Visitors to southeast Turkey will be familiar with the ‘Gipsy Girl’, the portrait of a young lady (actually a maenad, one of the frenzied followers of Dionysus) exhibited amid tight security at the Gaziantep Museum. The image—featured on the cover of Blue Guide Southeastern Turkey—is now so ubiquitous (second only to the Nemrut Dağ) that it has become the logo for ‘Archaeology in Turkey’; unfortunately in the process the archaeological context of the find has been overlooked. The image was uncovered in 1998–9 during the tail end of rescue excavations when work on the dam was completed and water levels were rising. We know that it came from a villa, one of the many in Zeugma, and on stylistic grounds it is dated to the 2nd century AD. Soon, however, visitors will be able to admire the piece in a context of sorts.
Back in the early 1960s, the villa floor had been unofficially excavated, at which time the mosaic floor was hacked into twelve convenient, portable sections and sold on the international art market. The items found a new home at Bowling Green State University in Ohio, which paid $35,000 for them. Fifty years on, an agreement has been reached and the pieces will be repatriated.
Included among them is another female figure, a young lady with a frightening—or firghtened—look on her plump face and a lot of foliage in her hair. In this case the mosaicist did not reach the heights of the haunted look that has made the ‘Gipsy Girl’ so famous. On the other hand the birds are delightful and the theatre masks (if they are theatre masks) may offer a clue to understanding the composition.
In due course the pieces will be displayed at the Gaziantep Museum and one hopes that all 13 of them will be exhibited together on the floor, not hanging incongruously on the wall, in an atmosphere of less intrusive security and together with a plan of the villa.
By Paola Pugsley. Paola is the author of Blue Guide Southeastern Turkey. Her latest volume, Blue Guide Aegean Turkey: Troy to Bodrum, was published earlier this year.
Blue Guide Sicily author Ellen Grady has some updates from Syracuse, where, on the island of Ortygia, the old city, there’s a useful new Tourist Infopoint just behind the cathedral, at Via Minerva 4. It has up-to-date information on opening hours of the museums and the archaeological sites in Syracuse and the area of Noto. There is also a shop offering local crafts.
While visiting Syracuse, don’t miss the Paolo Orsi Archaeological Museum. On the upper floor, a look at the Greek and Roman statuary in Section D is always worth your time. In Section F, the interesting Late Antique section is now complete, with a permanent and beautifully displayed exhibition of early Christian frescoes, epigraphs, reliefs and artefacts from the local catacombs. This surprisingly extensive system of underground tunnels and caves served as a place for burials, but also for practising the forbidden cult of Christianity.
If you’re in a car, head south from Syracuse to the charming fishing village of Marzamemi (an hour’s drive) for lunch or dinner at La Cialoma. Our recommended restaurant is now listed in the Michelin Guide for Italy. You can eat either in the square, or on the terrace overlooking the sea and the old tuna fishery. The fish dishes are always good, especially if accompanied by Lina’s organic house wine, which is cloudy, white and slightly fizzy. Local strawberries are perfect when in season, or you could try sheep’s milk ricotta with a sauce of vino cotto, reduced wine. La Cialoma is open daily for lunch and dinner from April to October; in winter for lunch only, except at weekends.
Fresco of a saint from Pantalica / Fried Mediterranean cod
Tiziano e la pittura del cinquecento tra Venezia e Brescia is an exhibition curently running (until 1 July) in the Museo di Santa Giulia in the Lombard town of Brescia. The centrepiece is Titian’s Averoldi polyptych—although it is in fact only present in a dramatic video show as the curators wisely decided to leave it in situ the church of Santi Nazaro e Celso, for which it was painted and where it has been ever since the great artist delivered it there in 1522 (it is not far away from the exhibition venue). It is a magnificent work, unusual in the fact that it is divided into the form of a polyptych with smaller scenes around the central Resurrection which include a particularly beautiful Annunciation (the Angel and the Madonna in two separate panels), as well as a St Sebastian, which is a remarkable study of human anatomy: it has been recognised that the intrinsic drama of the nude figure shows the influence of Michelangelo’s Slaves as well as the Hellenistic statue of the Laocoön, which was discovered in Rome at just about this time.
Titian’s portrait of the doctor Gian Giacomo Bartolotti
Titian is again documented in Brescia as an old man in his 80s, when he accepted a commission to paint three large canvases for the upper floor of the famous building known as the Loggia. The subject of the central panel was the Apotheosis of Brescia, represented by a matronly lady magnificently dressed, and the other panels personified the age-old activity of the production of arms in the town with Vulcan in his forge, as well as the agricultural activity in the countryside around Brescia, symbolised by the goddess Ceres. Palladio, when on a visit to the town to advise on the architecture of the Loggia,recorded his admiration for these works, which were unfortunately lost in a fire which devastated the building only six years after they had been installed. For the exhibition they have been reconstructed as far as possible in a video, based on an engraving made in the 18th century.
Another connection the great artist has with Brescia is the Triumph of Christ woodcut owned by the Musei Civici. This is one of five versions, produced in five blocks, of a drawing by the artist based on the theme of a Classical ‘Triumph’. Rather bizarrely it shows Christ seated on a chariot pulled by the four symbols of the Evangelists and accompanied by the four Doctors of the Church (resembling the bodyguards who run beside the Pope’s car today). The procession which precedes and follows the chariot is made up of crowds of figures from the Old and New Testaments. The version preserved in Brescia has been recognised as a first edition (and dated 1517).
However the exhibition is perhaps especially interesting for its study of the three principal artists born in Brescia who were contemporaries of Titian: Moretto, Giovan Girolamo Savoldo and Girolamo Romanino. Their works demonstrate not only how closely they must have looked at Titian’s work, as well as that of Lorenzo Lotto (the Venetian artist who was least influenced by Titian), but who at the same time clearly managed to create a school of their own. We are shown a wide range of their production, which underlines their ability to produce paintings of religious subjects which often concentrate on naturalistic details, and intimate, almost cosy, settings, and even include night scenes, as well as portraits of great ingenuity. The curators have suggested that there is little doubt that the young Michelangelo Merisi, thought to have been born at Caravaggio in the Bergamasco in 1571, must have studied their work before leaving for Rome, where he was to became Italy’s most famous painter of the 17th century.
This exhibition is in many ways a revelation of the skill of the local painters but also an opportunity to admire great works by Titian, and in particular two of his male portraits (c. 1515–20): the famous Mosti Portrait (from the Pitti) and the much less well-known portrait of a man identified as the painter’s doctor Gian Giacomo Bartolotti da Parma, today preserved in the Kunsthistorisches Museum in Vienna. It is the most memorable work in the show.
There are two exhibitions in the two neighbouring Lombard towns of Bergamo and Brescia in northern Italy which are drawing crowds of visitors, especially from Italy itself. Bergamo has chosen Raphael since the town’s art gallery, the Accademia Carrara, owns one of his early masterpieces (St Sebastian), just restored. Brescia has chosen Titian in order to celebrate his beautiful polyptych of the Resurrection painted for the high altar of a church in the town and the exhibition illustrates the work of an important group of contemporary local painters (including Moretto, Savoldo and Romanino) whose production is seen in the context of the Venetian school. Brescia’s Pinacoteca Tosio Martinengo reopened this year (on 17th March), after eleven years of closure.
Raphael’s ‘St Sebastian’
Since the towns are so close together, both have advertised each other’s exhibitions and visitors to both are given a reduced-price ticket.
The exhibition in Bergamo, Raffaello e l’eco del mito (scheduled to close on 6th May but hopefully may be kept open for longer) is in the newly restored rooms on three floors of a former convent directly opposite the Accademia Carrara, which makes this an opportunity to visit the town’s picture gallery too, which was excellently rehung a few years ago.
The exhibition is particularly interesting in the sections which illustrate works by painters which Raphael must have seen as a young man. These include two panels by his cultivated father Giovanni Santi, loaned by the Galleria Corsini in Florence. Santi died when Raphael was only 11 years old but scholars agree that he must have started Raphael out on his career. Perugino, a decisive figure in the young Raphael’s development as a painter (although Raphael is not actually documented in his bottega) is represented with three masterpieces: his own St Sebastian (signed on the arrow!) from the Hermitage, his Mary Magdalene from the Uffizi (the pose very similar to Raphael’s St Sebastian, and also just restored) and his Madonna and Saints from a church in nearby Cremona. The first and last are works little-known to the general public and so this provides an opportunity to see them. The two painters from Umbria, Pinturicchio (whom Raphael knew in both Siena and Perugia) and Luca Signorelli (whose wonderful Crucifixion has been lent by the Galleria Nazionale in Urbino) are present to underline Raphael’s pride in his Umbrian origins (he signed his paintings “Raphael Urbinas”).
The comparison of Raphael’s St Sebastian with two works of the same subject by Leonardesque painters from Milan, Boltraffio and De Predis, is particularly interesting as they both portray the young saint with long golden curls, but holding an arrow as identification (instead of the more usual iconography of the nude figure of the saint at his martyrdom, pierced with arrows): they are thought to predate Raphael’s work of the same subject by a few years. They come all the way from the Pushkin Museum in Moscow and the Cleveland Museum of Art.
The autograph works by Raphael on exhibition, all of them chosen to illustrate his production between 1500 and 1505, include his famous portrait of Elisabetta Gonzaga from the Uffizi. The sitter, with her heavy eyelids, is not flattered by the artist, but the brown and gold tones of her dress and jewels provide a magnificent contrast to the countryside in the background, lit up by the sunset.
His exquisite tiny St Michael Archangel from the Louvre has extraordinary monstrous creatures accompanying the dragon. The scene, with a building in flames in the background, is derived from the Apocalypse. But the light, graceful figure of St Michael, who has just landed, seems unaware of any hindrances to his plan to banish the Devil. Still in what looks like its original frame, this is surely one of Raphael’s highest achievements in a painting of this size (31 x 27 cm). The small Prayer in the Garden from the Metropolitan in New York, is one of the most memorable of his works on show, since Raphael demonstrates how he can take a familiar subject and raise its significance to a level perhaps never reached by another artist.
But his very beautiful St Sebastian is certainly the most important work in the show and it has been specially restored at the Brera for the exhibition, with later accretions of yellow varnish now removed.
The exhibition is accompanied by an excellent catalogue, as well as a smaller version for just a few euro. For the Titian exhibition in Brescia, see here.
Blue Guides celebrate their centenary year with this new edition of Blue Guide Budapest, an in-depth companion to the history, art, architecture, food, wine and thermal baths of this exceptional city.
View the book’s contents, index and some sample pages, and buy securely from blueguides.com here »
Budapest is a city in constant renewal, with important renovation and reconstruction taking place all the time. For updates, as well as reader comments on the new edition, see below.
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