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| Mark D. Ruffner © 2015 |
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| www.gopixpic.com |
As I mentioned in Pompeii No. 47, Cardinal Farnese's gallery ceiling depicts the loves of the gods of Olympus. Above, I've circled the ceiling segment that I've chosen to add to my own mural. It's one of Annibale Carracci's best works, and a testament thereof is that most books on Carracci and the Farnese Gallery highlight this portion of the ceiling.
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| Annibale Carracci: The Farnese Gallery, Rome | Dempsey, Braziller |
The painting depicts Diana (also known as Artemis in Greek mythology) who was the Roman goddess of the moon and of the hunt. Much to the disappointment of the other gods, she vowed never to marry. But on one of her trips across the sky, she spotted a sleeping shepherd named Endymion and fell in love. As you can see, she is was so very careful in her attention — much to the amusement of the cherubs — that not even Endymion's dog stirred. Diana visited Endymion thereafter many times, always when he was asleep, and remembering her vow, she asked Jupiter (or Zeus) to make Endymion eternally young and eternally asleep. There are a number of alternate versions of this story.
I leave it to you to determine possible messages on love and life, which might include the moral to never say never. In any case I like Carracci's depiction and have copied it, below.
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| Mark D. Ruffner © 2015 |
Below is a comparison of Carracci's original and my own copy.
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| click to enlarge |
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| Gli Amori Degli Dei |
Of course Annibale was working on a much greater scale, maybe 20 times the size of my little copy.
I want to call you attention now to the interesting way he shadowed his figures. Where other artists would sometimes crosshatch, Carracci shadowed with a method that looked like fine banknote engraving. His first apprenticeship was with a goldsmith, so perhaps he developed this technique then. One would not see this looking up from floor level, and I find it quite astonishing. I would have loved to have looked over Carracci's shoulder as he worked.
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| click to enlarge |
But we can't just leave it there, floating in an auburn void! In my next posting, I'll be putting a frame around the painting, and the frame will come from a most appropriate source. I hope you'll join me then!
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Mark, you are amazing...your talent is amazing! I am so glad you pointed out and provided us with a close up of Carracci's shading technique. I can't figure out how he did it. In fact it looks like he uses this technique on all parts of the painting,only with lighter to darker applications. Could he have used a piece of fabric to achieve the texture?
ReplyDeleteDear Gina, thank you for the kind words.
DeleteFrom my own perspective, Carracci's method of shading seems more complicated. You might recall that the method that he and Michelangelo used (and indeed the artists of Pompeii) required that painting be done while plaster was still wet. One theory of mine is that he may have put down base colors as the plaster of his fresco set, and then gone back to add the shading. If that were true, Carracci would have had a little more leeway on his details. But that's just a wild guess on my part.
Mark your works of art are just jaw dropping. This is such a poignant scene and very though provoking knowing the story behind Diana and her life as a Roman Goddess! Thank you so, so much!
ReplyDeletexoxo
Karena
The Arts by Karena
Artist Brad Oliphant
Dear Karena,
DeleteI'm glad you enjoyed Diana's story. I've always found it interesting how the Greeks and Romans gave each of their gods such distinct personalities, and ones that even mirrored the quirks of mere mortals. Perhaps they found comfort in relating more easily.
Dear Mark - I love the way you have interpreted Carracci's Diana story and given it your own contemporary twist with those pretty pink art deco stylised clouds. I wonder whatever Carracci would think if he could see you work, no doubt he would be extremely flattered.
ReplyDeleteWhen all of your hard work finally draws to its conclusion you must give yourself a treat and make a visit to Pompeii and Rome.
Dear Rosemary,
DeleteI have always admired the Farnese Gallery and Carracci's exquisite ceiling, but I have also felt an equal amount of empathy, having heard the story of Carracci's huge disappointment. Rather than having him flattered, I would want him to know that his work continues to inspire, long after Cardinal Farnese's name is remembered only as a footnote to it.
And, yes, a trip to Pompeii and/or Rome would be a great treat!
Hello Mark, I find it extraordinary that you can study Carracci's pictures and then come up with your own version, and in such a short time frame. I find your adaptations reflect the idea that this will be viewed up close--the clouds being more distinct and balancing to the composition, and the dog seeming more like one likely to be found indoors. I also love the angles and lines of sight set up between the Diana composition and the supporting ignudi.
ReplyDelete--Jim
Hello, Jim,
DeleteAs I said at the very beginning of the project, I am working well in advance of my bloggings, otherwise I would literally be painting myself into a corner! I took several weeks to paint the Diana painting, though I will admit that whenever I work directly from good reference (as opposed to completely reinterpreting elements like the ignudi) the work proceeds quickly.
As you have noticed, the ignudi and painting form a triangle, which was a popular Renaissance composition. I'll be adding more elements, but the ignudi will continue to serve as a visual anchor.
I love the banknote reference for the shading, it indeed resembles that very closely. Hard to tell if it is tedious brushstrokes or a textured fabric like Gina suggests. Burlap and other fibrous textiles have been used for ages to manipulate paint into an effect. I would love to know more on this. By the way......you are amazing, you know that , don't you!!!
ReplyDeleteDear Theresa,
DeleteThank you for the nice compliment — my head just swelled a bit!
I don't think that the engraving effect was achieved in the way that Gina has described, and here's why. If you look at the enlargement of the cherubs, you'll see that the shading moves smoothly in the direction of each surface. That is to say that the lines move around curves in a curved manner, and on flatter areas in straight lines. I think this was all done in a rather tedious way, by hand.
that makes it even better! Amazing skill.
DeleteWhat a beautiful focal point! I can't wait to see how you frame it. And Mark: what kind of paint are you using? Acrylic? I'd love to see photos of you in action.
ReplyDeleteHello, Loi,
DeleteI'm using regular house paints from Sherwin Williams — the very same paint that one would use to cover a wall in a solid color. I've bought many quarts of flat Sherwin Williams colors and I mix them together in a white porcelain bowl as if I had a palette. You won't see any photographs of me at work because I like to work when I'm alone, listening to music, but I wear a white shirt and a pair of jeans that are both covered in paint. Sometimes I clean off my brush right on the shirt.
I occasionally clean off my brushes on my shirt or jeans when I'm working too, Mark. When the work is really going well who has time to do otherwise? :) I love what you've done - well, you already knew that. I'm always surprised - when I drop in to see how you're doing - to see just how much further along you are. Wow. Can't wait to see how you frame the lovers.
ReplyDeleteI like the Carracci technique very much. It reminds me of several artists working today so it's obvious that the influence of Renaissance artists is still very much in evidence today even if unacknowledged. Well, duh - Yvette. But you know what I mean.
Dear Yvette,
DeleteI don't know if you ever got a chance to read the postings that fall under the sidebar heading of "Art History is not Linear," but they stemmed from the fact that I noticed when I was an art teacher that my students weren't particularly interested in art history. It took much effort on my part to convince them that every period of art is a stepping-off place for something very new. It was all the more ironic that the few contemporary artists they did admire were obviously (to me, at least) versed in earlier periods and influences.
Sometimes I hesitate, Mark, to leave you a message because I know so little about art and feel unqualified to render an opinion beyond WOW, I love what you're doing. I am learning so much through your posts, however, and am enjoying this project immensely.
ReplyDeleteThank you, Barbara,
DeleteBorrowing more obscure bits and pieces from art history and incorporating them into my house has given me a double pleasure — first, for the research, which always borders a little on fantasizing, and then in the sharing.