Cabinet of Curiosities

By Mary Jo Gibson

August 31, 2012

The changes of the season will soon be upon us, but as the last days of summer wane, I bring a new Cabinet of Curiosities with several bits of interest. The cabinet picture is from the Victoria and Albert Museum, showing a Japanese lacquered incense box that may have belonged to Queen Marie-Antoinette of France.  The museum’s team of scientists have tested the materials and found that metals such as gold, silver and tin were used to decorate the surface, and what was thought to be red coral is actually made with a red pigment called vermilion.  Let’s open the drawers a take a look inside…

Restoration Secrets from the Vatican

Museum Secrets has added new content to their website, including an interactive tool for users to experience restoration of a fresco.  A back story tells of restoration work in the Papal apartments on several masterpieces by Raphael.  Old repairs that concealed damage to the faces of several popes revealed the name of the leader of the Protestant Reformation, Martin Luther.  How did this name appear on a work of Catholic religious art?  Find out at their link, Museum Secrets.

Opening up the Soane

The Soane Museum in London has added a video to their site showing the unique restoration project that is currently being undertaken.  Their archival library includes an inventory of all objects from Sir John Soane himself, and several books with watercolor drawings of the rooms.  Armed with this research, the restoration will be completed to the highest satisfaction of the donor’s standards.  The video offers a glimpse of the miniscule water closet, which contains one of the smallest sinks I have ever seen.  Take five minutes and find your imagination in awe of what awaits behind the door at Soane’s private residence in London, there is even a sarcophagus in the basement.

What exactly is a Cotehardie?

Clothing through the ages has changed radically, with art recording the variety of the times.  The Cotehardie was the first tailored garment in European history.  Prior to this, clothes were a variation on a bag with sleeves and a hole for your head, not exactly flattering.  An enterprising individual whose name has been lost through the passage of time experimented with cutting the fabric to fit the body like a glove, and a revolution began.  Images from art of the period showing women dressed in Cotehardies can be found at this link.

The true journey of the lost sock

I never thought that an old pair of stockings would have any significance, but a small collection from the Costume Institute is available on the Heilbrunn Timeline of Art History.  This particular pair dates from the late 18^th century, made of silk with metallic thread.  A gift from Henri-Marcel Cadgene in 1955, I am truly amazed at what people have stored away in their homes.  I doubt the television program Hoarders would find anything of this value, but there is the possibility.

Tudor Roses and enough history to fill volumes

This emblem of King Henry VIII, the Tudor Rose, represents the combination of the House of York and the House of Lancaster.  When Henry took the crown of England from Richard III in battle, he brought about the end of the War of the Roses.    Given the symbolism and branding through the centuries at the historic King’s College Chapel, a virtual tour with explanations would greatly enhance their website.  Perhaps writers of the Dan Brown variety will find inspiration in this storied chapel.  Founded in 1446, I am sure there is some historical intrigue that can be fleshed out through research.  After all, master masons of the highest caliber were involved in the construction and decoration of this historic place.

Another lost Masterpiece makes news

Horse and Rider, the only known three dimensional piece of art created by Leonardo da Vinci was unveiled this week.  Taken from a 504 year old beeswax image, the sculpture is believed to contain a thumbprint of Leonardo.  Created in 1508 as gift for his patron, French military governor Charles d’Ambroise, it measures 12 inches high and 7 inches wide, and believed to be intended as a model for a much larger sculpture.  After Leonardo’s death in 1519, it was given to his apprentice, Francesco Mezi, remaining in the family until 1930.

When studied in detail, it was discovered that along the horse’s right breast a thumbprint exists.  While there is no possible verification available, it is believed to be Leonardo’s.

The beeswax sculpture was authenticated by Dr. Carlo Pedretti, widely considered the world’s foremost authority on Leonardo, and professor emeritus of art history and the Chair of Leonardo studies at UCLA.    The statue is currently on display at the Imagine Exhibition Gallery at the Venetian Hotel, Las Vegas.

Around the world with a virtual vacation

If funds are scarce this holiday weekend, take a tour from Best Places in the World.  Beautiful photographs of unusual points of interest across the world.  A short description of the historical context is just enough to whet the appetite for more research.  This photo of Mont Saint-Michel in France gives the briefest of vignettes, but the Wiki page provides a depth of detail.

Thank you for joining me for this week’s Cabinet of Curiosities.  Museum Monday will offer a virtual tour of the historic Red Rocks Amphitheater and their museum.  Join me for some of the most beautiful views outside the city of Denver, and a little music to complete the experience.

Cheers,

MJ

What I am reading over the holiday weekend.

TITIAN

The Sun amongst the Stars…

Final line of Paradiso, Dante

Tizaian Vecellio 1473/1490-1576

On February 1, 2009, an argument about Titian’s age at death arose between British Prime Minister Gordon Brown and Opposition Leader David Cameron at the Prime Minister’s Questions, where Cameron sought to ridicule Brown’s general factual accuracy.  This debate split over Titian’s entry on Wikipedia, when an editor from the Conservative Party altered Titian’s dates to substantiate Cameron’s claim and then directed the BBC to the article for them to use as verification.  Cameron later apologized and said the staff member had been disciplined.  The precise date of Titian’s birth is uncertain.

“This is the first financial crisis of the global age, and there is no clear map that has been set out from past experience to deal with it. I’m reminded of the story of Titian, the great painter who reached the age of 90, finished the last of his nearly 100 brilliant paintings, and said at the end of it, “I’m finally beginning to learn how to paint”, and that is where we are.”

Titian.  The name is instantly recognizable as a giant of 16^th century painting.  Monumental canvases featuring images of heroic narrative from the classics of literature and religious symbolism.  Born in Pieve di Cadore a small village in the Dolomite range of the Alps near Bellun, he left for Venice at 12 where Titian worked with the mosaicist Sebastiano Zuccato, then studied with Giovanni Bellini.  Collaborating with Giorgione (Giorgio Barbarella 1477-1510) he developed a lyrical style during his early period and assisted in executing the external fresco decoration of the Fondaco dei Tedeschi on the Grand Canal in Venice.  Upon Giorgione’s death from the plague, Titian completed several of the artist’s works-in-progress.

Pala di St. Giobbe, Giovanni Bellini

St. Mark Enthroned with Saints-1510

Titan’s career escalated rapidly after he received a commission in 1511 to execute three frescoes for the Scuola del Santo in Padua.  By 1513 he had begun painting a Battle for the Chamber of the Grand Council (Maggior Consiglio) in the Doge’s Palace in Venice.  Upon the death of Giovanni Bellini, 1516, Titian became the official painter to the Republic of Serenissime.

Assumption of the Virgin 1518

Titian produced several great altar-pieces including Assumption of the Virgin. (left)  With this painting his command of movement and space increased, and his rich color gained in harmony and refinement.  During the years of his second period (1510-1530) he became the acknowledged leader of the Venetian painters.  Michelangelo and Raphael were the same artistic leaders of Florence and Rome, respectively. The greatest patrons of art in Europe sought his pictures.

Francis I and Suleiman 1530

Philip II - 1550

Patrons included Francis I of France, Phillip II of Spain, the Holy Roman Emperor Charles V , Pope Paul III and the greatest Italian noblemen.  The Emperor appointed Titian court painter and gave him the rank of Count of Palatine and Knight of the Golden Spur. For these patrons Titian continued to paint portraits, but his most acclaimed work of this period were three paintings for Alfonso d’Este in Ferrara, The Rape of Europa, the Worshipping of Venus, and the Bacchanal of the Andrianes.

Emperor Charles V - 1548

Pope Paul III 1543

Bacchaus and Andriane - 1520

Worship of Venus - 1519

Rape of Europa

1530-1550 was Titian’s maturity period with the execution of a series of reclining Venuses, the likeness of several princes, or Doges, cardinals, monks, artists and writers.  In 1543 he travelled to Rome escorted by the Duke Guidobaldo, received by Cardinal Bembo and Pope Paul III as an established painter with his own style and reputation, the creator of acknowledged masterpieces. Vasari was appointed his cicerone and Titian stayed eight months, made a Roman citizen and visited Michelangelo at his lodgings.  Though he does not seem  directly influenced by all he saw in Rome, a change overcomes his work between 1540 and 1550 ascribed to a widening of his artistic horizon and a consciousness of what others were doing, both around him and abroad.

In the last 25 years of his life, Titian became an insatiable perfectionist, keeping some pictures in his studio for years.  Never wearying of returning to them and retouching the detail, constantly adding new expressions, subtle, refined and concise.  He also finished off copies of his early works by pupils, giving rise to many problems with attribution and priority among early versions of his paintings.   His Venetian contemporaries, Tintoretto and Paolo Veronese, become serious competitors, but Titian remained active until his death in Venice, August 27, 1576.  He was the only victim of the Venice plague given a church burial, interred at Santa Maria Gloriosa dei Frari.  His last work was ‘Pieta’ created for his own tomb and completed after his death by Palma il Giovane.

Pieta - 1576

Lost Titian

Salome with head of John the Baptist - 1570

Titian continues to prove a powerful draw even 500 years after his death.  Christie’s auction house recently made news with a lost masterpiece that sold in 1993 for 8,000 pounds.  Questions as to the authenticity of the piece were brought forth as the reason, but a similar painting of  ‘Salome with the head of John the Baptist’ sold at Sotheby’s with an estimate of 4-6 million pounds.

Venus with Mirror - 1555