Recently, city officials in Rome unveiled the Barcaccia fountain, which had been under wraps for the past year so it could be cleaned. The Barcaccia is now gleaming, as you can see in the photo above, and provides a pleasing visual for all those tired souls taking a breather on the Spanish Steps. Continue Reading →
Far-sighted Roman trying to read an article on his phone pic.twitter.com/ByYxDns8Wo
— Melanie Renzulli (@melanierenzulli) August 25, 2014
I posted this silly tweet on my personal account one week ago and people are still retweeting it. Some replied with suggestions that it was Marcus Aurelius attempting a selfie. While quite a few suggested photos like this could become a trend. Is this a meme in search of a hashtag?
Either way, I hope to be doing more of these while I’m in Rome. Stay tuned for photos and musings posted on my personal and italofile twitter accounts. I’ll also be posting more Italy stories, how-tos, and travel news as I get settled.
I recently re-subscribed to the New York Review of Books and I’m glad I did. Besides providing some of the world’s most comprehensive and engaging book reviews, the NYRB often reviews art exhibits. In the latest Art Issue of the magazine, Andrew Butterfield reviews Veronese: Magnificence in Renaissance Venice, an exhibition running in London’s National Gallery through June 15, 2014; Julian Bell looks at two new books about Piero della Francesca in The Mystery of the Great Piero (subscription required); and Jonathan Galassi writes Speed in Life and Death (subscription), a piece that deals with Italian Futurism, 1909-1944: Reconstructing the Universe, an exhibition on view at NYC’s Guggenheim Museum through September 1, 2014.
There is also a poem by Michelangelo. Michelangelo’s note To Giovanni da Pistoia has appeared in many publications over the years, I’m not sure why it is being reprinted here. But the poem is always an illuminating read about the difficulties Michelangelo had in creating his most famous work.
A review of Veronese: Magnificence in Renaissance Venice at the National Gallery, London
“For much of the twentieth century Veronese was regarded more as a skilled purveyor of decorative finishes than as a profound master, and his reputation was in decline, but of late there are signs of renewed interest, which this show and its catalog will certainly do much to advance. Perhaps more than any other picture in the show, The Family of Darius before Alexander [part of the National Gallery's permanent collection] reveals his great strengths as a painter; it also makes clear why he can seem so foreign to common modern ideals of art and of the artist.” –Andrew Butterfield
A review of Italian Futurism, 1909-1944: Reconstructing the Universe at the Solomon R. Guggenheim Museum, New York City
“The Futurists wanted to sweep away what the poet Guido Gozzano called “le buone cose di pessimo gusto,” good things in the worst of taste, and replace them with an insolent, steely, polluting Machine Age. “Time and space ended yesterday,” Marinetti intoned. “We already live in the absolute”—that is, in a state of perpetual youth menaced only by death. “In every young man Marinetti’s gunpowder,” Vladimir Mayakovsky wrote. Marinetti not only wanted to end the monarchy and “de-Vaticanize”; he also argued for replacing the senate with an assembly of the young.” –Jonathan Galassi
“What more can we know about the artist, who died the day that Columbus landed in the New World and who for most of four centuries was nearly forgotten, only to reemerge as an indispensable fixture in modern schemes of art? The Met’s catalog ushers in Piero in the manner we have come to expect: he painted “magical pictures” that combine ‘intimacy and gravity,’ inspiring ‘a sacral awe.’ It points to his ‘almost primitive’ qualities and cites Aldous Huxley’s essay [PDF] of 1925 that names the Resurrection fresco in Sansepolcro as ‘the best picture in the world.’
“All this fits the occasion, but it mystifies. It makes it harder to imagine a human painter at work. Banker has been intent to reverse that process. To do so he has scoured the archives of Tuscany, Umbria, and the Marches. (Sansepolcro lies near the border of the three regions.) If, just possibly, he has been overzealous about tying up loose ends, he can nonetheless boast of personally discovering “over one hundred previously unknown documents specifically relating to Piero.” His methodology is sober and his inferences are toughly argued, and the result must surely count as a vitally important contribution to Piero studies.” –Julian Bell
Check out the New York Review of Books’s Art Issue for these and more reviews.
The exhibit “Leonardo da Vinci, The Universal Man” will be at Venice’s Accademia, which owns 30 Leonardo works. It will bring together 27 other Leonardo masterpieces from various European museums such as the Uffizi, the National Gallery of Parma, the British Museum, and the Louvre. The iconic “Vetruvian Man” will be one of many highlights. The show runs August 29 to December 1, 2013.
Next month, the Italy Blogging Roundtable will celebrate our first anniversary. Jessica, Alexandra, Gloria, Rebecca, and I have enjoyed tackling a new topic each month, and we’ve especially enjoyed hearing from readers. In fact, we were so pleased with how our last invitation went for bloggers to join us at the Roundtable that we thought we’d extend another! This month, not only is the Italy Roundtable topic INVITATIONS, we’re inviting anyone who wants to participate to blog about one of the past year’s Roundtable topics. Our invitation details are at the bottom of this post. Now on to the post…
CulturaItalia, a website operated by the Italian Culture Ministry, is seeking your help in its efforts to document the Jewish contributions to Italian society over the past 150 years. As one of its many initiatives to mark the anniversary of 150 years of Italian Unity, CulturaItalia has teamed up with with Judaica Europeana, a Europe-wide project to gather digitized information “that documents Jewish presence and heritage in European cities and make them available on Europeana.” Europeana is the the online home of digital resources culled from Europe’s libraries, archives, and museum collections.
The name of CulturaItalia’s project is called, “The Star of David and the Italian Flag, Jews and the Construction of a United Italy.” Institutions as well as the public have been asked to help CulturaItalia with this project by submitting “digital files with stories, texts, photographs, letters, postcards, illustrations and drawings, audio documents and short videos that tell of the Jewish culture in Italy in the last 150 years.” Suggested topics include:
- itineraries in the city
- arts and trades
- private life
- parties and ceremonies
- public events
- food culture
- literature and theatre
If you or your family have stories to tell, photos or art to share, or anything else that will enhance the understanding of Jewish contributions to Italy over the past 150 years, you are invited to submit your files through this online form. No doubt, this is a fantastic way to ensure the Jewish history of Italy lives on digitally so that future generations may learn and seek inspiration from it.
Last month, UNESCO inscribed Italy’s newest World Heritage sites: The Longobards in Italy. Places of the Power (568-774 A.D.). Treated as one entity, these seven sites stretch from as far north as Castelseprio, a small village in Lombardy where is located Santa Maria Fortis Portas and the castrum with the Torba Tower, to as far south as Benevento and its Santa Sofia church complex. All of these sites represent, according to UNESCO, “the high achievement of the Lombards, who migrated from northern Europe and developed their own specific culture in Italy where they ruled over vast territories in the 6th to 8th centuries.”
While the Longobard sites are the newest ones to be recognized by UNESCO, they are among the least well known of the many UNESCO buildings and sites in Italy, which now leads the world with 45. To learn more about each of the “Longobards in Italy” sites, including where they are, how to visit them, and the treasures they contain, visit Italia Longobardorum, the website of the group responsible for formally submitting these sites for UNESCO World Heritage consideration. You can also click on the links below for the individual sites:
- The castrum with the Torba Tower and the church outside the walls, Santa Maria foris portas. Castelseprio, Lombardy.
- The monumental area with the monastic complex of San Salvatore-Santa Giulia. Brescia, Lombardy.
- The Gastaldaga area and the Episcopal complex. Cividale del Friuli, Friuli-Venezia Giulia.
- The basilica of San Salvatore. Spoleto, Umbria.
- The Clitunno Tempietto. Campello sul Clitunno, Umbria.
- The Santa Sofia complex. Benevento, Campania.
- The Sanctuary of San Michele. Monte Sant’Angelo, Puglia.