Donatello at Palazzo Strozzi, Florence

If there is an equivalent of Zoom fatigue for art shows, I 100% suffer from it. The ridiculous speed at which I move from one room to the other is incompatible with any coherent understanding of what's before my eyes. The best I can hope for is that adequate appreciation is happening on an unconscious level, but as far as retention and analysis go, they are sketchy at best.

The one marvellous thing I did take away from the Donatello exhibition at Palazzo Strozzi , is a renewed and profound sense of wonder for what an artist can do with marble. Donatello, a sculptor and an architect, possessed an extraordinary ability to use a vast array of materials: stucco, terracotta, wood, copper, bronze to name a few. Whatever he made, he managed to convey extraordinary expressive humanity and demonstrate insight into the psychology of his subjects. The so-called ‘schiacciato’ (flattened) technique, of which the Madonna Pazzi (1st and 2nd photo) is a jaw-dropping example, is a relief that produces an illusion of depth and perspective through the carving of very thin degrees of thickness. Framed inside a window, the Virgin and Child seem to emerge into the viewer's space. But what is most striking here, is how Donatello renders the tender relationship between mother and son. A serious-looking Virgin leans towards a smiling Jesus, expressing a poignant sense of foreboding about his destiny.

#donatello #palazzostrozzi #florence #sculpture #marble #earlyrenaissance #renaissance #artblog #blogger #beyondthecanvasblog

Domenichino's Sibilla Cumana at Pinacoteca Nazionale di Bologna

Being inside an empty museum at night might well be the ultimate art lover's fantasy. Apart from not having to share the space with herds of other human beings, which tends to be a much broader issue as far as I'm concerned, there's a sense of heightened awareness that does result into a more intimate and meaningful relationship with the art. And whilst last night I couldn't fully realise my fantasy of blissful solitude, I am hugely grateful to Bologna's Pinacoteca for arranging an evening talk that brought together a passionate and competent curator and a very bearable number of visitors.

Domenichino (Bologna 1581 - Naples 1641) may not ring that many bells internationally, but he does deserve a place among the great Italian masters of the 16th century. A pupil of the flemish painter Denis Calvaert, he then joined the Carracci workshop, where he was said to have become Annibale's favourite.

The Sibilla Cumana, the priestess of Apollo, is a triumph of symbolism. Objects such as the lyre refer to the Greek god, who was the protector of the arts, including music. Ditto for the laurel behind the wall in the background, which was said to be the plant dear to the god. The Sybil's face is round and framed by blond hair, combed with a parting. This is the 17th century, and Domenichino abides by the rules of classicism by painting a highly idealised figure. Her look is one of amazement, her eyes are wide open, as is her mouth. You can almost hear her whisper her prophecies. Gifted with glowing white skin, the Sibilla Cumana is draped in ravishing silk dresses that are decorated with floral motifs. The turban she wears on her head is adorned with golden bands and jewels to please the aesthetic taste of the patrons.

The Sibilla Cumana is on loan from the Galleria Borghese and on display until July 31st.

#domenichino #pinacotecanazionaledibologna #bologna #galleriaborghese #painting #seicento #artblog #artblogger #beyondthecanvasblog

Domenico Zampieri aka Domenichino

Sibilla Cumana, 1617

Galleria Borghese, Rome

Gates of Turan, Firouz FarmanFarmaian at the Venice Biennale

Sometimes the Venice Biennale takes you places you'd never dream of going to. A decision to escape the mad crowds of San Marco and take the ferry to Giudecca meant I was rewarded with a mesmerising insight into a nomadic culture I knew nothing about.

Firouz Farman-Farmaian has recreated a traditional Kyrgyz environment where we see, hear, smell (the felt banners hanging from the ceiling are made of yak wool) and, mostly, feel. It is also possible to sit on a rug underneath the tündük, the dome at the center of the yurt, something I now regret not doing. Immersive has become such an abused, empty buzzword, it doesn't do this work any justice. Multi-sensory is more fitting. I felt lifted, transported, humbled, surprised, moved, soothed, inspired. I felt like I was present, but also a million miles away.

Firouz's background as an exile following the Islamic revolution in his native Iran s crucial to his artistic vision. A self-identified nomad himself, he was able to draw on his life experience and shared tribal ancestry with the Turanian nomads to put together this fascinating installation, which is the result of multiple trips to the remote Kyrgyz highlands. That's where Firouz initiated a collaboration with the Alytn Kol (Golden Hands) Women Handicraft Cooperative who made the beautiful felt rugs, the shyrdaks.

Superbly curated by Janet Rady, this is a deeply engaging experience any Biennale-goer worth their salt would do well not to miss. Special thanks to Catalina who provided me with some much-needed context before I entered the yurt. It really did help.

#FirouzFarmanFarmaian #gatesofturan #venicebiennale #kyrgyzculture #giudecca #venice #venezia #installation #contemporaryart #artblogger #beyondthecanvasblog