate as a symbol of her torture.  It’s no wonder why St. Agatha is now the Patron saint of breast cancer patients.

St. Bartholomew the Apostle

Marco d'Agrate - "Statue of St. Bartholomew, with his own skin"

Marco d’Agrate – “Statue of St. Bartholomew, with his own skin”, 1562, Milan Cathedral (Photo)

One of the original apostles, tradition holds that St. Bartholomew traveled to Turkey and Eastern Europe to preach.  For refusing to worship local deities in modern day Armenia, he was sentenced to death by flaying following by beheading.

"Martyrdom of St. Bartholomew"

I was intended to find the source for this image, but searching for “flaying St. Bartholomew” became to scary of a task – “Martyrdom of St. Bartholomew” (Photo)

Images of St. Bartholomew’s martyrdom are violent, brutal, and typically show the skinning process just beginning or well underway especially in older images.  It also became popular to show a normally dressed saint or completely skinless man holding his own skin like a cloak.  Either way, paintings of St. Bartholomew are possibly the most disturbing of all the martyr Saints.

Josep de Ribera - "Martyrdom of Saint Bartholomew"

Josep de Ribera – “Martyrdom of Saint Bartholomew”, 1644, Museu Nacional d’Art de Catalunya, Barcelona (Photo)

So hopefully that wasn’t too scary!  The mechanism of martyrdom was used to identify Saints and to teach viewers a valuable lesson about suffering and religious dedication.  Unfortunately, the end result, in my opinion, were images so horrible that they could only have scared audiences into line.  And in many cases, that visceral impact can still be felt today.

St. Denis Picking up His Head

Following his decapitation in 258 C.E., St. Denis is said to have picked up his head, walked 6 miles, and given a sermon. “St. Denis Picking up His Head”, 19th century, Panthéon murals, Paris (Photo)

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Filed under: ArtSmart Roundtable Tagged: art history, ArtSmart Roundtable, paintings, saints, travel

12 Days of Colonial Christmas

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The day after Halloween, the Christmas decorations went up in my neighborhood.  Then right after Boxing Day, there were already Valentine’s Day candies in stores.  As someone who really enjoys the holiday season, this early decoration overkill and immediate disappearance seems like both too much and too little.  That’s why I appreciate some historical perspective on the season.

colonials on the street

Just some locals in Williamsburg enjoying the holidays.

18th century Americans didn’t decorate until Christmas Day and then spent the next 12 days celebrating with parties, dancing, weddings, and lots of eating and drinking.  To take in the classic (and not so classic) wreaths, greens, and holiday trimmings essential for the holiday spirit, I spent a few days in Jamestown and Williamsburg, two living history museums in Virginia.

As British colonists, early Americans followed established mid-winter decorating traditions.  They used trimmings of evergreens, berries, ivy, and mistletoe. Natural materials were cheap and abundant.  The result is simple but beautiful and is, in my mind, synonymous with the season.

Christmas at Jamestown

A few greens on the mantel at Colonial Jamestown.

Christmas decorations, Governor's mansion, colonial Williamsburg

Green boughs and pine-cones over the entrance to the ballroom at the Governor’s mansion in colonial Williamsburg, Virginia

The early 20th century saw a period of Colonial revival in the US in which historic designs, architecture, and furniture became popular again.  Of course many of the more elaborate and decorative designs of the revival were only “inspired” by colonial America.

Colonial apple and pineapple wreath

While this semi-circular wreath is beautiful, no sane 18th century family would have hung fresh fruit (assuming they could get it) over their door to rot.

Colonial revival Christmas decorations actually draw from the lush garlands of Italian Renaissance sculptor Luccia della Robbia.  His ceramic pieces were often encircled with fruits and foliage.  This new, revival style became extremely popular such that today, the recreated historic city of Williamsburg, Virginia still uses these aesthetically pleasing, but less historically accurate arrangements.

orange, apple and clam Christmas wreath

A wreath of lemons, apples, dried oranges, and local clams

Pomegranate Christmas decorations

Pomegranates decorate the historic courthouse.

The decorations look wonderful!  I’m certainly not going to complain about a little historical inaccuracy.

A festive door decorated with apples.

A festive door decorated with apples.

Oranges and pine cones wreath, colonial Christmas decorations

Orange and pine cone wreath – a modern day interpretation of Colonial Christmas decorations

The historic park and living history museum checks the decorations daily to replace any rotten, damaged, or missing fruit.  While squirrels generally do most of the damage, I was told that the occasional visitor has plucked items from the wreaths.

House with colonial Christmas decorations

Boarding house with decorations

Due to the warm weather this December, the staff have also been working with a lot of dried elements, like seed pods and flowers, to keep the wreaths looking good longer.

Colonial Christmas wreath with dried flowers and pods

Double decorations of dried flowers and pods.

Colonial Christmas wreath with dried flowers and pods

Red door and green wreath with dried components… and an artichoke

Of course some of the more whimsical wreaths playfully try to match their house.

Dried spice Christmas wreath

Spices and spoons over the door of a hot drink shop that serves warm cider.

Weaver's Christmas wreath

The wreath over the Weaver’s workshop.

Cooper Christmas wreath

Wood shavings make up the bulk of this wreath over the Cooper’s workshop.

Compared to the glittery and overly commercialized Christmas season, the colonial (and colonial inspired) decorations are a breath of fresh air.  I love the natural components and the obvious care with which they have been arranged.  Homes are elegantly decorated with a wreath, some greens around the door, and single electric candles in each window.  Fires blaze inside reminding us of a time when there were 12 really amazing days for celebrating with family and friends.

Christmas decorations Kings Arms Tavern

Some interior decorations at the Kings Arms Tavern


Filed under: Washington DC Tagged: art, art history, Christmas, colonial, decorations, design, history, travel, Washington DC

Re-Opening the Renwick and the Morning After

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The quiet child of the Smithsonian family of museums re-opened this November with a surprisingly bold statement.  The aptly named Wonder exhibit is well worth a visit for its truly impressive installation pieces.  While I’m happy to have the Renwick Gallery back, this re-birthday party feels overly flashy, just a bit narcissistic, and certainly out of character for a museum dedicated to decorative arts.  While an entertaining show, I am left wondering about the future of this museum and the potential for a reinvented purpose.

Renwick Gallery facade

The “new” Renwick Gallery at dusk

A Bold Return

The Renwick Gallery was constructed in the late 1850’s to house the art collection of  William Wilson Corcoran.  By the turn of the century, this private art museum had moved on to a larger space and so the building was used for various governmental offices.  First Lady Jacqueline Kennedy saved this historic building from demolition at which point it was given to the Smithsonian American History Museum to house its American decorative arts collection. The Renwick closed in 2013 to complete two years worth of massive restorations.  To give you some perspective on the pre-restoration Renwick, the last exhibit there was Thomas Day: Master Craftsman and Free Man of Color featuring furniture and “architectural woodwork” made in antebellum North Carolina.

Patrick Dougherty, Shindig

Bird’s nests for humans – Patrick Dougherty, Shindig

It seems the gallery was eager to announce its re-entry to the DC arts scene with something big!  The re-opening exhibit, Wonder, features nine, room-sized works by contemporary artists.  The scale of each piece creates an immersive viewing experience as one can walk around, under, and through most of them. It’s always interesting to see pieces that change or reveal fascinating nuances as you look from different angles or change your distance relative to the piece.  Wonder certainly gives you plenty to explore.

Tara Donovan, Untitled, Renwick

Ant hill shaped mountains… – Tara Donovan, Untitled

Tara Donovan, Untitled, Renwick

Ant hill shaped mountains of index cards – Tara Donovan, Untitled

I liked the use of non-traditional materials. Wonder contains branches, wooden blocks, rope, thread, tires, index cards, LED lights, glass marbles, and dried bugs.  That’s one preserved shark away from a modern art bingo!

Jennifer Angus, In the Midnight Garden room

Te popular “bug room” – Jennifer Angus, In the Midnight Garden room

Jennifer Angus, In the Midnight Garden

The teeth of one skull are actually made of beetles – Jennifer Angus, In the Midnight Garden

I particularly liked Janet Echelmans’s “1.8” which hung like a ghost in the upstairs grand salon.  Over the course of a few minutes, colored spotlights cycle through the rainbow creating wildly different effects and shadows.

Janet Echelman, 1.8

Blue light and Janet Echelman, 1.8

Janet Echelman, 1.8

Yellow light and Janet Echelman, 1.8

Trying Too Hard

Wonder as been wildly popular.  The entry line wrapped down the block on the opening weekend so I obviously gave up on being one of the first people to see the new Renwick.  Even a month later when I did get in, the museum was still packed.

Renwick Gallery photograpy sign

Signs like this were in every room in the renovated Renwick

The Renwick Gallery is actively promoting photography and Instagraming of the exhibit.  While I get this because the pieces are very cool to explore, there is an air of “buzz creation” rather than real artistic engagement behind it all.  It feels like a Millennial approach to marketing – “Our re-opening is a huge success because now we’re trending!”  My suspicions have been eerily confirmed:

Renwick updates

Screen capture from the Renwick website Updates section. Congrats on trending, I guess.

Sadly I get why they are doing this; I understand what the curators of the new gallery are reacting to.  The Renwick use to display pottery, baskets, furniture, and textiles.  While all expertly executed and exemplary pieces, these items are removed from our daily experience of Ikea furniture, plastic containers, and fast-fashion clothing.  People don’t engage with cabinets and they most certainly don’t share photos of them.

That’s why the Renwick re-opened with something extravagant and radically different.  Clearly they’re not a museum of rocking chairs and oil lamps anymore.  (I mean, didn’t you see that there was a Maya Lin piece in Wonder?)  The Renwick has people’s attention now, even if it meant straying away from their decorative arts mission.

Maya Lin, Folding the Chesapeake detail

Sunlight and glass – Maya Lin, Folding the Chesapeake (detail)

What I’m waiting to see is whether the Renwick will truly innovate with the platform it now has, or if it remains a gallery that tries desperately to be “cool”.

Now What for the Renwick?

There’s now an out-of-place neon sign over the front door of the Renwick that progressively lights up and blinks – “Dedicated to the future of art”.  The gallery has not communicated a significant change to its mission following the renovation so I’m not sure how to interpret this.  It’s an enigmatic statement, but I’m optimistic that they could actually be on to something.

Renwick slogan - Dedicated to the future of art

What does this even mean?

I recognize I’m biased, but decorative art, particularly crafts, are a beautiful and an unsung genre of art.  Creativity during fabrication produces objects that transcend the ordinary and the utilitarian to become works of art in themselves.  Everyone expects a painting to have meaning or at least minimally some pleasing aesthetic qualities.  How magical is it then to find beauty in the mundane!  That’s why I love decorative arts and graphic design.

This neon slogan has to be more of an internal mantra to challenge the Renwick curators.  For decades the museum as behaved as if decorative arts were a thing of the past that just concerned with techniques of the past.  But what does it mean to design and create using 3D-printing today?  What does it mean to work with your hands for weeks when technology could make your efforts obsolete?  What is uniqueness and originality of design when mass production can create thousands of identical objects?  If the Renwick really wants to explore decorative art of the present and future, this could be a fantastic project and an impressive challenge in an age of computer aided design, human-less fabrication, and mass consumption of material goods.

Leo Villareal, Volume (Renwick)

Leo Villareal, Volume (Renwick) – This digital LED chandelier was the only piece from the Wonder exhibit that was purchased by the Renwick and will be permanently installed over the grand staircase.

One of the most enlightening exhibits I’ve ever seen was a collection of first generation technologies at the MOMA in New York City.  A clock radio, a boombox, and a stand mixer were put on pedestals behind glass in an arresting flip of perspective.  I would love to see the Renwick explore the interplay of form and function using the ubiquitous technology with which we’ve surrounded ourselves.  Maybe instead of immediately taking selfies, we could look a little more closely at the objects in our hands.

Enjoy it for Now

By all means enjoy Wonder for the impressive collection and playground that it is.  I however will be waiting to see what the Renwick Gallery does next.

John Grade, Middle Fork

A wooden block recreation of an actual tree – John Grade, Middle Fork


Filed under: Art History, Washington DC Tagged: art, art history, contemporary art, crafts, Decorative Arts, modern art, museums, Renwick Gallery, travel, Washington DC




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