For my pieces, I was inspired by the marble that was nearly everywhere you looked and the detailing in the mosaic flooring in many of the churches and museums we visited.
For my tile pieces, I wanted to create a cohesive theme of SPQR; S being the snake often pictured with the Virgin Mary or as Medusa, P being a lemon tree, Q being pasta, and R an ancient column with vines growing around it.
It was easy to feel inspired by such an incredible city! I’m looking forward to carrying what I learned on this trip into my work in upcoming semesters at SNC. Thank you, Debbie!
Walking into the Basilica of Santa Maria Maggoire for the first time, I was taken aback by the immense amount of decoration and grandeur. It was filled with golden details, narrative mosaics, and Catholic symbolism. The space had a certain degree of congruency with its thoughtfully planned layout. Each detail and image was focused around the central theme of honoring St. Mary, the mother of Jesus. From even before entering through its front doors, a statue of the Virgin Mary holding baby Jesus stood at the highest peak above the entrance, letting all visitors know to whom this space was dedicated.
Virgin Mary statue on the exterior of the Basilica
One of the most impressive features of the basilica, and perhaps the most eye-catching focal point of the space, was the large scale mosaic located behind the main alter. Pictured in the center were Mary and Jesus, side by side, surrounded by angels and saints and leaders in the church. The tiny, reflective tiles that made up the image were constructed in a way that allowed them to shimmer with the light. The use of such a luminous medium really seemed to bring the whole piece to life. The scene was filled with Catholic symbolism, such as the lamb of God and the sun and the moon. It was meant to be read by viewers who understood and were familiar with the traditions and iconography of the Church. The basilica was originally built by Pope Sixtus III by the year 432 and dedicated the early Catholic cult of Saint Mary. It’s lived through thousands of years of time periods and renovations to bring to what we see today. The Basilica of Santa Maria Maggiore is a testament to not only Roman history, but to the history of the Catholic church.
Personally, I found the basilica to be a beautiful dedication to the Virgin Mary and I’m glad that our class was able to spend time there. Growing up as a Catholic, learning about Mary and being able to relate to her life as a woman has been an avenue to understanding my own faith. Being in such a revered place centered around her was an interesting way to gain a new perspective on what she means to the Catholic faith in Western civilization and Italian culture. It made me feel like I could relate more to the space because Mary plays such an importance role in my own faith.
Florence, Italy is the birthplace of Renaissance period. It was a time of inventions and discovery in art, science, literature, and technology following the Dark Ages and Medieval Times. Taking a day trip to Florence on our free day felt like quite the surreal experience when we had the opportunity to view the iconic statue of David, sculpted by Michelangelo. It has been universally known as one of the greatest masterpieces of all time; seeing it firsthand was rather humbling. Spanning seventeen feet tall, it carries an impressive presence in the room. It’s scale and precision showcases the innovation that represented the Renaissance period.
Michelangelo’s David
When I first entered the room in which David was located at the Academia Gallery, I was taken aback by just how lifelike and detailed it was. Looming above everyone who came to visit, I realized how much larger it was in person. Every surface of the pure marble statue appeared carefully chiseled, like he could come alive at any moment. We stayed for a while, giving ourselves enough time to take it. I thought about its significance to so many different aspects of history, religion, art, and the city of Florence. The biblical story of David defeating Goliath gives it it’s narrative; the technique and mastery of medium gives it it’s status as a masterpiece; it’s strength as a familiar icon give it it’s importance to the city of Florence.
Michelangelo Buonarroti was commissioned to sculpt a grandiose symbol of David in July of 1501. It was meant to be showcased at the Cathedral of Santa Maria del Fiore. He was only 26 years old when he agree to tackle this monumental project. After four years of incessant sculpting, his masterpiece was ready to be unveiled to the commission of the Opera del Duomo. Everyone was instantly struck by its grandeur, majesty, and skill. This feeling continues to resonate today with the millions of visitors who come to see it from themselves.
When entering the museum to view David, I didn’t really know what to anticipate. Growing up, we’ve seen pictures and learned about it in school, but never expected to have the opportunity to see it firsthand. Immediately I was amazed by its familiarity; having recognizing it from class, it felt very memorable. In the room, there was a sense of connection between everyone and the piece, as if anybody would have the ability to relate to it, whether it be artistically, spiritually, or emotionally.
Visiting the National Gallery of Modern Art was something I was really looking forward to on our trip. Walking into the galleries for the first time had such a different feel than the museums we had visited prior; you could instantly recognize that the time period was modern. While I was drawn to the works of identifiable names like Cy Twombly and Monet, I found myself to be most intrigued by a piece by Italian artist Getulio Alvani, entitled ‘Superficie a testura vibratile 2,’ or “vibrating texture surface” in English.
Superficie a testura vibratile 2
Located in the corner of one of the many gallery rooms, I almost missed this piece. The work itself is comprised of aluminum panels, milled in a way to catch the light, creating a visual illusion. The surface appears as if it should be curved to catch the light, but on closer inspection from the side, it is, in fact, flat. It’s the intended detailing of small etched lines that create the illusion. What drew me in was the way the light beams on the piece changed direction depending on where you were standing to view it. It is a very interactive piece; viewers can watch how the light seems to follow where you walk, making its viewing more of an intimate experience.
Side view of the work
This particular work was created by Getulio Alvani in 1965. However, his career is impressive and expansive, beginning in 1961 and still continuing today. That places this work in the early years of his portfolio. The same year that this piece was created, Alvani was featured in an exhibition at MoMA called “The Responsive Eye.” A large majority of his pieces explore the interaction between our senses and various textures by using reflective materials as his medium.
I’m so glad that I took the time to further inspect this piece. While taking it in, I was astounded by the precision and craftsmanship that went into making a piece that seems so simple at first glance. Interactive art is a genre that I personally enjoy about contemporary art because it is a very connective experience. You get to witness what the artist intended for the viewers and interpret it for yourself.
From the moment we arrived in Rome, it was clear that the icon of Romulus and Remus with the she-wolf is a symbol for the city. From police uniforms to souvenir shops, that image seemed to be everywhere. The bronze sculpture depicting the origin of Rome, from which the image is derived, is located at the Capitoline Museums. When we visited on Tuesday as a class, I was most excited to see this piece which has been so iconic to Rome.
The Capitoline Wolf
The Capitoline Wolf, or Lupa Capitolina in Italian, stood alone in the center of the room, accentuating its importance to the city of Rome. All of the viewers’ focus goes directly to the scene depicted. The wolf is alert and watchful while the twins below seem oblivious to their surroundings. The motif is far more stylized and decorative than it is lifelike. The artistic choice to stylize the figures emphasizes the mythological legend of the origin of Rome.
What makes the origin of this piece so interesting is that its age is slightly unclear. Originally, the piece was thought to be from the 5th century BC with the twins added in later around the 15th century AD. Recent carbon dating, however, proved that the wolf itself was probably created 1021 and 1153. It’s important to recognize that the wolf and the twins were not originally created together and that they have two different artists. Stylistically, the twins are more characteristic of Renaissance art as they are more naturally realistic than the wolf.
Personally, seeing the statue firsthand felt almost like it was sacred. It was instantly recognizable to me from noticing it throughout the city prior to our visit. Learning about its significance to the city and the values that it stands for reminded me of some of the symbols we use in the U.S., such as the bald eagle or the Statue of Liberty. I also found myself taking in the surrounding room. With its intricate mosaic flooring, frescoes on the walls, and gold detailed ceiling, the atmosphere felt like it was reiterating everything that the Capitoline Wolf stands for.
When walking through the Villa Borghese, one can feel overwhelmed by the volume of Baroque style masterpieces. I was most excited to see the Caravaggio paintings because he often comes up in my art classes back on campus. Being allowed the opportunity to view his paintings firsthand is a very different experience from seeing them through a computer screen. The depth of color and range of values in his pieces that distinguish him from other artists of his time can only be truly seen in person.
Villa Borghese Exterior
The work I found myself most interested in was the Madonna dei Palafrenieri, located in the first room we visited. It depicts the Virgin Mary with Jesus as a small child. Together, they are stepping on the head of a snake, while St. Anne, Mary’s mother, looks on. It includes rich tones of blues and reds and a range of dark hues in the background, characteristic of Caravaggio’s style. It is very much a narrative of the relationship between not only Jesus with his mother, but Mary with her mother as well. It is very rare to see the three of the them depicted together. This allows for a much more emotional impact because Caravaggio creates a composition in which viewers can relate their familial relationships to those of Jesus.
Madonna dei Palafrenieri by Caravaggio in 1606
This painting was created in 1606. It was originally commissioned to be placed in St. Peter’s Basilica. It’s been said that the painting only hung there for a few days before being moved due to its racy details. The neckline of Mary’s dress and seeing the baby Jesus nude made it a highly controversial piece. The humanizing of these icons made people of the 17th century uneasy.
Personally, I found this piece to be very striking, but perhaps in a different way from people during the Baroque period. As being raised Catholic, I have seen countless images and iterations of the Virgin Mary and Jesus, but none of them have looked like Caravaggio’s take. He portrays a sense of intimacy in Mary teaching Jesus how to stop out the evil in the world. The closeness of a mother-child relationship is emphasized even further with his inclusion of St. Anne, as if she had taught Mary the same when she was Jesus’s age. It causes me to reflect on my own relationship with my mother.
Rome in Winter 