Dark and terrible: Beyond Caravaggio

Many high profile reviews of Beyond Caravaggio have criticised it because it only contains six works by the master himself. However as the exhibition title makes perfectly plain, it is looking beyond Caravaggio. The stress is clearly on the word 'beyond'. It aims to examine his legacy, critique his followers, and put him into a wider context. Given his mastery over story telling, he deserves to have his own place in the art history story, as the quality of those incredible six pieces demonstrate. 

From Stigmata to Golf: Praying through the ages

This was an interesting start to Birkbeck Arts Week. Given the MA Catholic reformation module, I thought it would be a on topic diversion. As the blurb said, 'in our secular world, prayer has become unfamiliar, and past cultures where prayer was more central are harder to understand. Dr Isabel Davis (Birkbeck), Revd Dr Jessica Martin and Dr Nicola Bown (Birkbeck) discuss representations of prayer in literature and art in the Middle Ages, the seventeenth century and the Victorian period. Technique of prayer; what it is and what it is like'.

Dr Isabel Davis and her band of pilgrims set out from the late Middle Ages. For the church going population kneeling was a natural, obvious, submissive posture. And yet, where did this invented and culturally specific idea come from?

Tasso and the Search for En-light-enment

It has long been appreciated that an interdisciplinary approach has to be taken when looking at the arts. A book from 1922 said the 'pictorial qualities of the arts corresponded psychologically and aesthetically to the musical qualities of literature'. But it was the author's next words that struck me as particularly relevant, 'the formal objects of the art historian and the literary scholar, as far as the Baroque is concerned, are ... similar because the mode of conceiving reality is the same, and this same type of concept is anchored in the spirit and will of the men of that epoch' (my emphasis).1

It's an old fashioned way of stating that art, literature, music – and not forgetting the natural sciences – are all products of a particular time and place. Therefore although I'm ostensibly focusing on a piece of art, I feel that it is crucial to see across as many disciplines possible, whether art, literature or music because all of these offer valuable insights into prevailing thoughts. This explains why the final part of my essay moves from baroque musical monody to a different kind of poetic voice.

Relics: Ideological Messengers of the Church?

True Cross, Santo Toribio de Liébana, Spain.
(photo by F. J. Díez Martín).

This post has come out of a preparation for a class presentation on relics. The module name is 'the art of persuasion' and yet it seems that we have launched straight into the art without actually thinking consciously about the persuasion. Preparation for this course took place in July 2013 at the British Library with the 'Propaganda: Power and Persuasion' exhibition and so finally I was able to draw on prior knowledge to apply to an area in which I am becoming increasingly familiar.[1] To see how relics were used by the king and state, I also read recent books and articles.[2] When I talk about 'relics' I'm referring to the bodily fragments and associated paraphernalia associated with the saint in question which are usually kept in reliquaries or altars in Catholic churches the world over. Given that my tutor will be talking about them specifically, I don't want to cover the same ground as her.

Encounters: Hilary Mantel at the National Gallery

It seems that the National Gallery is busily knitting threads between all the different London arts. There is the incredible Metamorphosis: Titian 2012 exhibition which is the product of a successful collaboration between the Royal Ballet, contemporary artists, poets, composers and choreographers. In addition to this, the Gallery has also been encouraging modern writers to consider how they look at and write about art in 'Encounters: Writers on Writing about Art'. The first was by Edmund de Waal, the second (which I missed) was James Elkins and the final one last night was Hilary Mantel.

Where de Waal used modern, impressionist art to provide a psychological insight into his family history, Hilary Mantel was haunted  by the lush materiality of Holbein's 'The Ambassadors'. It was an image that she and her husband took everywhere; a constant link with home and always the first thing on the wall in a new place. She liked to think of Jean de Dinteville and his friend Georges de Selve looking down at sights that they couldn't have possibly imagined and she was inspired by their vital presence and worldly sophistication.