The painting, now at the Kimball Art Museum is by the ridiculously young Michelangelo, 12 or 13, frankly all terribly depressing ; for more details read this 2009 New York Times article. 

Michelangelo Buonarroti

(1475-1564)

The Torment of St. Anthony

Kimbell Art Museum, Fort Worth, Texas

Once again faithful Vasari provides clues to this wonder, to Vasari’s glee the young fellow made a “perfect pen-and-ink copy” of the Martin Schongauer original. Working from a copper engraver the ambitious boy had purchased on his own, he dazzled his contemporaries and secured “considerable fame”. Not content to sit on his laurels (something I would be all too willing to do), the young Buonarroti quickly began a colored copy, according to Vasari:

“…in order to copy some of the strange looking demons in the picture he went along to the market and bought some fishes with fantastic scales like theirs.”

Detail of “fantastic scales”

source, NYT, click for more details

Given the blessed abbots desire for solitude, I think he makes a wonderful patron for artists; I am deeply drawn to images of the saint happily ensconced in his charming hermitage, a decorative skull comfortably placed on his rustic worktable. Perfection.

This weekends paper had an article concerning solitude and creativity, it only confirmed my own beliefs; if you wish, check it out with this link.

Those familiar with my blog know my penchant for George Méliès, I wasn’t going to replay this St. Anthony clip, but since I saw Hugo this weekend I really could not resist. It is incredibly delightful and funny.

For those inclined to something less irreverent, here are two prayerful clips, less fun but…

and

I will now close, must dash off to the gym, then lock myself in my hermitage; I happen to have a skull- fuschia, with glitter.

Anthony would have approved.

Happy Feast Day Saint Anthony!

Take care,

Babylon Baroque

Alas it isn’t going to be. My new life, here in San Diego is frankly banal, frightfully banal. I am here, ostensibly to tend to the mother-in-law; I spent most of today cooling my heels while she had her hair done.

I need to work on this.

Until that time, I will continue to lock myself in my studio, and in between my monastic retreats continue to patronize the numerous used bookshops in Hillcrest. They offer great solace, particularly as I am essentially living in a cultural wasteland.

Once again lovely musty books come to my rescue.

What popped out on a recent afternoon  visit were several volumes on Piero della Francesca, a great favorite and one volume on Jared French. I’ve been thinking about French ever since George Tooker died. When I had written that post I felt a strong connection between Tooker ( and French) and Piero della Francesca. I quickly found out this was common knowledge, but I still  find it very exciting. As I personally struggle with incorporating humanist elements into my own work, to see how seamlessly French accomplished this is encouraging, daunting and thrilling. One painting (of many exciting paintings) really stands out, that is Washing the White Blood from Daniel Boone; it is such a rich image, its Renaissance roots are palpable.

Jared French

Washing the White Blood from Daniel Boone

egg tempera on gesso panel

William Kelly Simpson

 source

The book I happen to be reading concerning French and his work is Nancy Grimes’ Jared French’s Myths, it really is marvelous, you might want to add it to your own collection. She points out the della Francesca inspiration, particularly concerning this painting; she very reasonably presents the Baptism of Christ.

Pierro della Francesca

Baptism of Christ

1448-50

egg tempera on poplar board 

National Gallery, London

That connection is quite right, but so many of della Francesca’s painting must have influenced French ( and Tooker and Cadmus). My own random browsing of della Francesca’s work led me to his still arresting image of Hercules.

Hercules

1465

Fresco

Isabella Stewart Gardner Museum, Boston

Stumbling about, I came upon this sketch by French for Washing the White Blood from Daniel Boone; I’m always bewildered and intimidated by the “sketches” of the great.

source

What is so very frustrating about French isn’t his enigmatic images, what is so challenging is how little seems to be known about the fellow. Grimes does an admirable job piecing together bits of the puzzle; but from my research I could find very little new information. Even Wikipedia was mute.

I rather prefer the mystery that surrounds this boy from New Jersey ( my own home state), I will continue to grapple about for new tid-bits, enjoying his incredible work as I go about the task.

Jared French, January 25th 1939,

taken by Carl Van Vechten

source

This video clip has many more images of French’s work, worth checking out if so inclined.

Once again, please pardon this rather pedestrian post. The dust from packing has just settled, my studio is now freshly set up, still much to do of course, but beginning to feel a bit like home; albeit one  situated in a rabidly right wing environment with a rather daunting homophobic mother-in-law.

Wish me luck.

Until next time,

Babylon Baroque

I may be biased, Vasari has become a great inspiration to me, he is a meat-and -potatoes sort of painter, gifted but not stellar, best known for chronicling the luminaries of his culture. As an artist struggling with his inadequacies I can relate. In no way am I able to claim even a hint of Vasari’s skill and accomplishment; yet his facing head on the brilliance of Raphael, Michelangelo and Leonardo is admirable and worthy of emulation.

Today’s article pointed out that given Leonardo’s (well deserved ) celebrity, the Vasari could easily be compromised for a publicity stunt. Alesandro Mottola Molfino (God, I wish I had a name like that), president of Italia Nostra, a conservancy dedicated to preserving Italy’s cultural heritage, said it best: ” We’ve grown weary of using art history as an event or a marketing opportunity”. I frankly could not agree more, how have our museums so thoroughly debased themselves with blockbuster shows aimed solely at pleasing  the gift-shop-hungry hoards? Why must art be viewed as stunt or performance? I am often disheartened at the empty halls of LACMA, where I have the galleries of 15th and 16th century paintings to myself while the tedious Tim Burton exhibition is teeming with lighthearted revelers.

 I must stop, I’m ranting once again.

That said in my lonely meanderings I recently stumbled upon a Vasari at LACMA, I was unaware that we had one in Los Angeles. It is rather typical, large and attractive , perhaps hastily painted in his workshop-the Virgin’s club foot attests to a certain lack of quality control. But even with its terribly minor flaws it tickled my eye, far more satisfying then the mid-century kitsch being celebrated in the Resnick Pavillion below. Given the upcoming season, the feast day of our Savior’s birth, I thought it a fitting image for this post.

Giorgio Vasari (1511-1574)

Holy Family with Saint Francis in a Landscape

1542

oil on canvas 

LACMA

Click to enlarge, the details are worth the effort.

As I mentioned in my previous post I will be packing up my studio, preparing for a move to San Diego- my mother-in -law is unwell, I must tend to her. But my concern for this matter trumped my mundane duties, plus I really hate packing.

But I must, so Merry Christmas, Happy Chanukah, joyous winter celebrations to all.

See you most likely in 2012.

Until that time, take care,

BabylonBaroque

I am feeling ambivalent, LA has never been a good fit.

That said I have made many fine friends, I will treasure the memories. The following is a scrap-book of fond remembrances:

My  view will be missed,

I will miss the drama of my apartment.

Nature has been elusive, but I have had a few random encounters.

Although, this tends to be the norm.

I have wonderful memories of the Getty Center, a marvel of a place,

here with my sister Kat and niece Grace, visiting from Philly.

We married in LA, our tiny West Hollywood condo, gotta love that,

making it legal, July 3rd 2008,

a very sleepy Flower-Pug, Daisy

There are of course many sights that I will miss, the beautiful Grauman’s Chinese.

I only visited once, saw something forgettable, BUT the interior, that will not be forgotten.

China Town, although modest in size, is not without its charms.

One of the most dazzling places is the Los Angeles theater, Queen of the faded Broadway beauties.

Difficult to speak of LA without mentioning Street Art,

Regarding the Blessed Virgin, the Cathedral is always worth a visit.

An obvious delight is the Getty Villa in Malibu,

the husband enthroned.

A less obvious palace of delight is the Clark Library in Downtown, a wonder of wonders,

ceiling decorations that are as subtle as a train wreck,

the grounds are a delight particularly given the bustle and grit that surrounds this sanctuary.

Far removed from poverty and grime, the Huntington with its impressive collection of Anglo portraiture and stunning gardens stands aloof and gorgeous in Pasadena.

Always the right choice to spend an afternoon wandering about.

My favorite Sunday jog is up Runyon Canyon, spectacular views of the city and nearly naked flesh.

I have grown incredibly fond of LACMA, I now consider it “my” museum.

I have grown to know the collection, I will perhaps miss this most of all.

Quite simply my favorite painting in LA, Guido Reni’s Bacchus and Ariadne, the placement is particularly handsome.

As I will begin the tedious task of packing up, I will most likely not be making many posts until the new year.

Wishing my readers a very joyous holiday season until that time.

Take care, Babylon Baroque

David with Buddy and Rose

Yours truly withSpeck, Rose and Viola

My great beauty, Speck

My three legged wonder, Rose

The unstoppable Viola

The Man with the Old Man (16 and counting) Buddy

Wishing all a very happy and safe holiday!

Happy Thanksgiving,

Leonard @ Babylon Baroque

]]> http://babylonbaroque.wordpress.com/2011/11/23/a-bit-of-gratitude/feed/ 5 babylonbaroque i-8WBFTgs-L i-MRPSkGS-L i-GQLn4Cj-L i-pCqXRXp-L i-276Xf4h-L i-GBGs8Mg-L http://babylonbaroque.wordpress.com/2011/11/21/in-gratitude-for-pronk/ http://babylonbaroque.wordpress.com/2011/11/21/in-gratitude-for-pronk/#comments Mon, 21 Nov 2011 17:29:41 +0000 babylonbaroque http://babylonbaroque.wordpress.com/?p=2940 ]]> Given we are entering the season of thanks, I was suddenly struck by a sense of gratitude for the bounty I enjoy and frequently take for granted. I was raised in poverty, food was not always available, with such a background my weekly trek to the local Whole Foods can  at times feel overwhelming. I was made aware of this fact last Saturday, the usually busy market was even more alive with teeming shoppers eager to make this Thanksgiving more memorable than any other. The grocers responded with even more alluring displays of produce, most particularly lovely fragrant bouquets of celery, such a modest vegetable possessing such verdant beauty. These supremely suburban displays of abundance reminded me of another time and place in which ostentatious displays of luxury were enjoyed with unreserved relish- the  17th century pronk still life paintings of Northern Europe, in particular the lavish work of Jan de Heem.

With that in mind, the following images are my Thanksgiving greetings, please remember to click upon the image, the attention to detail is beguiling..

Jan Davidsz. de Heem

Dutch, 1606-1883/84

Still Life with Parrots 

late 1640′s

Ringling Museum of Art

Jan de Heem

Still life with ham, lobster and fruit

c. 1653

Museum Bolijman Van Beuninjen

Even this vegetarian finds this traif image alluring.

Of course Jan de Heem wasn’t the only practitioner of the pronk genre; other gifted artists were able to capture the lavish displays of seductive imported goods for our voyeuristic delight.

Jan Pauwell Gillemans the Elder

Still life with Fruit, a Parrot and Polecat Ferrets

mid 17th cent.

 Victoria and Albert Museum

Of course the French were adept at depicting luxury, and although the following image isn’t necessarily pronk, it is delightfully overwrought.

Alexandre François Desportes

French, 1661-1743

Still life with Silver

 Metropolitan Museum of Art

In the French fashion, this marvelous image of Anthony and Cleopatra enjoying a luxurious spread, is a visual delight. I am particularly tickled by the absence of food, the love of ostentatious display does not allow for anything as banal as mere grub, gold suffices.

Claude Vignon

French 1593-1670

The Banquet of Anthony and Cleopatra

 Ringling Museum of Art

I will close with a frankly sentimental and boldly Christian image, that of Jan de Heem’s meditation upon the blessed Eucharist. It really is quite stunning.

Eucharist in Fruit Wreath

c. 1648

Kunsthistorisches Museum, Vienna

With that, I wish a happy and bountiful Thanksgiving day.

Until next time,

Babylon Baroque

]]> http://babylonbaroque.wordpress.com/2011/11/21/in-gratitude-for-pronk/feed/ 3 babylonbaroque sn289 800px-Jan_Davidsz_de_Heem_005 2006AK0784_jpg_l DT2777 sn653 12224-eucharist-in-fruit-wreath-jan-davidsz-de-heem http://babylonbaroque.wordpress.com/2011/11/08/an-unfortunate-encounter-with-fate/ http://babylonbaroque.wordpress.com/2011/11/08/an-unfortunate-encounter-with-fate/#comments Tue, 08 Nov 2011 17:24:34 +0000 babylonbaroque http://babylonbaroque.wordpress.com/?p=2917 ]]> In my reading of Bernal Díaz del Castillo’s rather exhilarating Conquest of New Spain, I discovered that today, at least according to his account, the Spaniards first entered what is now Mexico City.

According to his blustery account:

“So, with luck on our side, we boldly entered the city of Tenochtitlan or Mexico on 8 November in the year of our Lord 1519.”

My love affair with Mesoamerican art and culture is in its infancy, I am not at all equipped to pontificate; but what I am capable of is sharing the numerous images, Spanish and native that are proving to be visually irresistible. The following is a small sampling to commemorate this fateful day 492 years ago.

Juan Ortega

Emperor Montezuma II

Museo Nacional del Arte, Mexico

source

Juan Ortego

Hernan Cortes, la Malinche and Bartolome de Las Casas

Museo Nacional del Arte, Mexico

 source 

Malinche, her true name being Doña Marina,was according to historian Mary Ellen Miller (author of The Art of Mesoamerica: from Olmec to Aztec) translator to Cortés, being fluent in the Maya tongue and Nahuatl, the Aztec language. It is interesting to note that Malinche, according to Miller was the mistress of Cortés and acted in sync with him. The Aztecs upon seeing this powerful woman believed her to be a wrathful goddess (214) .

Tenochtitlan, Entrance of Hernan Cortés.

Hernan Cortés and La Malinche meet Moctezuma II,

November 8 1519

1500-1600 AD

 University of California, Berkely

Our own capital is decorated with this encounter, apparently Contantino Brumidi, chief decorative artist, went to Mexico to study artifacts. The great Calendar Stone being very visible. I love the westernized idols.

Cortéz and Montezuma at the  Mexican Temple 

United States Capital, source  

The Meeting of Cortés and Montezuma

second half of 17th century

Jose Maria Obregon

Discovery of Pulche

detail of Montezuma II

1869

 Museo Nacional del Arte, Mexico

 source 

What I find so thrilling about all of this is the contrasts, the lavish greens of quetzal feathers and jade, the dazzling turquoise which stands in sharp contrast to the red of spilt blood. Fascinating and appalling.

Feathered Headdress

Museum für Völkerkunde, Vienna 

source

Believed to be Montezuma’s headdress sent as a souvenir to Charles V.

Turquoise Serpent 

British Museum, London 

I am eager to revisit LACMA, an new exhibition Contested Visions in the Spanish Colonial World opened on the 6th and will close January 29th 2012. 

Whatever your opinion may be concerning the Conquest of New Spain , we as Westerners were certainly enriched by this fresh and perplexing new source of inspiration.

With that I close.

Take care,

Babylon Baroque

 In my ongoing effort to better appreciate the elusive qualities of Mesoamerican art, the Better Half aand I spent our friday date night exploring the galleries of Ancient American art at LACMA. It really is a wonderful gallery, very broad in its scope, a true treasure trove. But amongst the calligraphic beauty of gracefully decorated Mayan ceramics and the beguiling jadeite baubles, there are many ghoulish artifacts of a culture long lost.

Mosaic Skull

Western Oaxaco or Puebla

1400-1521

human skull with inlaid turquoise, jadeite and shell

LACMA

 Mexico is of course well known for its ornamental use of skulls ; living in LA, particularly this time of year, it is difficult to avoid their toothy grins. But as I explore Mesoamerican art more thoughtfully I am better understanding the cultural significance of these ghoulish delights. What I had initially dismissed as a taste for the macabre now holds greater significance; renewal of life lies at the heart of this obsession with death.

Given the season, I thought a little sampling of our recent visit was in order.

The following shell pendant is quite a delight, very small and of obvious appeal to modern taste.

Skull Pendant

Mexico, Aztec

1350- 1520

shell

LACMA

This ceramic censor has similar appeal.

Skull Shaped Censor

Mexico

1400-1521

ceramic

LACMA

 I’m afraid the following hasn’t any charm at all, in fact it is quite terrifying.

It is an image fashioned of basalt in which a priest is garbed in the flayed flesh of a sacrificial victim. This costume, part of a spring equinox ritual, in which the priest is dressed as the god Xipe Totec, Our Lord of the Flayed One. The celebrant will wear this horrifying ensemble for 21 days, at which time, the flesh rotting off his body, he will emerge reborn.

Lovely.

But as my professor wisely pointed out, flaying seems to be a universal vice, one need to look no further then Apollo and Marsyas.

With that point made, I quickly fell off my Eurocentric high-horse.

A play upon Death and the Maiden, the beloved posing for scale and for cuteness.

Male Figure in Guise of Xipe Totec

 Mexico, Aztec

1400-1521

basalt

LACMA

A western version of a similar image, equally ghoulish, but from my perspective more poetic.

Bartolomeo Manfredi

Apollo and Marsyas

1616-20

oil on canvas

Saint Louis Art Museum

With that, I will close this post, i must rush off to the gym to fend off Death and renew this aging bag of bones.

Have quite a Happy Halloween!

Take care,

Babylon Baroque

That said todays paper pointed out the atrocious exploitation of the nautilus. According to the article, millions have been slaughtered to satisfy our desire for the pretty shell. I stand amongst that crowd of greedy collectors, my own curiosity cabinet contains a few. I won’t purchase anymore, but I am appalled at my own insensitivity. I hadn’t really thought of the pretty shell as  having once belonged to this spectacular and ancient creature. I rather just accepted the shell as being something to collect and admire, my ignorance is disturbing. 

Source: Today’s New York Times

To celebrate this poor creature, I will, rather perversely highlight a few particularly lovely examples of how the creature’s sacrifice was made seemingly worthwhile, at least from an aesthetic perspective.

Nautilus Snail

1630

nautilus shell, silver gilt 

Wadsworth Athaneum

Cup

 1585

silver gilt, polished shell

Not a nautilus shell but quite beautiful AND someone’s home

Victoria & Albert Museum

Nautilus Cup

mid 17th cent.

nautilus shell, silver gilt

Wadsworth Athaneum

I don’t believe these courtly objects were the cause of the near demise of the nautilus; it is of course the gross exploitation that pumps out hideous baubles. As the biologist Peter D. Ward, as quoted in today’s New York times states, “A horrendous slaughter is going on out here.” We need to be mindful of that. I for one will be less glib, and less tempted to purchase shells, no matter how beautiful they may be.

Until take time, take care,

Babylon Baroque

I have as I have mentioned been preoccupied with course work, it has been a rigorous class. With mixed emotions, this class is ending Saturday, the upside being more time for “life”, this blog being part of that. The downside, I will truly miss the thoughtful conversation. That said, I am posting the intro to my paper Vanquishing Goliath, I have focused my research on Machiavelli’s The Prince and Castiglione’s The Courtier.

I argue my point concerning the superiority of Castiglione’s patrician approach versus Machiavelli’s pragmatic ruthlessness.

To illustrate the this point I open with Donatello’s David.

The following is a snippet:

In the courtyard of Medici’s palace stood a lithesome boy cast of bronze, the first free standing bronze of a male nude since antiquity. This depiction of David by Donatello created sometime between 1420 and 1440 was of such loveliness that Giorgio Vasari, author of The Lives of the Artists, describes it thusly “This statue is so natural in its vitality and delicacy that other artisans find it impossible to believe that the work is not moulded around a living body.” (152).

Donatello

David

ca.1440

bronze, life size

Museo Nazionale del Bargello, Florence

This “delicate “ depiction of David, the very symbol of Florence and her might (Donatello had fashioned a previous depiction of the brave youth in marble,

David

1408-09 

and Michelangelo’s monumental representation is of course iconic)

stood triumphant in Cosimo’s courtyard,

heralding Medici majesty and humanist accomplishments. But Donatello’s vision of David is a peculiar one, this ephebe with laurelled chapeau and dainty boots,

sartorial accessories that only emphasize his nakedness, has a suggestive lilt to his hip that seems far more provocative then classical contrapposto. Is this louche boy really the most appropriate means of depicting fair Florence?

 To the fiery Savonarola surely this pretty boy would represent the debauched excesses of the Medici court.

Girolamo Savonarola

1452-1498

 To Niccolò Machiavelli, this very public display of magnificence was in sharp contrast to his dictate that a ruler must abstain from profligacy.

Niccolò Machiavelli

1469-1527

The Medici’s would fail time and again to heed his warning “…that when princes have given more thought to personal luxuries then to arms, they have lost their state.”  (Jacobus ed., 40); we are fortunate that his advice fell upon deaf ears.

Jacopo Pontormo

Portrait Cosimo il Vecchio de Medici

1518-19

oil on canvas

Uffizi Gallery, Florence

 Gilded laurels to this fine “prince”.

Thank you for the indulgence,

until next time, take care,

Babylon Baroque