The Fresco Frenzy of Art Traditions

Tweet Ciao! Things are swimming along quite nicely here in Amelia (quite literally swimming right now – I’m currently enjoying a mid-afternoon thunderstorm). In addition to my busy class schedule and pile of books I need to read, I’m absolutely loving … Read More

Ciao! Things are swimming along quite nicely here in Amelia (quite literally swimming right now - I'm currently enjoying a mid-afternoon thunderstorm). In addition to my busy class schedule and pile of books I need to read, I'm absolutely loving being surrounded by such incredible architecture. Living in an Italian city that has Etruscan roots and has Roman ruins around every corner is such an interesting reminder of how deep European history runs, and furthermore, how big of a role it plays in the citizens' everyday lives. I am lucky enough to go to class everyday in this beautiful complex, the Palazzo Boccarini. Built in the thirteenth and fourteenth centuries, it was adapted in the early-sixteenth century as a cloister of the convent of San Francesco. The chiostro, as we call it, not only houses the classroom for my program, but also the city's lovely archaeological museum. It also plays host to many cultural events such as small concerts for the local Amerini, or the citizens of Amelia. It even has a little room right off of the street, Piazza Vera, where people gather to play cards with their friends to escape the afternoon heat.
amelia cloister italy
[caption id="attachment_4066" align="aligncenter" width="224"] The Chiostro Boccarini[/caption] Adorning the corridor of the Chiostro are three beautiful frescos that I pass by at least eight times a day. Frescos are such an important part of the art historical tradition, and I'm trying to absorb and appreciate as much of it as possible whilst I'm in Italy. [caption id="attachment_4067" align="aligncenter" width="300"] The ground-floor corridor of the Chiostro[/caption] Fresco, from the Italian affresco, meaning "fresh," is a technique of mural painting that has been used since antiquity, but gained popularity and prominence with the Italian Renaissance. Contrasted with secco, or dry, painting, pigments are added directly into wet plaster, the result of which is that the painting itself becomes an integral part of the wall itself. The frescos at the Chiostro Boccarini depict both religious scenes and also the life of the Boccarini family, who were the patrons of the complex itself. [caption id="attachment_4068" align="aligncenter" width="300"] Fresco at the Chiostro Boccarini[/caption] [caption id="attachment_4069" align="aligncenter" width="300"] Fresco at the Chiostro Boccarini[/caption] [caption id="attachment_4070" align="aligncenter" width="300"] Fresco at the Chiostro Boccarini[/caption] These beautiful paintings act as daily reminders of the artistic history of the community here in Amelia. Do you have a favorite fresco? What about Michelangelo's Creation of Adam? Or perhaps Raphael's School of Athens? Maybe Leonardo's Last Supper (which is technically an example of a secco mural, but we can overlook that for now - it's still pretty impressive)?
In 1508, famed High Renaissance painter and architect Raphael was given the commission that would make his career. The young artist was asked by Pope Julius II and his personal architect Donato Bramante to create the massive frescoes that adorn what are known today as the Stanze di Raffaello, or Raphael Rooms, of the Vatican Palace. Raphael's first conquest was the Stanza della Segnatura, which now contains four of his most beautiful and well-known frescoes, The Disputation of the Holy Sacrament,The Parnassus, Cardinal and Theological Virtues, and, his masterpiece, The School of Athens. Each of these four frescoes was meant to represent the four areas of human knowledge: religion, poetry, jurisprudence, and philosophy. Toward the end of 1509, Raphael began his second fresco of the series, The School of Athens, representing philosophy. Since its creation in the Apostolic Palace, it has been endlessly revered and contemplated.

Raphael's intricate fresco, measuring approximately 25 by 16 feet, contains nearly 60 figures in a beautifully arranged and appointed background. For hundreds of years, art historians and scholars of philosophy, classics, and mathematics have attempted to identify the different figures, though it seems that Raphael was intentionally vague in the majority of the depictions, with a few exceptions. What we can be sure about is that the two central figures represent Plato (on the left) and Aristotle (on the right). Raphael depicts Plato pointing to the heavens and Aristotle gesturing toward the earth - a commentary on their respective philosophies. Other figures that can be identified with some degree of certainty include Pythagoras, Socrates, Diogenes, Ptolemy, Heraclitus, and Euclid. Despite the many questions about the identities of the figures, what remains clear is that Raphael is representing thinkers from across myriad schools, time periods, and geographical locations from classical antiquity. Thus, he is not attempting to depict an historical moment, but rather a thematic representation of Greek philosophy at its finest. Identifying the figures becomes even more difficult when one realizes that they often have double identities - one from antiquity, and one from Raphael's own time. Many have speculated, for example, that Plato can also be identified as Leonardo da Vinci, Heraclitus has the visage of Michelangelo, and that Euclid shares features with Bramante. [caption id="attachment_3470" align="aligncenter" width="437"] Detail, Raphael's Plato with Leonardo da Vinci's 1510 self-portrait[/caption] So, why did Raphael choose to imbue his figures with this double identity? During the Renaissance, ancient Greek and Roman writers and thinkers experienced a renewed popularity, and were respected as the premier philosophers throughout history. By blurring the line between figures from classical antiquity and his own peers, Raphael asserts that the thinkers of the Renaissance were on par with their formidable predecessors. The artist also blatantly includes an image of himself, gazing out to the viewer. In addition to his commentary on the relative status of the Renaissance in relation to antiquity, Raphael boldly breaks with tradition regarding his representation of the idea of philosophy. While those who came before him tended to represent philosophy in a purely allegorical way (or at least in a way in which the allegory or ideal of philosophy is given more importance than its human practitioners), Raphael humanizes his topic. He does not forsake the allegorical depiction of philosophy, but rather makes it almost secondary relative to the rest of the subjects. The personification of philosophy, often called Philosophia, appears in the accompanying tondo (an Italian term for a round painting or sculpture). The tondo above the The School of Athens announces the subject of the work, in the same fashion as the other frescoes in the Stanza della Segnatura. The beautiful Philosophia sits upon a throne, flanked by two cherubim bearing the words "Causarum Cognitio," a reference to Cicero meaning, "Knowledge of causes." She holds two books, one entitled "Morals," the other, "Nature." This is a classical depiction of Philosophy, and yet within the context of The School of Athens, the figure is relatively diminutive. The tondo is merely six feet in diameter, and because it is over 25 feet off the ground, it is hardly easy to see from eye level. Furthermore, while tradition dictates that the depiction of Philosophy should be the focal point of a work, Raphael isolates her from the rest of his work. While she may loom over the individual practitioners of the art of philosophy, the latter are nonetheless the primary subjects, overwhelming the former in size, number, and relevance. By making the practitioners the focal point of his fresco, Raphael humanizes and indeed secularizes the practice of philosophy. Like so many of his compositions (a personal favorite is the cherubim detail in his Sistine Madonna), Raphael's School of Athens truly rewards careful study and contemplation.