Light, Colour and Veils

Some conferences, such as last month’s Beyond the Western Mediterranean, set out to break new ground, but some are held just to celebrate and inspire. This was the mood for the day-long event at The Courtauld in honour of retiring professor Paul Hills. The duly prophetic Peter Mack from the Warburg set the tone for the day by explaining how Paul, with his deep pleasure in paintings, uses them as tools with which to think. Getting intense enjoyment out of a work of art is something I feel is a skill in itself. However, it seems almost selfish to indulge in if you can’t pass anything from the experience to others without pretence or arrogance, two words that could never apply to Professor Hills.

Highlights of the day’s papers included Jane Bridgeman’s explanation of the different sort of female head-coverings in Renaissance Italy: mantles, veils and wimples. It was stimulating to be reminded that the beautiful costumes of the Madonna that the Christ Child tugs at in so many medieval paintings are in essence a symbolic yoke of the repressed female. Beverly Louise Brown’s reassessment of Titian’s Jacopo Pesaro presented by Pope Alexander VI to St Peter was particularly lucid and revealing. Usually considered as a clumsy piece of juvenilia where the young artist could not even get St Peter’s mantle the right colour, Dr. Brown showed how Titian was working in a tradition of dressing St Peter in red papal robes, and the saint’s somewhat stilted appearance may have been an allusion to his statue in the Vatican of which pilgrims would kiss the foot. Paul Smith’s characteristically packed paper on colour theory formed an excellent closing to the conference.

What made the day special was the presence of actual art and artists: something Professor Hills surely appreciated. The print room had been prepared with a selection of appropriate master drawings, serving to bring people together at the lunch break and prompt rich discussion at this often awkward stage of a Saturday conference when many disappear up the Strand in search of calorific sustenance. Films were also presented, in person by Nicky Hamlyn and in absentia by Shirazeh Houshiary, which prompted thoughts on the materiality of the veil, as well as the noisiness of the 16mm projector (a topic for another conference). Christopher Le Brun, president of the Royal Academy, spoke openly about his own paintings: how by veiling the canvas in paint he unveiled his own persona to the world at large. It was a reminder that the creation of the work of art could be an uncomfortable process, much more fraught than the art historians’ task of picking it apart at their leisure.

I work with so many broken bits of English Gothic art, sad shadows of great works through poor drawings, all but demolished Abbey ruins. However this inspirational conference reminded me I want to see them as an art historian, and yearn to pass on at least a small fraction of the pleasure which they give me, to show that they are examples of beautiful and profound music in a noisy world.

Geoff Nuttall’s lecture ‘Paolo Guinigi and Palla Strozzi: Lucchese Influence in Early Renaissance Florence’

Gentile da Fabriano, Adoration of the Magi, 1423

On Wednesday 15th May scholars gathered to hear Geoff Nuttall present Paolo Guinigi and Palla Strozzi: Lucchese Influence in Early Renaissance Florence. Nuttall has just completed his PhD on the artistic patronage of Lucca, and this presentation focused on the relationship between Paolo Guinigi, the lord of Lucca in the early Quattrocento, and the Florentine banking merchant Palla Strozzi. Guinigi was a great patron of the arts with a good knowledge of the process of artistic production, and an enormous familiarity with aristocratic tastes. This was due in part to Lucca’s strong access to international markets and its supply of Lucchese silk and luxury goods to the Northern courts.

However, Nuttall explained that the city of Lucca and its artistic legacy has been largely overlooked in the history of art, due in part to the omission of Lucchese artists in Giorgio Vasari’s Lives, a historiographical delineation of the major painters, sculptors and architects of Renaissance Italy. For as a major manufacturing city, Lucca was marginalised by Vasari in favour of cities that produced his main interests of painting and sculpture. Although not much of this was produced in Lucca, and very little was brought in, Nuttall made clear that Lucca was an artistic periphery in itself. Nevertheless, without the stimulus for artistic rivalry and competition of Florentine politics, the window of Lucchese artistic prosperity was fairly small. Furthermore, when Guinigi was exiled in 1430 and the Medici of Florence besieged the city, Lucca lost its monopoly on its trade of silk. Nuttall thus made clear his aspirations for a reconsidering of the legacy of Lucchese art, in reference to his own research and insight.

Accordingly, Nuttall outlined how the wealthy Florentine Palla Strozzi began to take an interest in Lucca. Strozzi was in fact related to two important Lucchese families, and in the decoration of his chapel at Santa Trinita in Florence, Strozzi employed several artists who had previously been in Guinigi’s employment. Strozzi may have even used Guinigi as an adviser for style and artistic choice. Strozzi commissioned Gentile da Fabriano to paint an altarpiece for his chapel and it is here that we see the strongest influence of Lucchese art. There is such quality and complexity in the silk clothing of Gentile’s figures in The Adoration of the Magi, and a style reminiscent of the decoration of Lucchese manuscripts.

Nuttall concluded by outlining that the Lucchese mercantile networks and the knowledge of the courts, as well as the influence of Guinigi as a patron were all very important to Strozzi’s own commissions in Florence. Moreover, the merchants of Lucca were not only manufacturers but purveyors of luxury goods and their trade was far greater than history has concluded. Nuttall gave an insightful and thoroughly fascinating lecture, and it is now evident that the Lucchese influence should be explored further in the art and patronage of Quattrocento Florence.