- Of course, this experience of being a painting makes me think of Linda Pastan’s incredible “Ethics.” http://shenandoahliterary.org/blog/2011/09/linda-pastan-ethics/ I’m not suggesting you should elect the same question (a Rembrandt painting/or an old woman who hadn’t many/ years left anyhow?) for your writing. Maybe you ought to increase the stakes?
In the Uffizi Gallery, in Florence, has a Touch Tour, for the visually impaired. In addition to sculptures that can be touched, there are three-dimensional representations of some of the pieces, including Boticelli’s The Birth of Venus.
Standing in front of the majestic piece, we could simultaneously feel the winds showering her with roses and see them in full color. Her coy attempt to cover herself seemed every more futile under our curious fingers.
Of course, we recognize writing and painting as art; most of us can literally and metaphorically see the similarities. However, touch yields similarities in line and form.
Consider the following vivid visual descriptions of “The Blind Woman” by Ted Kooser:
- Read the start of the poem at https://www.poetryfoundation.org/poems-and-poets/poems/detail/42645; you can also listen to the piece at the same site. Describe your favorite color or time of day as if you are delivering it to a person who cannot perceive it with her eyes.
I loved several childhood books above the rest: Little Bear, A New Home for Snowball, Mommy’s Little Helper, and the Child’s Garden of Bible Stories. Each of these books was as visually engaging as the narratives within. And, the lessons I learned about helping and kindness and fairness and storytelling shaped my friendships as much as my writing.
So when I first set eyes on Michelangelo’s The David—first the replica in the Palazzo della Signoria and then the original housed in the Galleria dell’Academia (Accademia Gallery) —I recalled the tale of David and Goliath that followed the Garden of Eden and Exodus and the plentiful illustrations to help young readers.
Marveling at David’s towering and pale body, such a stark contrast to, for example, Donatello’s diminutive bronze interpretation, I am perplexed by how much more colossal, how monstrous, how goliath! Michelangelo’s Goliath might be.
In fact, David’s unabashed stance and nudity make me question whether Michelangelo read a different tale than I. According to my Little Garden, David was clothed and about the same age and size as I.
Speaking of Michelangelo, it is February, and I can’t help thinking of TS Eliot’s “The Love Song of J. Alfred Prufrock” and his repeated lines: “in the room the women come and go / Talking of Michelangelo.”
- See the whole poem here: https://www.poetryfoundation.org/poetrymagazine/poems/detail/44212. It is a dramatic monologue. Consider using this forme to take us along on an uncomfortable visit with strangers, family, doctors, potential lovers.
According to Bertolt Brecht, “Art is not a mirror held up to reality but a hammer with which to shape it.”
We could not know we were headed into Ai Weiwei’s brain from the lifeboats hanging from the Palazzo Strozzi. We knew, of course, the rubber boats represented the plight of refugees. We knew of Ai Weiwei’s reputation as a dissident, as a prisoner, as a spokesperson for justice and against corruption and censorship.
However, we were overcome with his grief, rage, and agitation as we were delivered into his hippocampus. We recognized its horseshoe shape and how the monumental installations we encountered there helped him–and us–to process history and emotion.
In the second piece, Snake Bag, he sewed 360 backpacks to represent 360 children killed at a school when an earthquake in China’s Sichuan province killed approximately 90,000 people; as visible in the companion video that shows the recovery of the inadequate rebar, the massive destruction was due to the government cutting corners on construction.
In another series, we see Ai Weiwei’s left middle finger extended to the White House, the Eiffel Tower, Hong Kong, Tiananmen Square, and the Mona Lisa, among others; these pieces are title A Study in Perspective. His perspective is clear. He even has wallpaper that also has patterns of middle fingers.
An ivory porcelain plot of flowers is centered in the middle of one of the rooms. These flowers represent his rebellion against censorship, surveillance, and control. He further addresses restrictions he faced by recreating the surveillance cameras (in marble), handcuffs (in wood), and hangers (from his imprisonment, in wood).
Film, selfies, pamphlets, 32 Qing Dynasty stools assembled into a circle, 3200 porcelain crabs, Lego portraits of Dante Alighieri and Galileo Galilei and three self-portraits (also in Legos) further intensify the multimedia experience.
I am inspired by this tour of Ai Weiwei’s brain and heart. I am reminded that, especially in the face of oppression and restriction, we must use all of the resources we have at hand to fight for what is right. Art can be mirror, hammer, souvenir, warning, flare, lighthouse, tank, lifeboat…
The Mask of Evil
by Bertolt Brecht
On my wall hangs a Japanese carving,
The mask of an evil demon, decorated with gold lacquer.
Sympathetically I observe
The swollen veins of the forehead, indicating
What a strain it is to be evil.
- Ai Weiwei’s installations and representations function as Brecht’s “mask of evil.” What does your character/speaker have or make to remind her of “what a strain it is to be evil?”
Visit the Kells online at: http://digitalcollections.tcd.ie/home/index.php?DRIS_ID=MS58_003v
We were grateful it is not high tourist season as we headed to the Trinity College Library to see the illuminated New Testament gospels of Matthew, Mark, Luke, and John that are known as the Book of Kells.
We learned about the venerated manuscript’s ink and the colors (lilac, pink, verdigris, indigo, and red and yellow ochre) and the collaboration between writer and artist, what symbols we were seeing in the leaves of vellum, that vellum is calfskin, that the book faced several rounds of warfare and survived.
I looked and looked for a piece of writing to capture the sense of this adventure. I finally found “Scriptorium” by Melissa Range:
Before the stepwork and the fretwork,
before the first wet spiral leaves the brush,
before the plucking of the geese’s quills,
before the breaking of a thousand leads…
(Read more at: https://www.poets.org/poetsorg/poem/scriptorium)
We leaned over the glass case, wishing we had retained more training in Latin, wishing we had brought a magnifying glass, remembering there was a line of people patiently (or not-so-patiently) waiting behind us. We hastily admired the shine of the colors; we tersely studied the Celtic knots; we speedily marveled at how the pagan and religious interconnect on these pages. I could not resist hurriedly scanning for peacocks (symbols of Christ), fish (symbols of Christ), snakes (symbols of Christ’s rebirth), and eagles (symbols of John and Christ’s ascension to heaven) in the intricate pages displayed.
The next thing we knew we were headed out of the gallery and upstairs into a library reminiscent of Hogwarts’s on the floor above the sacred texts. We felt as if we’d just taken in a museum of information; we were as exhausted as we were acutely aware there is much more to learn.
- The Book of Kells reminded me of Visual Journaling and the power of drafting using visual art as well as words. Here is an example: http://improving-slowly.tumblr.com/post/150287161654/some-of-my-favourite-pages-from-the-summer, and, of course Frida Kahlo’s journal: https://sketchesandjottings.wordpress.com/2011/11/29/fridas-diary-her-tortured-art-journal/.
Fontana del Porcellino pavilion with projections on the cement
In Florence, there is a bronze boar.
Rumor has it, if you rub the piggy’s proboscis, you are certain to return to the fair city.
Another superstition particular to this porcine effigy involves putting a coin into the piglet’s mouth; as it falls into the grate, you can make a wish.
Some believe that rubbing the hog’s snout will bring a male son.
Because of the threat of fertility, I was uncertain whether I should rub for the promise of a return. In fact, I waited until the last day of our visit to finally approach the swine statue.
I am intrigued by superstitions. Here are five ways of looking at Florence through superstition:
- A neighbor will warn you not to bother knocking on wood. Instead, touch iron (or one’s own testicles, or one’s own breasts, if female).
- The wild taxi driver will ardently suggest you watch out for black cats. Even while driving, pull over and wait, however long it takes, for another driver to cross these felines’ paths.
- An intoxicated man at a bar might insist that posing the pinkie and index finger like devil horns can: 1. Defend against the evil eye. 2. Curse an enemy. 3. Signify infidelity. (You will not know how to translate his meaning when he uses this sign minutes later.)
- In a tall building, you are likely to learn the Italian seventeen is like the American thirteen: unlucky.
- A waiter is certain to inform you in certain terms that thirteen is lucky, unless you sit down to a table with twelve other people (as in the Last Supper); then one of the diners is certain to betray you. (The Real Housewives of Anywhere should take this into consideration.
Consider the following lines from the beginning of Malcolm Glass’s poem “Superstitions:”
I write these words on the twenty-seventh
page of my notebook, ensuring my words
safe passage and ready readers. In my lapel
I wear bloodroot to ward away broken
mirrors and my image splintered on tile.
- Read more of the poem at: https://www.poetryfoundation.org/poetrymagazine/browse?contentId=36715 See eight more superstitions here: https://shewhodaresnothing.wordpress.com/2016/11/14/tortillas/ Research other cultures’s superstitions. Who has these stereotypes? Why? What can they add to the story?
In Florence, we invested in the Firenze Card, a pass that allowed us into more than 72 museums in 72 hours, and M is serious about getting his money’s worth. He has a plan, and when I start to flag at the fast four we visit the first morning, he cheers: “Only 68 more!”
Nearly 60 hours into the adventure, I have seen more than a dozen statues of Dionysus, a handful of Davids, a couple of Goliaths, The Birth of Venus and her wind gods, The Baptism of Christ, lots of busts of the wealthy (many of them lazily named: Bust of a Man, and at least, it seems, 10,000 versions of Madonna with Bambino. I have read this title so many times I am almost certain it is synonymous with: “untitled.”
I walk into a room and think I have been there before. I am on sensory overload. (I recognize this makes me both giddy and a little mean.) I learn that when a large room is sparingly appointed with adequate signage, I am delighted. When the display appears to be a sink of dishes or a closet of clothes (parts of the Pitti Palace offerings) or a haphazard shrine (Dante House), I am not so pleased.
Space and structure allow small pieces to speak to me; Sandro Botticelli’s St. Augustine in His Study (Uffizi Gallery) has a sign to explain, among other things, that “This picture shows the saint writing in the privacy of his study…The sheets of paper strewn across the floor at the saint’s feet are intended to convey the difficulty implicit in translating divine inspiration into words.”
Yes, I think. Yes, this is what it is to try to write, and this is why most days it is near impossible to teach creative writing. Sometimes it seems like an endeavor designed to torment writers—and words. I can only open doors for people to walk in; upon entering, some will discover a museum; others will observe a Spartan cell. What I can offer is that no one can teach us how to make art. It’s easier to cure disease, win the lottery, or find true love. I want to hand over the secret, the recipe, the key, but that’s the secret. We each need to learn to distinguish one Madonna and Bambino from another. So we study the masters, nature, and the divine magic of the world to learn to see the way to transform our lives.
Archaic Torso of Apollo
We cannot know his legendary head
with eyes like ripening fruit. And yet his torso
is still suffused with brilliance from inside,
like a lamp, in which his gaze, now turned to low,
gleams in all its power. Otherwise
the curved breast could not dazzle I so, nor could
a smile run through the placid hips and thighs
to that dark center where procreation flared.
Otherwise this stone would seem defaced
beneath the translucent cascade of the shoulders
and would not glisten like a wild beast’s fur:
would not, from all the borders of itself,
burst like a star: for here there is no place
that does not see you. I must change my life.
- Write an ekphrastic piece of writing. Ekphrasis is art inspired by art. Don’t just describe it; let it transform the speaker as Rilke has in his “Archaic Torso of Apollo.”