Andrea Schiavone, the Marriage of Cupid and Psyche, c. 1550, New York, Metropolitan Museum of Art
Just back from a quick trip to Venice for work. I had the opportunity to see the
exhibition on Andrea Schiavone (1510-1563) currently on at the Museo Correr and will recommend it whole-heartedly. It’s the first exhibition ever devoted to this singular and very badly understood artist. The exhibition, curated by Lionello Puppi and Enrico Maria dal Pozzolo, makes a good attempt at establishing a chronology and a convincing account of his development as an artist. A difficult thing to do, since the first dated work we have from him is an etching of 1547, at which point he was well into his thirties and thus one would assume well into his career as an independent artist. It is possible to posit a small body of work that precedes this, but nothing datable to earlier than around 1540 — what was he doing before that? It’s anybody’s guess.
Also, there are a number of works that don’t seem to fit anywhere, most notably the Palazzo Pitti Cain and Abel, which relates to the 1540s mannerist turn in Venetian art and consolidates a dramatic figural configuration derived, I think from Baccio Bandinelli (look at far right), continued by those giants of Venetian art Tintoretto (also in the show) and Veronese in the early 1550s. The attribution to Schiavone of the picture goes back to the seventeenth century and the general assumption is that it must be an early work, from before he started subverting perspective, anatomy and naturalistic colour to formulate his extraordinary — sometimes clumsy, sometimes exhilarating — explorations of expressive figuration. The thing is, there’s nothing else in his known oeuvre that looks like this picture, which is closer to (though probably not by) Pordenone, that muscular mannerist of 1530s Venetian painting, than anything else.
Once we get into the 1550s, Schiavone’s development becomes somewhat clearer and some really fantastically original drawings, prints and paintings emerge. The exhibition makes a strong case for his adaptation of Parmigianino’s figural eloquence and Titian’s depth of colour his subversion of great central Italian figures — Salviati, to be sure, but more importantly, Raphael — into a distinctive idiom that, if one accepts the argument of the exhibition, actually anticipated and perhaps even inspired significant developments in the art of figures as great as Titian (who was clearly a close colleague), Tintoretto, and Jacopo Bassano.
Anyway, there’s much more to say and I don’t have the time or wherewithal to do so right now, but if you’re around Venice sometimes over the next month or so, do go see this eye-opening exhibition. It closes 10 April.
The week’s links:
Alan Moore! Craig Fischer had a great review up of Moore’s and Jacen Burrows’ first seven issues of the Lovecraft exegesis Providence up the week before last. It’s a great piece, which makes me look forward to reading the book, even if I’ve been largely disappointed with the direction Moore has gone in recent years. His previous Lovecraft book, Neonomicon, was mean-spirited and rather predictable horror-schlock and Crossed #100 was just plain drudgery. But it’s Moore, so it has to get a lot worse before I loose interest. Pagan Dawn had a terrific interview with Moore on magic. Holding out for Jerusalem…
Hugh Eakin on Denmark, its immigration policy, and the refugee crisis. A great introduction to the political and social situation in Denmark that may help explain the depressing actions of the Danish government lately. Related: I found Oliver Guez’ call for increased European unity in the New York Times well stated.
Apple vs. FBI primer. Great one-stop guide to the specifics of the controversy. Was surprised to learn that an FBI mandated change of iCloud password landed them in this situation. What a screw-up.
My good colleague Xavier F. Salomon on Van Dyck’s great Portrait of Cardinal Bentivoglio, soon to be on loan from Palazzo Pitti to the Frick Collection for its exhibition Van Dyck: The Anatomy of Portraiture.
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Andrea Schiavone, the Marriage of Cupid and Psyche, c. 1550, New York, Metropolitan Museum of Art
Just back from a quick trip to Venice for work. I had the opportunity to see the exhibition on Andrea Schiavone (1510-1563) currently on at the Museo Correr and will recommend it whole-heartedly. It’s the first exhibition ever devoted to this singular and very badly understood artist. The exhibition, curated by Lionello Puppi and Enrico Maria dal Pozzolo, makes a good attempt at establishing a chronology and a convincing account of his development as an artist. A difficult thing to do, since the first dated work we have from him is an etching of 1547, at which point he was well into his thirties and thus one would assume well into his career as an independent artist. It is possible to posit a small body of work that precedes this, but nothing datable to earlier than around 1540 — what was he doing before that? It’s anybody’s guess.
Also, there are a number of works that don’t seem to fit anywhere, most notably the Palazzo Pitti Cain and Abel, which relates to the 1540s mannerist turn in Venetian art and consolidates a dramatic figural configuration derived, I think from Baccio Bandinelli (look at far right), continued by those giants of Venetian art Tintoretto (also in the show) and Veronese in the early 1550s. The attribution to Schiavone of the picture goes back to the seventeenth century and the general assumption is that it must be an early work, from before he started subverting perspective, anatomy and naturalistic colour to formulate his extraordinary — sometimes clumsy, sometimes exhilarating — explorations of expressive figuration. The thing is, there’s nothing else in his known oeuvre that looks like this picture, which is closer to (though probably not by) Pordenone, that muscular mannerist of 1530s Venetian painting, than anything else.
Once we get into the 1550s, Schiavone’s development becomes somewhat clearer and some really fantastically original drawings, prints and paintings emerge. The exhibition makes a strong case for his adaptation of Parmigianino’s figural eloquence and Titian’s depth of colour his subversion of great central Italian figures — Salviati, to be sure, but more importantly, Raphael — into a distinctive idiom that, if one accepts the argument of the exhibition, actually anticipated and perhaps even inspired significant developments in the art of figures as great as Titian (who was clearly a close colleague), Tintoretto, and Jacopo Bassano.
Anyway, there’s much more to say and I don’t have the time or wherewithal to do so right now, but if you’re around Venice sometimes over the next month or so, do go see this eye-opening exhibition. It closes 10 April.
The week’s links: