Professional Documents
Culture Documents
December, 2004
Christmas markets, a woman painter of the 1600s (do you know her
name?), and Michelin stars for Italian restaurants: we offer all of these
this month, along with Carpaccio in Venice – and, no, we are not talking
about something you eat. There are also books as gifts for you and
yours, or just for you if you prefer. We steal a march on the Marches, in
the company of Italian illustrator Tullio Pericoli. And, as for the rest, well,
you will just have to wait and see. Patience is a virtue, after all!
Let’s put you out of your misery straightaway, and talk about the painter
first. No, it is not Artemisia Gentileschi but, if you want more on her, click
here. The name I am referring to is Elisabetta Sirani and, opening on
December 7 and running to February 27 in
Bologna, is the first ever exhibition of the work
of this "local girl made good." More or less a
contemporary of la Gentileschi, Elisabetta Sirani
was born in 1638 in Bologna. She too, was a
“daughter of”. In this case, her dad’s name was
Giovanni Andrea and he was a pupil of Guido
Reni's, as well as being an art dealer. By the age
of 17, Elisabetta was a professional painter and
engraver, her first official commission coming
when she was a mere 20 – a Baptism for the
church of San Girolamo alla Certosa in Bologna.
Not only was she extremely talented, but she
also worked so fast that potential patrons came to watch her work to be
sure that it really was she, and not someone else, producing these
outstanding paintings in double-quick time. Apart from the religious
paintings, Elisabetta made a name for herself as a ritrattista (portrait
artist): royals, including the princes of Tuscany, the Duchess of Parma,
and the Dukes of Bavaria and Brunswick, clamored to have her paint their
portraits. As it was, by the time of her death at only 27 – of a banal
gastric ulcer perhaps brought on by her unrelenting pace – she had
completed approximately 170 paintings, 14 etchings, and a number of
completed approximately 170 paintings, 14 etchings, and a number of
drawings. These were documented in a ledger she had dubbed Nota delle
pitture fatte da me Elisabetta Sirani.
Self-Portrait
T he Republic of San Marino, too, has its Christmas market. This is open
daily through to December 12, and then on the weekend of December
18/19, on December 24 and 26, and then December 31 through to
January 6, afternoons through to 7pm on weekdays and from 10am on
Sundays and holidays. If you are there before December 12, check out the
Il Mercato di Natale di San Pietroburgo in the Giardino dei Liburni. If you
thought the stallholders of the Forte dei Marmi market near Lucca,
mentioned last month, were making a huge effort to come and bring their
wares to Milan and thereabouts during the run-up to Christmas, then
how about these guys, who came all the way from Russia’s northernmost
city? For more information about Christmas markets, click here.
Given what we have been talking about, you would be forgiven for
thinking of food if I say “Carpaccio.” But on this occasion, it just happens
we are talking about a painter called Vittorio
Carpaccio (1460?-1525?). An exhibition of his work
has just opened at the Galleria dell’Accademia in
Venice and goes on until March 13, 2005. This is
the first comprehensive exhibition of this artist’s
work since 1963, partly because of the kind of
paintings in which he specialized. As the
exhibition’s subtitle tells us, Carpaccio was a pittore
di storie, which means that each of his works
consisted of more than one canvas. These, over
time, have come to be separated and have ended up
in different parts of the world. Bringing them back
together has been a major challenge. Thus for
example, exhibiting the six canvases depicting the Storie della vita della
Vergine (executed in about 1504 for the Scuola degli Albanesi), and the
four narrating the Storie della vita di Santo Stefano (created between
1511 and 1520), involved the Venetian Galleria Franchetti at Ca’d’Oro, the
Milanese Brera Gallery, Bergamo’s Accademia Carrara, the Louvre in Paris,
the Staatsgalerie in Stuttgart, and the Galleria degli Uffizi in Florence. Also
on display will be the nine paintings that make up the cycle entitled
Storie di Sant’Orsola (1490-1495), as well as the telero that includes il
Miracolo dell’indemoniato al ponte di Rialto which was commissioned in
1494 by the Scuola di San Giovanni Evangelista. This was part of a work
called the Ciclo dei miracoli della reliquia della croce that involved many
of the major painterly names of the day. The exhibition is dedicated to
Rona Goffen, the American art historian; the catalogue is by Marsilio. For
reservations please call (051) 520-0345.
Now that I have whetted your appetite for all sorts of Italian delights, all
that remains is for me to wish you happy holidays and a happy new year.
I have enjoyed bringing you my reports throughout the year, and hope to
have the pleasure of your company again in 2005.