Renaissance curiosities at York

Last week I had the privilege of attending and participating in a conference on Rubens. Held at York University, it united a stellar cast of art historians, curators, directors and students who congregated to discuss the fascinating topic of the human body in Rubens's art. Before leaving I took time to visit the York Art Gallery, glistening in the rain last Sunday; the weather had considerately stayed fine until the day after the symposium ended.



 Although some masterpieces weren't on show- refurbishment strikes again- I did see a lot of good art. I was particularly delighted by the museum's collection of early renaissance painting. Thanks to the discernment and taste of 19^th century collectors, a lot of our provincial galleries boast so-called 'primitives'. Another good provincial gallery is the Walker Art Gallery at Liverpool, which also has fine examples of this art in its holdings. How odd that these captains of industry, self-made men whose industriousness and money making ability brought these northern towns into being, should have liked this kind of simplicity in art. To my eye and mind, it seems anti-materialist and unburdened by progress or any hint of ambition whatsoever. Not that this was a universal taste. The metropolitan magnifici of the 19^th century scorned this kind of picture; Sir Robert Peel, a trustee of the London NG, dismissed this kind of art as "curiosities", a damning label that occurs frequently in descriptions of early renaissance art. Peel was eventually overruled in matters of taste, and directors like Charles Eastlake went on to acquire such art enthusiastically for the NG.

I've not had much time for the blog this month due to all this professional activity, but I've nearly finished another post on connoisseurship (with more on Eastlake) which I'm aiming to put up here before the month ends.  

Images

York City Art Gallery in the Rain.

Francesco d'Ubertini Verdi (Bacchiacca), Agony in the Garden, about 1545.

Puccio di Simone, Two wings of a Triptych, 14^th century.

Comments

[Hels]

I liked your line "How odd that these captains of industry, self-made men whose industriousness and money making ability brought these northern towns into being, should have liked this kind of simplicity in art." :) There are a few possible explanations for this trend!

[H Niyazi]

Sounds like an interesting trip David!

I think it is curious how socioeconomic forces and individual subjective experiences percolate into broad sweeping statements by people who really should know better than to make broad sweeping statements - like Mr Peel in this instance!

I think Sir Robert suffered from the same blight that affected the likes of Petrarch, Vasari, Voltaire, Burckhardt and Gibbon - especially when looking at the Byzantine and Eastern influences of what they saw - did not understand or relate to - and subsequently dismissed.

I must admit, as someone who came to art history via the study of history and literature first, I was harangued by these biases early on - and only some very conscious study of antiquity, Coptic, Medieval and Byzantine art have been able to rid me of this perceptual filter.

AGD did a wonderful spot on it once in his 'Art of Eternity' series - I'll post a clip at 3PP one day.

H

[Art History Today]

Good responses, Hels and H!

I don't think I was trying to make some deep sociological point. The association between socio-economics and taste just seemed relevant at that moment. Of course, York is a medieval town, so there are different historical currents at work as well as collecting renaissance art.

H, good catalogue of prejudiced observers, especially Vasari. Have you read Haskell's 'History and its Images'? This is a brilliant enquiry into the relationship between artworks and historical events.

David

[H Niyazi]

I like the sound of that Haskell book - cheers David!

H

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Renaissance curiosities at York - Art History Today