In our most recent THATMuse post we lingered on an introduction to the Borghese Collection at the Louvre. Though necessary, it was honestly a bit sober. So in developing this story line (before getting to the actual crux — an item or two of the collection itself!) I thought we needed some juicy gossip. And what makes for juicier gossip than scandal? It’s hard to top the stories of Messalina, as touched on in a previous post, but Pauline Borghese, Napoleon’s sister and wife to Prince Camillo Borghese, certainly comes a close second in “shock” factor.
She was the beauty of the family, 6th of the 8 children born to Napoleon’s parents in Ajaccio, Corsica. At the age of 16, in 1796 (just as Napoleon was starting to make his mark on history, during the Italian Campaign), she fell madly in love with a 40-year old syphilitic philanderer. To distract her, the family married her off to one of Napoleon’s soldiers, General Victor Emmanuel Leclerc (whom Nappy incidentally caught her being let’s say, indiscreet with behind a screen at the Palazzo Mombello in Milano — but I get the idea he didn’t share this morsel with his family).
Despite having a son by Leclerc (Dermide, whom Napoleon, ever the control-freak, named), Pauline set herself up with many a lover. The family was posted to Haiti, which is where she may have developed her taste for sleeping with black men. It is well documented (a small bit of trivia that I remember from high school when we had to spend time at the Museo Napoleonico in Rome. Just as an aside, these completely un-useful bits of trivia is exactly how my history teachers hooked me on their rich subject) that she was in the habit of having her large black servant, Paul, carry her to the bath every day, and would spend an inordinate number of hours receiving guests from the bath – talk about being hungry for attention! She’d also apparently use ladies-in-waiting as foot servants — literally stepping on their backs.
Unlike either her older brother (who spent a large part of his life being her PR spin doctor, in addition to being self-appointed ‘Emperor’ of Europe) or Messalina (3rd Empress of Rome and a flagrant hussy), Pauline didn’t seem to have any ambition — her interest was pure frivolity and sex. Eight months after Leclerc died she secretly remarried the handsome Prince Camillo Borghese. This rush infuriated Napoleon (Ironically with such a sister, Napoleon tried to instill a code of good morals. Compare Jacques-Louis David’s Portrait of Mme. Recamier (1800, at the Louvre) to Antonio Canova’s sculpture of Pauline – which at her request was nearly nude and posed as Venus Victrix – 1805-8 at the Galleria Borghese). Throughout her infidelities, there was a modicum of decency and even loyalty about her. Though she swiftly cheated on Borghese — who was forced into selling a large part of his family’s art collection to his nouveau-riches self-coronated Emperor brother-in-law — she also secured Camillo the post of Governor of Piedmont and guardian of Napoleon’s prisoner, Pope Pius VII (two tasks Camillo coveted). And though she caused a lot of trouble for her brother (who adored her), she is also the only Bonaparte sibling to have supported him after he was deposed and sent to Elba.
In fact according to Alistair Horne’s The Age of Napoleon, she liquidated most of her assets to go and live with Nappy in Elba and better his situation (although she kept her pretty frocks `to make him happy`). Among her assets was a sumptuous little number on rue du Faubourg St-Honore which she sold to the Duke of Wellington after the Battle of Waterloo, and which since then has been the British Embassy of France. Apparently Wellington “gained the respect of the Parisians when, as the victor, he could have grabbed it for nothing, but insisted on paying the full price.
Just as a small reminder – when little morsels are randomly placed in bold, it just may mean that those could conceivably arise as answers to bonus questions. The Borghese Beauty is applicable to any number of THATLous, since the Borghese Collection has the Three Graces (Beauty), wild satyrs (Bestiary), wonderful Craters (Food & Wine), and Roman Sarcophagi (Skull Scouting Halloween Hunt), etc.
English historian Alistair Horne has written a number of great books on Napoleon and his time. And here’s a goodNew York Times article about the Borghese Collection au Louvre (no bonus questions – just if interested).
Last time we wound our way from considering the Prado and Spain in the general, to zeroing in on a contemporary replica of Leonardo da Vinci’s Mona Lisa. In our last post we shamelessly lingered on poor Leonardo’ssex life (with the weak excuse of saying “hey, the Prado La Gioconda may have been by this pupil / servant / lover, Andrea Salai, so we better delve into some sodomy charges, right?”). In so doing we also trashed Leonardo to a small extent to say that THATLou prefers plenty of Leonardo’s contemporaries. In other words, we’ve really been all over the place, from Madrid to Paris, and through Leonardo’s boudoir. Now we aim to turn a slightly more positive note, one which isn’t quite so NY Post Page Six, or Hello!Magazine trashy. And we can also shake this ‘we‘ing. What, do we think we’re royal or something, with all this smut?
Let’s start with touching ever so briefly on some examples of masterpieces by Leonardo’s contemporaries. da Vinci studied in Verrocchio’s Florentine studio alongside Pietro Perugino, Sandro Botticcelli, and one of my all time favourites, Domenico Ghirlandaio. I won’t examine any of these three painters in depth, just want to drop you off with some of their paintings herewith. And then our next post, concerning Andrea Salai, will be the conclusion to this round-about Prado Mona Lisa series. It’s timely to consider Salai, as his paintings may just become a spot more valuable if conservationists decide that the Prado’s La Gioconda was by his hand and not by Francesco Melzi.
My favourite painting at the Louvre by Domenico Ghirlandaio (1449 – 1494) is constantly being lent out. I guess this is a tribute to how good it is, but I find it very annoying indeed when I find the flimsy little paper hand-scribbled by some curator apologising for the fact that it’s gone missing for another few months. It’s a great painting. Despite his grotesque nose, the Old Man’s look is so quiet and calming as he considers his grandson. You can nearly see him thinking.
Another Leonardo contemporary who I prefer is Sandro Botticelli (1445 – 1510). Though I didn’t include his Louvre Venus and Three Graces when I was considering various Three Gracesin July (including the recently-discovered Three Graces by Cranach ‘s – which is just unsurpassable), I’ll take this complete non-sequitur as a chance to include it herewith. Couldn’t you picture this Venus and Three Graces in at least one THATLou? Perhaps a Ladies at the Louvre hunt, or better still the Love Hunt which is due to take place for couples and lovey-doves the evening of Friday 14 December?
Pietro Perugino (1446 – 1523). He’s a tricky one to choose a fave at the Louvre, because there are so many good ones. There’s always something tactile for me with Perugino. The paint is so smooth and the colors so uniform that he makes me want to stroke the canvas. Anyway, if I have to choose, I’ll go with his St Sebastian (which as a total aside, I was interested with how many St Sebastians we came across at both the Thyssen Bornemiszia, as well as the Prado. Do the Spanish have a thing for him, perhaps?).
After today’s segue-way of some top-tier Renaissance painters, the next post will take a step down (or back?) and worm its way back to the likely painter of the Prado’s version of La Gioconda – and will take a look at Andrea Salai’s paintings. That Little Devil!
For those of you with a minute to both watch and listen to the below, I thoroughly recommend it. The music, played by Yo Yo Ma, is Bach’s Sarabande from Suite for Solo Cello #1 in G Major. The video needs no introductions, it’s sublime as it is:
Perspective epitomizes the marriage of Arts + Sciences, so it should be no surprise that I’m providing this as the give-away clue to all those clever BAC-aged youths who’ll be on the hunt for Science at the Louvre tomorrow afternoon.
Science-Académie (known as Science-Ac’) was established in 2006 with just a few hundred students. Today this Paris-Montagne Association now stands at 2000 students, enlivening the interest of high school students and pre-BAC kids in Science. Science-Ac was born from the l’Ecole Normale Supérieure (ENS is the French equivalent of MIT, for you American readers), and has generational dons or tutors per each level, PhD candidates doing lab work alongside high-schoolers. Their proximity in age, no doubt bolsters the inspiration for the students to further their scientific studies.
Tomorrow a group of Science-Ac’ students will be scouring the Louvre for 25 pieces of art that marry Art with Science. For instance a double-sided David and Goliath painting by da Volterra inspects the Centripetal and Centrifugal forces of David’s use of the sling. But as such physics strays from typical THATLou reading I’ll do a give-away that’s a bit closer to home.
Here are two works of art in two separate wings on two separate floors of the Louvre. One is by a Northerner (Dutch) the other by a Southerner (Sicilian), but both are true masters of perspective in entirely disparate ways. Scientific perspective is an approximate representation, on a flat surface (such as a canvas or paper), of an image as it is perceived by the eye. The two most characteristic features of perspective are:
Objects are drawn smaller as their distance from the observer increases
The distortion of items when viewed at an angle (spatial foreshortening)
In art the term foreshortening is often used synonymously with perspective, even though foreshortening can occur in other types of non-perspective drawing representations.
CHRIST AT THE COLUMN Antonello da Messina (1430-1479), 15th C Italian Painting
This fine painting is tiny, only .30m x .21m wide, so in a reversed way it pops out among the Italian Painting gallery. Antonello’s acquaintance with the rules and foreshortenings of Tuscan perspective allow him here to show a living, monumental Christ whose Passion thrusts itself upon the viewer. This immediacy is enhanced by the illusionist handling of the knot in the rope: set at the bottom of the composition, it appears to rest on the frame, as if on the ledge of a window opening onto the divine. During his apprenticeship in the Naples of the Princes of Aragon – collectors of the work of the Northern painters – Antonello acquired Flemish oil painting techniques: the layering of paint and glazes creates depth and subtle transitions from shade to light, while also enabling meticulous realism in physical terms and in the stroke by stroke rendering of Christ’s hair and beard. Science Ac kids are asked to pose with his pained expression (just think of all Christ had been through at this point). To me he’s saying “how much bloody longer do I have to go through this torture?” It’s a fantastic painting.
CARD PLAYERS, Pieter de Hooch (1629-1684), 17th C Dutch Painting
During his decade in Delft (Holland), Pieter de Hooch was deeply influenced by the color and strict lines of the art of Carel Fabritius, who also influenced Vermeer (huh, Vermeer’s Astronomer may just be nearby, then!). de Hooch developed a personal style that proved a success, basing his compositions on a colorful, artful use of perspective, with figures fitting harmoniously into the overall scheme. His works are subtly illuminated with lateral sources of light and often feature a series of rooms leading from one to the next. The lines of the marble floor tiles here draw the viewer’s attention to the vanishing lines of the painting. The spatial elements opening onto the exterior-windows and half-open doors are punctuated by a contrasting play of light, accentuating the lines and volumes. For an extra fifty bonus points have your team point to the small hint of another room in this charming scene. (and yes for you hawk-eyes, the pretty girl in the foreground is cheating with her lad).