The fable of Cupid and Psyche at Castel Sant'Angelo

The fable of Cupid and Psyche is the subject of a new exhibit at the Castel Sant'Angelo that opened this past Friday. I was particularly looking forward to this exhibit because I love anything that has a theme. Don't get me wrong, retrospective exhibitions on some of the world's greatest artists, like Tintoretto, Guercino and Dalì are enthralling, but it's nice to change things up and see a show like this that illustrates a story through works of art that span the centuries.

Cupid and Psyche kiss, 2nd half of 2nd century AD, Capitoline Museums, Rome

The fable of Cupid and Psyche (Amore e Psiche in Italian) first appears in L'asino d'oro (The Golden Ass) written by Lucius Apuleius in the 2nd century AD, although the tale existed in oral tradition much earlier, as some of the works in this exhibit prove.

Psyche discovers Cupid, Jacopo Zucchi, Galleria Borghese, Rome

The story begins as an old woman recounts the tale of Cupid and Psyche to a young woman. This introductory scene is depicted in the tapestry below.

An old woman narrates the tale of Cupid and Psyche, French school, 1750 ca, Palazzo del Quirinale, Roma

 Psyche (whose name means either 'soul' or 'butterfly') is the youngest of three daughters of a king. (Although Psyche is sometimes depicted with butterfly wings, she is a mortal.) Although all three sisters are lovely, Psyche is the most beautiful by far, and people come from distant lands just for the pleasure of admiring her beauty. As you can imagine, this causes Venus, the goddess of beauty, to become enraged with jealousy.

Porcelain jasper medal depicting Psyche, Josiah Wedgwood, late 18th century. Fitzwilliam Museum, Cambridge

Venus cannot bear the thought that a mere mortal should be more admired than her, so she convinces her son Cupid to visit the girl while she is sleeping and pierce her with his arrow, planning to arrange for a hideous monster to be the first thing Psyche sees (and therefore falls in love with) upon awakening.

Cupid and Psyche, Limoges, mid-16th century, National Renaissance Museum, Ecouen

Cupid makes himself invisible as he sets about his task, but just as he is about to pierce Psyche with his arrow, she wakes up and even though he is invisible, she looks straight into his eyes. Distracted by her beauty, he accidentally pierces himself instead and falls deeply in love with her. Unable to complete his mission, he returns to Venus and tells her what happened. Venus is furious and curses Psyche so that no man will ever propose to her.

Cupid is so distraught that he neglects his duty of causing mortals to fall in love. No one is marrying or mating, not even the animals! In order to get the world back to rights again, Venus gives in and allows Cupid to marry Psyche.

Meanwhile, because of Venus' curse, poor beautiful Psyche has had no offers of marriage, and after consulting an oracle, her father the king reluctantly abandons her on a mountaintop where is to be married to a mysterious being. Once there, the Zephyrs, spirits of the west wind, carry her off to a sumptuous palace in a paradise-like setting.

Psyche transported by Zephyrs, John Gibson, mid-19th century, Palazzo Corsini, Roma

After being waited on by invisible servants, Psyche retires for the night. Cupid at last arrives, but he does not want Psyche to know who he is, not yet, so he only visits her at night, under the cover of darkness. As the weeks pass, Psyche longs to know what her husband looks like, but Cupid forbids it. Despite her luxurious surroundings, Psyche soon becomes lonely and Cupid allows her sisters to come visit her. Envious of her magnificent palace, they try to convince her that her husband is a vicious snake who will devour her before long. Overcome by curiosity and dread, one night she brings a lamp (and a knife, just in case) into their bedroom while her mysterious husband sleeps.

Psyche discovers Cupid, Simon Vouet, Musée des Beaux Arts, Lyon

Just as she sees him for the first time, she just happens to scratch herself on one of his arrows and is overcome with desire for him. As she covers him with kisses, a bit of oil from her lamp falls on him and awakens him (as if all the kisses wouldn't have). Furious at her for disobeying him, he flees into the night.

Cupid abandons Psyche, Joseph Heinz, National German Museum, Nuremberg

Psyche is now left alone and very much in love. She decides to go in search of her husband, visiting the temples of both Ceres and Juno. Both tell her there is only one goddess who can help her: Venus. The naive girl takes their advice and begs Venus to tell her where she can find Cupid. Venus has still not gotten over her jealousy of Psyche, so she gives her a series of impossible (and dangerous) tasks.

Psyche abandoned, Giovanni Cappelli, Galleria Museo e Medagliere Estens, Modena

After Psyche has successfully (and safely) completed all three tasks, aided every time by helpful animals and gods along the way, the furious Venus sets her on a quest that she could not possibly complete. She sends her to the Underworld to bring back a portion of Proserpina's beauty (apparently Venus had lost some of her own by stressing over the lovelorn Cupid).

Psyche alata, 2nd century AD, Capitoline Museums, Rome

Just as Psyche is about to commit suicide (the only way she can think of to reach the Underworld), the very tower she is about to throw herself off of speaks to her, telling her not only the route to reach the Underworld alive and how to get back, but also how to get past the three-headed dog, Cerberus (not to be confused with Fluffy: he likes music; Cerberus is appeased with a piece of cake) as well as other tricks of surviving the fire swamp, I mean, the Underworld (oops, wrong fairy tale).

Psyche tormented in the Underworld, 300 AD, National Archeological Museum, Napoli

Psyche has a hard time in the Underworld, as the reliefs on this ancient sarcophagus show, but she eventually survives, with a bottle full of beauty to show for her efforts. On her way to bring her trophy to Venus, she figures it can't hurt to pilfer a little beauty for herself, but when she opens it up, she finds that the bottle actually contains overpowering slumber. She collapses.

Cupid revives the fainted Psyche, Bertel Thorvaldsen, Thorvaldsen Museum, Copenhagan

Cupid, who in the mean time has forgiven her and realized he cannot live without her, rushes to her side to revive her, but quickly flies off again before she sees him. He hurries to Mount Olympus where he entreats Jupiter to allow thme to be together eternally. Jupiter agrees to Cupid's plea and Psyche is brought to Mount Olympus where the two lovers' wedding is celebrated with a banquet, and the bride is granted immortality.

Cupid and Psyche embrace, beginning of 1st century BC, Archeological Museum, Pella

So like all good fairy tales, it ends happily, except for one thing: how would you like to have Venus as a mother-in-law?

All of these gorgeous works, spanning 21 centuries and in such varied mediums as marble, terracotta, ceramic, tapestry, jewelry and oil, are all on display (along with numerous others) at this marvelous new exhibit. For practical information about the exhibit, check out my Exhibits on Now page.

While this exhibit may be temporary, you can see glorious works of art depicting these two young lovers at Villa Farnesina any time! 

All images are provided courtesy of Studio Begnini Press Office and may not be reproduced.

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Lux in Arcana: The Vatican Secret Archives reveal 100 priceless documents

Those of you who know me well, know that I like to post about a new exhibit if not the day it opens, then at least that same week. As Lux in Arcana: The Vatican Secret Archives revealed at the Capitoline Museums was the most highly anticipated exhibition of the year (century?) for me, it might be surprising that I have waited so long to write about it.

Photo by Daniele Fregonese

I have been preparing an article on the exhibit for the Traveller, the Sunday travel magazine of both the Sydney Morning Herald and the Melbourne Age and it has been published this weekend! Here's an excerpt:

Michelangelo's smudged signature, a secret papal messaging code, a 1200-year-old book and myriad blood-red papal seals, excommunication bulls, death warrants of heretics and letters written in desperation by condemned queens - these are some of the most precious documents in the world, kept for the past four centuries in impenetrable vaults in the Vatican. For the first - and perhaps only - time in history, 100 original documents have left the Vatican Secret Archives and been shifted across town for an exhibition that opened a fortnight ago in the Capitoline Museums in central Rome...
read the full article.

I hope you enjoy it! The online version of the article unfortunately has only one photo, so below are some of the best images of the exhibit.

Photo by Daniele Fregonese

These red penant seals (tied with red ribbon or "red tape", the origin of that expression) belonged to 81 separate members of the House of Lords. They are attached to a letter from King Henry VIII requesting Pope Clement VII to grant him an annulment of his marriage to Catherine of Aragon to enable him to marry his mistress Anne Boleyn.

Photo by Daniele Fregonese

Galileo's signature! These are the court proceedings of his trial for heresy following his vocal support for Copernicus' heliocentric theory.

Photo by Daniele Fregonese

 A letter from Michelangelo begs the Bishop of Cesena to resume payment of the workers of St. Peter's after the death of Pope Paul III. The builders had remained on site to protect the precious building materials from theivery despite the fact that they were not being paid to do so.

Photo by Daniele Fregonese

A letter to the future Pope Celestine V informing him that he had been elected pope after 27 months of conclave at which he wasn't even present. The hermit priest reluctantly accepted, only to abdicate five years later. (During his papacy, he declared it the right of any pope to abdicate.) The letter is dated 11 July 1294.

Photo by Daniele Fregonese

This was one of the most exciting and bone-chilling exhibits: a 60 meter scroll of parchment with the depositions of 231 French Templar knights. During the Council of Vienne in 1311 they were forced to betray the order or face execution.

Photo by Giovanni Ciarlo

What I found so thrilling about this exhibit was that many of the documents on display pertain to events that we have all learned about, events that changed history and changed the world. Seeing the documents up close and personal brings history alive in a whole new way. In my eternal quest to travel in time, this was pretty close.


Visit my Exhibits on Now page for all pertinent information and enjoy! This is truly a once-in-a-lifetime event!

All images are provided courtesy of Zètema Press Office and may not be reproduced.

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Michelangelo's Last Judgment and Marcello Venusti's copy

As if you didn't need another excuse to visit the just-about-to-end Renaissance in Rome exhibit at Palazzo Venezia, here is one more and then I promise never to write about this mostra ever again!

Marcello Venusti created a copy of Michelangelo's epic Last Judgement in the Sistine Chapel before the latter was brutally censored under Pope Pius IV in 1565. It was Daniele da Volterra who was forced to do the dirty work, against his will. He was one of Michelangelo's most devout and adoring followers and he agreed to censor the work only because he was told it would otherwise be destroyed.

Copy of Michelangelo's Last Judgement, Marcello Vanusti, 1549, Museo di Capodimonte, Napoli

The censoring included mostly the addition of cleverly arranged scarves in just the right places to sheild our eyes from the scandalous male frontal nudity that was not tollerated (at least not right over the high altar of the pope's private chapel) during the morally strict counter-reformation. 

One of the most dramatic changes that was made to Michelangelo's original was the position of Saint Blaise in relation to St. Catherine. Here is the censored version in Michelangelo's original:

Detial from The Last Judgement, Michelangelo Buonarroti, 1536-1541, Cappella Sistina, Musei Vaticani, Città del Vaticano

Notice that in Venusti's copy above (which we can assume was true to Michelangelo's original before it was censored), not only is a very burly St. Catherine completely nude, but St. Blaise is turned toward her menacingly in an not so decorous position. (These figures are on the right of the fresco, about halfway down.)

Venusti probably had no idea when he was painting his copy (the differs from the original at the top with the addition of God the Father and the Holy Spirit in the form of the dove) that it would become a useful historical record to document what Michelangelo's work looked like before the censoring.

The Last Judgement, Michelangelo Buonarroti, 1536-1541, Cappella Sistina, Musei Vaticani, Città del Vaticano

Seeing Venusti's copy up close at the Renaissance in Rome exhibit was for me one of the most interesting parts of the exhibit, and yet another reason to visit it if you haven't already. Below are links to a few more posts I wrote about the exhibit, and you'll find information on visiting at my Exhibits on Now page.

The Renaissance in Rome: in the footsteps of Michelangelo and Raphael

Running into some old friends at an exhibit

Long-lost paintings by Michelangelo and Caravaggio: are they or aren't they?

Photo sources: 1: courtesy of Arthemisia Group Press Office; 2, 3

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Long-lost paintings by Michelangelo and Caravaggio, are they or aren't they?

Two of Rome’s most beautiful exhibits of the moment, The Renaissance in Rome: in the footsteps of Michelangelo and Raphael and Rome in the time of Caravaggio are ending this coming weekend, so if you haven’t had a chance to see them yet, I highly recommend you high-tail it to Via del Corso and Piazza Venezia respectively before all these amazing works get shipped back home. 

Both exhibitions are more in celebration of the works inspired by these three big kahunas of the art world, as opposed to displaying much of their own works. As I’ve talked about before, dropping big names seems to have become the norm in the quest to attract as many visitors to an exhibition as possible. Even so, the exhibits are still wonderful and well worth a visit.

One thing these two shows have in common is that each has a work of art on display that has been recently attributed to one of the two passionately adored Michelangelos. At The Renaissance in Rome, the so-called Pietà of Ragusa, literally discovered behind a couch in a middle-class home in Buffalo, New York, recently restored and on display publicly for the first time, is allegedly a long-lost work by Michelangelo Buonarroti himself. My good friend, Theresa Potenza, a Buffalo-native and art historian, writes about it in the New York Post here and more in-depth in the Buffalo News here.

Pietà di Ragusa, School of Michelangelo (with attribution to Michelangelo himself by some scholars), 1545. Private collection

According to some of the most respected Michelangelo scholars, at least the base sketch of the painting was the work of the master’s hand, if not the entire piece. The painting seems to have passed from Michelangelo's close friend Vittoria Colonna to (centuries later) a German baroness, and was eventually given to the great-great-grandfather of the American owner, whose children affectionately call it the “Mike.” It was relegated to behind the couch when it was hit by a tennis ball. If in time the work proves to be a genuine Michelangelo, it could be worth as much as $300 million dollars.

Saint Augustine in his study, attributed to Caravaggio by some (clueless) scholars

Much less convincing is the painting of Saint Augustine which some are now claiming to be the work of a young Michelangelo Merisi da Caravaggio. It is on display at the Rome in the time of Caravaggio exhibit at Palazzo Venezia. It was originally part of the art collection of Vincenzo Giustiniani, a well-known collector of Caravaggio's paintings, and a couple of "experts" out there are convinced it is the Lombard master's work. There’s only one problem with it: it doesn’t look like anything Caravaggio ever did. In my very humble opinion, if this were the work of the world’s greatest master of chiaroscuro, my beloved bad-boy Caravaggio, the background would be much darker and sparser. There wouldn't be anything back there besides maybe a window, a curtain or a shaft of light.

The only thing that even comes close to Caravaggio's style is the book that is edging slightly over the end of the table. But everything else, I mean, really? The mitre? The pathetic two-dimensional bookshelf? Please! Even the facial features and hands are way off.

But who am I to judge? I may be an impassioned lover of Caravaggio's work and I may cross borders on occasion in my quest to see his every last painting, but I can hardly be considered an expert. So here's what Maurizio Marini, a real Caravaggio expert, has to say about it: "If that's a Caravaggio, then I'm baby Jesus."

Ouch.

What do you think? I'd love to hear your opinions so feel free to comment! For information on visiting these exhibits (and to decide for yourself if these two works are authentic or not) check out my Exhibits on Now page. And hurry, they both end 18 March!

Photo sources:

1, 3: Courtesy of Arthemisia Press Office

2, 4: Courtesy of Civita Press Office

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Salvador Dalì: Renaissance-inspired Surrealism

Portrait of Salvador Dalì, Philippe Halsman, Fundació Gala-Salvador Dalí, Figueres

Rome’s first exhibit celebrating the life and work of Salvador Dalì in almost 60 years opened this week at the Complesso Vittoriano. While I am always up for a new exhibit, I wasn’t necessarily expecting to be blown away by this one. I showed up at the exhibit expecting to see some melting clocks and such. I don’t think it’s a mystery to anyone who reads this blog what my artistic preferences are. I have absolutely nothing against Surrealism, but it doesn’t exactly boil my blood either.

Nevertheless, this exhibition did. I didn’t realize how greatly Dalì was directly inspired by Italian Renaissance art for so many of his works. As the exhibit takes place in Italy, it’s not a surprise that they stressed this particular detail at the press conference, but I didn’t imagine to what an extent it was true. Imagine my delight when the first work I encountered was this:

Madonna of Port Lligat (first version), Salvador Dalì, 1949. Haggerty Museum of Art, Milwaukee

Why, hello, Piero della Francesca, what are you doing here? I love quoting in art, just like I love it in music. When I discovered that the haunting melody from Rachmaninoff’s 2^nd piano concerto was echoed in the 1970s pop ballad All by myself by Eric Carmen, I was thoroughly delighted, and although you cannot exactly compare 70s pop with the likes of Dalì, this work caused the same shiver of recognition. Although both Madonna and Child are completely different, the shell and the suspended egg are unmistakable.

Madonna and Child, enthroned with saints (Brera Altarpiece), Piero della Francesca, 1472. Galleria Brera, Milano.

Even more unmistakable is Dalì homage to Michelangelo's first Pietà. He called it a "geological echo" due to the many rock formations that are unfortunately not very visible in this reproduction.

Geological Echo: The Pietà, Salvador Dalì, 1982. Fundació Gala-Salvador Dalí, Figueres

The Pietà, Michelangelo Buonarroti, 1497-99. St. Peter's Basilica, Rome

Study for Atomic Leda, Salvador Dalì, 1947. Fundació Gala-Salvador Dalí, Figueres

I adore this unexpected combination of Leonardo da Vinci's Leda and the Swan and Vitruvian Man.

Leda and the Swan (copy), Leonardo da Vinci, 1510-1515. Galleria Borghese, Rome

Dematerialization near the nose of Nero, Salvador Dalì, 1947. Fundació Gala-Salvador Dalí, Figueres

Dalì's inspiration by Italian art was not limited to works of the Renaissance as this "dematerialization" of the nose of Nero shows. The work was accompanied by the bust of Emperor Nero from which Dalì took his inspiration.

Destino: Large Head of Greek God, Salvador Dalì 1946. Walt Disney Animation Studios, Burbank

This still from the Disney short animated film Destino, co-created by Dalì is a fantastical recreation of this bust of Zeus from Otricoli that is on display beside it.

Head of Zeus, 1st century BC Roman original, Antiquarium Comunale, Otricoli

Elephant with Obelisk, Salvador Dalì, 1946. Fundació Gala-Salvador Dalí, Figueres

Anyone who has spent more than a little amount of time in Rome would recognize the elephant carrying an obelisk that was born from the unparalleled imagination of Gian Lorenzo Bernini. But surely only Dalì would have thought to add spiders' legs to the elephant.

L'elefantino, Gian Lorenzo Bernini, 1667, Piazza Santa Maria sopra Minerva, Rome

Self-portrait with Raphaelesque Neck, Salvador Dalì, 1921. Fundació Gala-Salvador Dalí, Figueres

Dalì felt a particular affinity to Raphael, even going so far as to call him his altar-ego. This self-portrait shows just how much he admired him, that he even strove to resemble him. "I let my hair grow long, as long as that of a girl, and looking at myself in the mirror, I loved to assume that melancholy expression, the fascinating stance of his self-portrait. How I would have liked to look like him!"

Self-portrait, Raphael Sanzio, 1506. Uffizi Gallery, Firenze

All of these Dalì works are part of the first section of the exhibit, far and away my favorite. But the exhibit also goes on to explore his later years with works that came solely from his own ingenious imagination and perspective, like the "soft" self-portrait below.

Soft self-portrait with grilled bacon, Salvador Dalì, 1941. Fundació Gala-Salvador Dalí, Figueres

See my Exhibits on Now page for information on when and where to visit this brilliant exhibit.

Photo sources:

1, 13, 15: provided courtesy of Comunicare Organizzando Press Office
other sources:  2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 14

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A taste of home: The Guggenheim comes to Rome

Grrrrrrrrrrr!! Roy Lichtenstein, 1965. Solomon R Guggenheim Museum, New York

If you're getting a bit ODed on Italian art, if Caravaggio, Tintoretto, Guercino and all the Renaissance masters are getting you down, if you're an American, like me, living in Rome and trying to make sense of this crazy country, and just need a little bit of home so that things will make sense again, then have I got an exhibit for you! (There's always something on in Rome to solve any problem!)

Untitled (Green Silver), Jackson Pollock, 1949. Solomon R Guggenheim Museum, New York

60 works from the Solomon R Guggenheim Museum in New York and the Peggy Guggenheim Collection in Venice are on display at the Palazzo delle Esposizioni. And even though Italian art could never, ever get me down, and even though Abstract Expressionism will never make things make sense to me, I enjoyed the exhibit nonetheless.

Untitled, Mark Rothko, 1947. Solomon R Guggenheim Museum, New York

As post-war American art is really not my forte, I will not pretend to wax philosophical about it, but I will offer a couple of words about the exhibit. It covers 5 major genres of 20th century art: Abstract Expressionism, Pop Art, Minimalism, Post-Minimalism/Conceptual Art and Photorealism. The first three exhibition rooms are dedicated to Abstract Expressionism, and thereafter there is one room dedicated to each genre.

Untitled, Mark Rothko, 1942. Solomon R Guggenheim Museum, New York

The works on display date from 1945 to 1980 and the exhibit seeks to fully explore the artistic movements of the American Avant-guard during a time in which the United States became one of the most important centers for the creation and promotion of new art.

Orange Disaster no. 5, Andy Warhol, 1963. Solomon R Guggenheim Museum, New York

I must admit I liked the Pop Art and the Photorealism works well and above the rest. That probably says something about my lack of imagination or education, or both I expect! This gumball one fascinates me. Why? I don't know. Maybe because I had a gumball machine (a real one that you had to put pennies in) when I was a little girl, and it must take me back. I just want to dive right in to all its colorful, sugary goodness. I was fascinated by how realistic these paintings are, how much some of them look like photographs. Not this one nearly as much as some of the others.

Gum Ball no. 10: "Sugar Daddy", Charles Bell, 1975. Solomon R Guggenheim Museum, New York

If you're American and a bit starved for some home-cooked art, or if like me American Avant-guard art is anything but familiar, either way, you'll enjoy this visually stunning and thought provoking exhibit. See my Exhibits on Now page for the whens and wheres.

All images provided courtesy of Azienda Speciale Palaexpo

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Photographs by Andrea Pacanowski: you won't believe your eyes

Hello my sweet bloglings, have I got a treat for you today! A brand new exhibit opened this past Friday at the Museum of Rome in Trastevere. On display are 40 works by Roman contemporary photographer Andrea Pacanowski. One look at these images will send your mind swirling in a kaleidoscope of colors, but there's something else, something you won't believe.

The title of the exhibit is: Before me: the crowd and the religious experience. I agree with you, that doesn't translate very well. All'infuori di me (meaning literally 'besides me' or 'except for me') is a quote from the first commandment: "Thou shalt have no other gods before me". Folla does mean crowd, but it is a strong word, could even be translated as mob in certain cases.

The photos were captured the holiest cities of the world's major monotheistic religions, mostly Jerusalem, Fez and Rome. The subject of every work is a religious mass, a large group of people coming together for prayer, worship or ritual. But what sets Pacanowski's photos apart is not their subject matter or their composition, or the glorious colors he captures. It is the almost unbelievable fact that he uses no post-production techniques of any kind. Let me say that again:

He uses no post-production techniques of any kind. Not only that, each of the images is captured with old fashioned film. Absolutely nothing digital about these photographs.

I'm guessing your reaction is like mine when I saw these photos for the first time: disbelief. But it's true. Then how? How did he do it? Well I was tempted to ask him just that when I saw him at the inauguration, but I was overcome by a rare bout of shyness, and a worry that I hadn't read the press release thoroughly, so not wanting to embarrass myself, I kept my mouth shut.

After a bit of post-exhibit studying, I found out his secret. (Spoiler alert, if you'd prefer to visit the exhibit without knowing, stop reading now!)

Each photograph is merely a reflection of an image. None of the subjects were shot directly. Some kind surface, such as canvas, wood or glass, was applied with either chalk, paint, silicone or some other substance, and then scratched or in other ways manipulated. Then the prepared surface was set up in such a way that it caught the reflection of the subject and voilà.

These mesmerizing photos look at once like watercolors, complete abstract art and impressionist paintings. Like impressionist art, many of them have to be looked at from several steps back to be able to recognize the subject. But by studying them close up, you are able to guess at some of the particulars of the preparatory technique, which is every bit as fascinating.

A tiny computer screen will never do justice to these amazing photos, so do yourself a favor and go see this astounding exhibit in person. See my Exhibits on Now page for visiting information.

I will leave you with the capolavoro of the exhibition. At first you may simply see a Catholic procession and nothing else. But look a little closer, or, on second thought, look a little further away. Once you see it you won't be able to imagine how you missed it before.

All images copyright Andrea Pacanowski and provided courtesy of Zètema Press Office.

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