News Art Blog

Half a millennium later, you would think the Italian Renaissance could hold no more secrets from us, no “codes” to decipher. And, yet, secrets hiding in plain sight continue to startle modern audiences with the depth and breadth of that amazing era. One of the well-kept secrets, at least until now, was the work of Piero di Cosimo, subject of his first major retrospective, Piero di Cosimo: The Poetry of Painting in Renaissance Florence at the National Gallery of Art, Washington, DC.  Called “a madman” for his personal and artistic quirks by Renaissance chronicler Giorgio Vasari, Piero’s ability to paint in multiple genres all with a dizzying amount of detail may have seemed madness to contemporaries, but appeals to modern audiences conditioned for such visual assaults. There may have been a method to Piero di Cosimo’s madness after all. Please come over to Picture This at Big Think to read more of "Piero di Cosimo: Renaissance “Madman” for the Modern Age."

Following the news stories of Maurizio Seracini’s search for The Battle of Anghiari, a “lost” 1505 fresco by Leonardo da Vinci that Seracini believes is hidden behind Giorgio Vasari’s 1563 fresco titled Battle of Marciano in Val di Chiana (shown above) in the Palazzo Vecchio in Florence, Italy, has seemed like one long tease. When National Geographic announced that they would premier their exclusive footage of Finding the Lost da Vinci this past weekend, I had high hopes. Alas, the tease continues and the debates swirling around the enterprise—whether the da Vinci fresco is there and if it’s worth possibly ruining a Vasari fresco to find out—rage on. Although Seracini, who has pursued this dream for 36 years, failed to find his grail, those who look closely at Finding the Lost da Vinci didn’t come away empty handed. Please come over to Picture This at Big Think to read more of "What’s the Real Find Behind “Finding the Lost da Vinci”?"

[Image: Giorgio Vasari. Battle of Marciano in Val di Chiana (1563). Fresco in the Palazzo Vecchio, Florence, Italy.]

According to Giorgio Vasari’s Lives, Domenico Ghirlandaio—whose frescoes graced the walls of the Sistine Chapel before those of his apprentice, Michelangelo—once called the art of mosaics as “vera pittura per l’eternita” or “true painting for eternity.” Joachim Poeschke’s Italian Mosaics: 300-1300 demonstrates the seemingly eternal life of these pre-Renaissance mosaics, which contain some of the earliest images of Christian art. In this first published survey of the subject, Poeschke analyzes how religion and politics teamed up to produce these glories of artistry in words while allowing stunning photographs of the mosaics to speak for themselves. Please come over to Picture This at Big Think to read more of "Eternal Life."

[Image: Enthroned Madonna and Child between Angels. Nave, north wall. Sant’ Apollinare Nuovo, Ravenna, Italy. Nave, Circa 500 and 560.]

[Many thanks to Abbeville Press for the image above and for a review copy of Italian Mosaics: 300-1300 by Joachim Poeschke.]

It’s human nature to try to understand something new by comparing it to something we already know. We always interpret the present based on past experience. But when we make that interpretation via comparison, are we being fair to the new experience, or the old one, for that matter? “Comparisons are like mercury,” writes art theorist James Elkins in his controversial new book, Chinese Landscape Painting as Western Art History, “the big blobs can be cut and divided into little droplets, but they can never be entirely dissolved away. Even the tiniest atomized droplets, which seem so isolated, can be virulent.” That virulence stems from each comparison containing “a microcosm of assumptions,” in this case about how we view Chinese art through the lens of Western art. In Elkins view, the use of Western examples to understand non-Western art, including Chinese art, does a disservice to both fields. Perhaps even worse, the very study of art history itself is incurably Western thanks to the infection of past practice. How then do we ever understand art beyond the Western tradition? Please come over to Picture This at Big Think to read more of "A Matter of Interpretation."

[Image: Dong Qichang. Thatched Hall. 1597.]

[Many thanks to the University of Washington Press for providing me with a review copy of Chinese Landscape Painting as Western Art History by James Elkins, with a foreword by Jennifer Purtle.]