A couple of weeks ago I gave a tour in the “Michelangelo Wednesdays” series. (Quick overview: SAM curators—including myself, the curatorial lead for Ancient Mediterranean and Islamic art—give a short tour of the Michelangelo exhibition every Wednesday afternoon.) I am not a Renaissance scholar, though I do have a soft spot for Florentine art. Would I fake my way through the show, using the knowledge and vocabulary gleaned from the amazing Professor Evelyn Lincoln in my Renaissance art classes in college? Would I simply do an overview of the show, basically taken straight from the catalogue and Chiyo Ishikawa’s overviews? Maybe I would just take people around and point them toward my favorite stops in Gary Radke’s charismatic audio tour? What, oh what, was I going to do?
Lately, I’ve been thinking a lot about what it takes to put a work of art on view. To our visitors, it should seem oh-so-easy: You see painting A (something you love) one day, and on your next visit it’s replaced with painting B (something you love even more). But behind the scenes, it’s anything but. As you relax and take in the holidays, here’s a little piece of our frenetic world to consider. (And as a little holiday bonus from me to you, all images are from 1983—enjoy!)
Michelangelo Public and Private invites us into the artistic process behind some of the most astonishing works of art ever created – the Sistine Chapel frescoes. Through preparatory drawings – quick figure sketches to capture a pose, analytical studies of outstretched limbs, a highly finished portrait that will be incorporated into a populous narrative – we watch Michelangelo making decisions that lead to the finished work.
It is easy to understand why these preparatory drawings – the artist’s first ideas – are at the centerpiece of the Michelangelo exhibition. But what about some of the other objects? Continue Reading…