June 2018

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Museums and Galleries

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H Niyazi

Interesting post David!

It is fascinating how gallery catalogs seem fickle when it comes to interpretations - with a strong predisposition for barebones readings these days - even the NGL catalogue presently backs away from the more complex readings of the Arnolfini portrait! If van Eyck was not a "mystery painter" than who was?!

It's possibly more useful for them to recount the history of interpretation in an historiographic sense, rather than an all or none approach. Looking at this piece by Carracci, I am instantly reminded of the "Lost Pieta" which everyone will at least agree is based on a Michelangelo design - and which we know inspired Carracci to make a copy of. Look at the central figure with the outstretched arm, which seems to mirror the posture of the Virgin in the Michelangelo piece - then there is the figure on the right hauling the carcass, reminiscent of the putti holding up Christ. Depictions of meat were of course analogous to the frailty of the mortal form and paralleled with depictions of Christ's passion - and the soldier with a spear belongs in a deposition more than a butcher street scene!

I understand such allegorical readings may not have concrete evidence, but are deserving of a mention surely, even if as a "source" for the posing of the figures etc. Do you have any references you can recommend for the allegorical reading of that picture? I'd be interested in reading them!

Kind Regards


Sadly, I've never been to Christchurch Picture
Gallery, so many, many thanks for the look inside. These are very interesting pictures, indeed. I see all the flaws in the van Dyke, but I do think that the figures have an interesting sweep of gesture that saves it. It also seems like less of a tableaux, to my eye, than the Poussin.

I always thought that the story of the pendulum of art interpretation swinging back and forth would make a fascinating book. Maybe you're the man to write it....?

Alberti's Window

Another post with a meat theme! I wasn't familiar with this example by Annibale Carracci when I wrote my post. Thanks for discussing the changing interpretations regarding this piece. It's so interesting to see how interpretations change over time.

When looking at "The Butcher's Shop," I was struck by the very active (and sometimes awkward) poses of the individuals. For example, the contrapposto stance of the man on the left is extremely exaggerated, and the man in the foreground seems crouched in a very uncomfortable manner. Perhaps Annibale was trying to add more dynamism and energy into the scene with unusual poses? Even if this wasn't his intention, I get a relative sense of unease when looking at the composition. I feel like those men are positioned in ways that seem just as uncomfortable as (and oddly seem to echo) that of the hanging carcasses!


Good bye, genial friend :)

Employment Posters

Great! Like the art of each of the images specially the church and other history.


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This is helpful!





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