July, 2020 - Of Art and Wine

Caravaggio’s Chiaroscuro, and Lazio, the Roman Wine Region.

Boy Bitten by a Lizard by Michelangelo da Caravaggio, 1594-1596 National Gallery in London, U.K.

This is a young Caravaggio painting. The model may not be Caravaggio as once suspected but supposedly a certain Mario Minniti. Either way, one can see the artist’s ability to do the face with emotion and the still life elements with detail, which shows he gained a lot working in the studios of other artists in Rome. However, he never had a studio himself. Obviously, in whatever rooms he lived in, he would set up a model, sometimes himself, gather a few objects, and paint. While Caravaggio became famous for his Baroque style religious paintings which hang in a number of churches in Italy, these early paintings of pretty boys in hard circumstances show a lot about the life he led and the development of the painting technique he is most famous for, Chiaroscuro.

Chiaroscuro literally means light and dark. It actually seems to have been developed first by Leonardo da Vinci and can be seen in his drawings of drapery with ink washes done on colored paper. However, the sharp contrasts used by Caravaggio, and the way he uses light and dark to tell stories in his paintings has forever attached the term chiaroscuro to his name. In the painting above, we see the young man in a less that white garment, a coquettish flower in his tousled unkempt hair, getting a surprise bite from a lizard hidden in the assembled greenery of the still life. The sharp contrast of the light on his shoulder and part of his face, seem to go along with the pretense of elegance the flower in his hair suggests. Yet it also shows his dirt-rimmed fingernails. The lizard is rather obscured by the darkness of the leaves and the heavy shadow on the table. Its bite is a little reminder of the ever presence of mortality that lurked in the Roman environment, where life was short and not always sweet.

Duality is everywhere here and indicated by the sharp contrast in dark and light. Even the lovely vase that reflects some light seems to have slightly grayish water and a fading flower with leaves turned black. The young man is shocked by the bite, which Caravaggio paints with all the emotion that Baroque art loves. The viewer of the painting is shocked, too, by the griminess and the wretched sadness of the circumstances in contrast to the beauty of the painting and the expression. It is in some respects a bi-polar representation of perhaps a bi-polar life.

Boy with a Basket of Fruit and Young Sick Bacchus, both by Caravaggio, 1593.

Michelangelo Merisi had a hard scrabble life, exacerbated by his rough and ready personality and the harsh times he lived in. He was born in Milan in 1571, but raised in the town of Caravaggio (hence the name he is known by) because of an outbreak of plague in Milan. At the age of six, he lost his father. He spent his teens working in artists’ workshops in Milan, where there is no record of any notable achievement. At 20 he went off to Rome to seek his fortune. During the eight years it took before he found a wealthy patron, he sold his work as he could (see the Boy Bitten by a Lizard, above). He apprenticed in the studios of two different artists, but with no works pointing notably to him. In one studio he painted faces, and in the other he painted fruits, flowers, and other still life elements. He lived as he could, often used friends or people from the streets as models, and in a pinch, he posed himself (Young Sick Bacchus, 1593). He had a few good years when he had the protection of patrons, but he killed a man and had to flee Rome under penalty of death in 1606. From there it was off to Naples and then to Malta, painting magnificent paintings, becoming a Knight of Malta and then their most wanted criminal, as he went. Finally in 1610 he died, either of fever, or being murdered, or having lead poisoning from his paints.

So what accounts for paintings like the one below? It is hard to find a sweeter, more lovely representation of a Bible story. The mother and child are asleep with the mother’s chin resting gently on the child’s head. Joseph, ever the guardian, sits by the light of a campfire that must be just out of our view. Before him stands an exquisite angel, playing sweet music to bring them a moment of respite.

Rest on the Flight to Egypt, by Michelangelo da Caravaggio, 1597. Click to magnify.

Here as usual with Caravaggio, the way the light falls helps to tell the story. The faces of Mary and the baby are in bright light. There are no halos as there would have been in medieval times, but the light upon those figures is quite bright. Joseph is once again a type of secondary character, as he often is in nativity scenes where he is off to the side, holding perhaps a candle or a lamp. His face is in shadow here, and once again he serves by holding the sheet music for the angel. Finally we have the angel who is the brightest figure present. His robe is quite white as it swirls about him, indicating his perfect body in quite a sensuous way. Of his face we only see the profile with his eyes downcast in the direction of the sheet music that Joseph holds at an angle. The nighttime gloom that surrounds these fugitives is brighten by this presence, and that little campfire just out of our sight, which flushes the face of the angel.

The painting below depicts St. Anne, the mother of Mary, the Madonna, herself, and Jesus. It is often called the Madonna of the Serpent and was one of Caravaggio’s last paintings done in Rome. It was commissioned by the Confraternity of Sant’ Anna dei Palafrenerie, or the Grooms of the Vatican Palace. It was done in 1605-1606 just as Caravaggio’s life was about to spin out of control. That may explain the overly heavy, almost solid black background. The painting was rejected after hanging for just two days. The Virgin Mary was deemed to be too voluptuous.

The interesting thing here is how he uses a light that comes from somewhere outside of the picture to strongly highlight the Madonna, the child, and the pale undersides of the snake. St. Anne herself is a bit in the shadow, a secondary player, though she must be there since it is a confraternity dedicated to her that commissioned the painting. Her white scarf catches the light which also highlights her dark clothing, but her face which is looking down at the scene, very calmly I must admit, is in shadow. Mary, without alarm, places her foot on the serpent’s head, but her force is added to by the foot of her son. That force makes the snake’s body writhe and twist, which is dramatically emphasized by the use of light color that traces the movement of its body. In the symbolism of the time, this Baroque painting was about stamping out heresy, which is what the Catholic Church thought of Protestantism. What we see once again is Caravaggio’s take on religion where angels and Jesus are pure beautiful boys, and women, including the Madonna, show themselves as rather full-bodied. It was his way of telling those stories with a kind of earthy reality that the viewers of the time could relate to, even if some of his patrons did not.

For a bit more information on the life and work of Caravaggio, British art historian, Andrew Graham Dixon has done a reprise of an earlier investigation he did on Caravaggio, titled, Who Killed Caravaggio? He takes a C.S.I. approach to ferreting out the details of the painter’s life which expose some startling discoveries (spoiler: Caravaggio may have killed a man over a woman!) Find it here on youtube.com. Should you want to see the effects of chiaroscuro lighting, there is a little video that shows it with simple, clear examples: youtube.com

The paintings of Caravaggio are in Public Domain.

Marjorie Vernelle is an artist, writer, college professor, and traveler. For more see the Pages at ofartandwine.comor her author page at amazon.com and her art at Vernelle Art Boutique vernellestudio.com.

The Wines of Roma

Ancient Roman wine amphorae found off the coast of Mallorca. Photo credit SportDiver.com

While the Ancient Egyptians created lovely paintings of bowers of growing grape vines, and the Greeks spread the cultivation of wine to the island of Sicily, nothing spread the creation and consumption of wine like the Roman Empire. Roma, the great and powerful, spread wine far and wide, even growing wine grapes in Britain, though the recurring mini ice-ages always brought the process to a halt. Their wine amphorae are often found on ancient ship wrecks in the Mediterranean, proving that Roman wine was a much sought after commodity.

Of course the Romans came by their wine indulgence from their northern forebearers, the Etruscans, who were cultivating grapes and making wine in the 6th century B.C. Since the Etruscans were also great believers in commerce, they sold their wines all over, including to the inhabitants of southern France, which started a fledgling wine industry there. Naturally as with so many other things, the Romans learned about wine and took to it very well. However, don’t think they spent their days in an inebriated haze. Oh no, too much to conquer and administer for that. Romans drank their wine diluted with water (2 parts water to one part wine), and a good thing too, since those ancient wines had ABV of 15 -20%! Drinking the undiluted wine was considered to be rather low class. Class was also indicated by the type of wine consumed, with the wealthy and upper class drinking white wines, while the lower classes drank red.

A Banquet, The Feast of Velthur Velch, from the Etruscan town of Tarquinia

Italy, as we know is full of wine-growing regions, and the citizens of the capital city, Rome itself, had fertile valleys of volcanic soil on their doorstep in a region known as Latium, now called Lazio. One would think that being so close to the center of power that Lazio would be one of Italy’s key wine-growing regions, but alas like the luster of the Roman Empire, it has come down in the world. It became known for rather uninteresting sweet white wines. However, things are beginning to look up. This summer the wonderful confluence of Italian culture, books, wine, and food that is Eataly is celebrating Roma by making their stores into an homage to the ancient capital of the western world. Naturally they focus on wines from the Roma region, Lazio, telling visitors to “Drink like the Romans do.” They focus on “an aromatic” white wine called Est! Est! Est! and a “silky” red called Mata Matuta. eataly.com

While Lazio suffered from over production of cheap wines, which ruined its reputation, vintners are now looking at combining new technology, the rich contents of that volcanic soil, and a wide variety of grapes to produce wines of note. Frascati, made from two white grapes, Trebbiano and Malvasia, has become quite popular. Jacopo Mazzeo, writes that Frascati has “refreshing acidity and beautiful scents of candy fruits, Mediterranean herbs, blossom and apricot.” He also tells the story of how that other emerging wine from the Montefiascone DOC, Est! Est! Est!, supposedly got its name. See the article at greatitalianchefs.com

It seems that while other areas were claiming all the glory, many vintners in Lazio took the time to experiment with different types of grapes to see which ones were well suited to their volcanic soil. They began growing a number of grapes more common to France, such as Chardonnay, Viognier, and Sauvignon Blanc. With an eye to history, there is a wine from the combination of Viognier and Chardonnay named Antinoo, after a statue of Emperor Hadrian’s favorite youthful companion, Antinous. Unlike the Emperor’s favorite, this wine seems to age well, making it particularly exceptional. For a more complete guide to the wines of Lazio, with tasting notes, see “Really Good Wines from Lazio” at wineloverspage.com

Sandy’s Chicken Saltimbocca from allrecipes.com

What’s wine without food? Well, it’s good, but certainly everything is better with a bite to eat. Frascati is great with white fish, light pasta and salads. The chicken saltimbocca works well with the Antinoo or the Frascati. For a meat dish like oven-roasted lamb cutlet, a Roman favorite, try a Petit Verdot red. Casale del Giglio makes a very good one. So when in Rome or at your favorite Eataly, experience the wines of Roma, from Lazio, and look around for a book on Caravaggio.

Since travel is a bit restricted at the moment, you can always travel the world of wine through a wine club. Cellars Wine Club offers a variety of choices including an International Wine Club (cellarswineclub.com). Take a look at all of the clubs by clicking on Cellars Wine Club under Of Art and Wine Pages. They all offer free shipping, a “no bad bottle” return policy, and Cellars will donate 15% of the sale to one of the vetted charities that you choose. While you enjoy the wine, you can feel good and do good – a perfect pairing.

Of Art and Wine affiliates with Bluehost.com and CellarsWineClub.com and may earn from qualifying purchases.

©marjorie vernelle 2020

Coming Soon: Scandal! Sargent and Madame X. Was it the Sparkling Rosé?

Well, nothing like a good scandal. That is exactly what happened when these two American-born members of French society became perhaps a bit too French for the French. They say it was all about the strap of the gown being shown having slipped off her shoulder, but was it?

The Paintings of Joaquín Sorolla, plus Valencia’s Unsung Bobal Grape.

Strolling Along the Beach by Joaquin Sorolla y Bastida, 1909. Sorolla Museum, Madrid, Spain.

Well, nothing like a lovely day at the beach, and here Joaquín Sorolla (1863-1923), the Spanish Master of Light, as proclaimed by the National Gallery of London in its 2019 exhibition of the artist’s work, makes an elegant early 20th century fashion statement as well. The two women, Sorolla’s wife and his daughter, walk so lightly on the sands that they leave no footprints. Visions they are indeed as they pass over the sands, leaning gently into the breeze that elegantly lifts the diaphranous veils of their outfits. They seem to be on their way to passing outside of the picture frame as they continue their stroll.

That breeze is further indicated by the brush strokes that show the incoming waters from the sea. A slight diagonal indicates the ladies’ progress and that is matched by the white line of sea foam running diagonally across the top of the painting. The action of the stroll is captured by this use of horizontal diagonals, and gently represented also by the vertical diagonal lines of the two women’s bodies. The movement is elegant; the sea is calm; the breeze is light, and the sun shines upon it all with delight. The bright white garments with their pale lavender and blue shadows echo the colors of the sea, while the daughter’s hat echoes the colors of the sand – a perfect harmony. Interestingly, in the shadow of the daughter is what could be a face in the sand, perhaps Sorolla is looking at these two beloved members of his family and thus also enjoying the stroll on the beach. (More on Sorolla’s shadow and reflection tricks later.)

Joaquín Sorolla, seen here in a 1909 self-portrait, was orphaned at the age of two, but was cared for by an aunt and uncle. The aunt in particular encouraged his artistic skills. He studied in Madrid, then went off to Rome, and finally in 1885 to Paris where he was influenced by the trend toward impressionism. His own work in fact is referred to as Spanish Impressionism. Upon his return to his native Valencia in 1888, he married his beloved Clothilde, started a family, and launched his grand plans for worldwide fame and fortune.

In the 1890s, the artist directed his work toward international exhibitions and world fairs, for which he did extraordinarily large works which capitalized on his ability to express the luminosity of the sunlit seacoast that bordered Valencia. This was done intentionally to attract global attention to his work. His grand plan to attain this worldwide fame and fortune came to fruition while on a trip to London in 1908, where he met Arthur Huntington, a descendant of Collis Huntington, a railroad baron. Arthur Huntington had founded the Hispanic Society of America in New York City and invited Sorolla to exhibit there in 1909. Sorolla sold 195 paintings and garnered 25 private commissions from that exhibition. As well, Huntington commissioned Sorolla to fill the walls of the building housing the Hispanic Society of America with paintings of Spanish life. Sorolla spent from 1910 to 1920 traveling Spain to capture its life and traditions for this series of huge paintings that filled the walls almost as a gigantic panoramic mural.

Las tres velas or The Three Sails, 1903 and Fisherwomen on the Beach, 1903 by Joaquin Sorolla.

The way that Sorolla used paint has become of as much interest as the subject matter represented, which was always about Spain. His work is known for the use of thick paint, broad brush strokes, light effects, and good drawing skills, all of which produced what became a type of Spanish Impressionism known as Valencian Luminism. In the paintings above done in the early 20th century, one can see the perfection of his techniques in creating luminous canvases. The beautiful pastels of the fisherwomen’s dresses and their bright white head scarves bring them forward in the painting. The reprise of light colors brings out the fullness of the sails in the background and unifies the painting.

As a Spaniard, Sorolla was also much influenced by the great Spanish painters who came before him, first and foremost, Diego Velazquez. Velazquez was the master of black, an important color in the Spanish wardrobe, and he used it effectively in the chiaroscuro techniques associated with Baroque art. Sorolla’s early paintings often used dark settings in which the lighter figures would stand out. We can see Sorolla’s handling of figures in a dimly lit setting in the painting below.

Kissing the Relic by Joaquin Sorolla, 1893

However, beyond balancing light and dark in a masterful way, Sorolla also took on Velazquez’ claim to be able to do wonderful portraits in about two hours, as according to Velazquez, it was necessary to capture the essence of the person quickly to do it justice. One of Velazquez’ most famous portraits was of Juan de Pareja, a painting so powerful that by some accounts it led to de Pareja’s emancipation. (See Of Art and Wine post “Diego Velazquez, Juan de Pareja …” March 10, 2020.) Sorolla also became a master at capturing not just the likeness but also something of the soul of those whose portraits he did. However, Sorolla took on Velazquez in other areas, adding his own special touch. Let’s look at the two nude figures below.

The Rokeby Venus, also known as Venus del espejo or Venus at Her Mirror by Diego Velazquez, 1647-1651. Click picture to magnify.

This is the only nude painting that we have by Diego Velazquez. It represents a theme common for a while in Venetian painting, that of a beautiful woman (Venus) gazing at her reflection in a mirror. The flesh tones are quite natural and the fabrics of the bed are handled to show their satiny elegance. Now look at Sorolla’s nude.

This nude is sometimes called Gypsy, 1908 by Joaquin Sorolla. Click picture to magnify.

Sorolla’s wife, Clothilde, posed for this painting, but the artist discreetly gave it another name, Gypsy. Sorolla’s adherence to luminosity shows through in the representation of the fabric, but also it shows in the treatment of the model’s skin which takes on the effects of the violet shadows in the fabric.

Another master of Spanish painting is Francisco Goya, who painted one of the other famous nudes in Spanish painting, The Naked Maja. Some art historians see Sorolla as the link between Goya and Picasso. (For that discussion along with other information about Sorolla, click on this link to a video from the National Gallery of London youtube.com.) Sorolla honored Goya in a specific way with the portrait of his own daughter, Maria, in a black mantilla and a white skirt.

Here Sorolla paints María in a pose similar to the famous paintings by Francisco Goya of the Duchess of Alba. Sorolla’s daughter wears a mantilla that is almost as elaborate as that of the duchess. Her delicate slipper appears gracefully from under her ruffled skirt, and she holds a fan in her hand, as was appropriate for any señorita. Interestingly, Sorolla pays homage to both of Goya’s portraits of the duchess by combining into one painting the pose and the reference to the two different poses of duchess María Caetana, the Black Duchess in which she is dressed all in black and the White Duchess in which she wears a white dress.

The White Duchess, 1795 and the Black Duchess, 1797 by Francisco de Goya y Lucientes

I mentioned before that Sorolla liked to play tricks with shadow and reflection. One of his most dramatic pieces is Reflections in a Fountain (1908). It seems that his visit to Granada and the Alhambra palace in 1908 restored his faith in a country which had become in his opinion increasingly “vulgar and empty” (see link below to article in El Pais). When looking at this painting, at first it is disorienting, though ever so lovely. Then we adjust our vision to realize that we are looking at a mirror image, a reflection in water of a structure that we do not actually see.

Reflections in a Fountain, 1908 by Joaquin Sorolla. See “Sorolla Revisits the Alhambra” english.elpais.com Click picture to magnify.

For another look at how Sorolla could play with the viewer’s consciousness and offer up surprises is the painting below. Again, at first glance one is disoriented. It takes a moment or two to decipher what is being shown. We see rocks and water, but there is a strange division in the painting, with one part light and the other dark. What is going on here?

Then we notice the patch of yellow on the left side and a less well-defined one that shimmers in the water. They are the arches of an old bridge, and this painting is The Shadow of the Alcantara Bridge, Toledo (1906). These visual tricks make the viewer stop to wonder. Admittedly one is helped by reading the title, but even with that, it may take a moment to orient one’s view. It is wonderful to see how the artist accomplishes this representation of an observed reality. Sorolla’s skill and delight in playing with shadow and reflection is what caused me to speculate that in the painting of the stroll on the beach, there is in his daughter’s shadow a face in the sand. As a painter myself, I also would say that one does not leave distracting images unless one intends to leave them.

While Sorolla focused on Spain and on some of the great Spanish masters, and we know that he was influenced also by Impressionism, he had a friendly rivalry with some of his contemporaries like Whistler and Sargent. One can make a direct comparison with Sargent if one looks at the three pictures below.

Carnation, Lily, Lily, Rose by John Singer Sargent; Lilies by Sorolla and Flowers and a Birdbath by Sorolla

Sorolla did not live to see his great paintings hung in the Hispanic Society of America in New York. The artist died in 1923 following a stroke in 1920 just after finishing the series of paintings for Huntington. Unfortunately, by the time the paintings were hung in 1926, his work was considered passé. Not unlike Monet who suffered the same fate until the 1950s began a revival of his work, Sorolla is having a resurgence of interest, with modern painters who are fascinated with his use of paint, and how he could represent the effects of light. The results of this newly found interest will only help move painting in new directions with Sorolla’s work as a sound stepping stone.

One of Sorolla’s last paintings is of his garden with an empty chair. The Gardens of the Sorolla Family House (1920).

The paintings of Sorolla, Goya, and Velazquez are all in public domain. References for information in this post are listed in linked items that appear throughout the article.

Marjorie Vernelle is an artist, writer, college professor, and traveler. For more see the Pages at ofartandwine.com or her author page at amazon.com and her art at Vernelle Art Boutique vernellestudio.com

Bobal, the Unsung Grape of Valencian Wine.

A cluste of Bobal grapes from a vineyard near Valencia . Photo credit viator.com

Beautiful as is this cluster of blue-violet grapes, this grape was the cause of Valencia’s wine growing region having the reputation of being rather lackluster in terms of its wine. Merlot, Chardonnay, and Cabernet Sauvignon, the giants of wine production, never took too well to the soils of Valencia Province, which is hot and has little rain, though a nice sea breeze passes through often. So how did Bobal get to be the third most commonly planted grape in Spain?

Well, there was this little aphid that liked to eat the roots of grape vines, and it (phylloxera) took a distinct liking to the precious grape vines of France in 1877. Horrors! What were the wine merchants ever to do to make up the shortage caused by that pesky insect? Eyes turned to Spain where the aphid had not yet struck, and there near enough to France was Valencia and those fields of this grape which could be added into red wine to cover the deficit in other varieties. Et voilà! Valencia enters the bulk wine business.

A vineyard in the Valencia DO Photo credit viator.com

With a thick skin and the ability to resist drought, this grape makes deep red wine that is high in tannins, low in acidity, high in alcohol, and full of rich fruit flavors. While the bulk wine aspect of Bobal has been a mainstay, the current question is how to change Bobal into a source for the making of fine wines. One direction has been the production of organic wines with 100% Bobal grapes. As well, the grapes are high in resveratrol, which is a natural antioxident. What could be better for an organic wine? The Tarantas brand has developed both a Tarantas Rosé and a Tarantas Sparkling Rosé made from organically grown Bobal grapes. Their wines are often sold at Whole Foods, so look for them there. For more go to naturalmerchants.com.

Some winemakers like Victor de la Serna, came to Manchuela,, an area near Valencia, because he married into a family from there. He took to experimenting with the local Bobal grape, combining it with Syrah grapes and Monastrell to produce a Syrah wine that produces a rather exotic taste of “fruits and flowers.” (See nytimes.com). Another winemaker in the area, who is known as Mr. Ponce, talks about the challenge of making a fine wine and refers to the Bobal as “unique and mystical.” He makes an exceptional rosé of Bobal grapes called Las Cañadas.

That great Spanish Mediterranean Invention – Paella!

One can’t help but associate Valencia with the wonders of the sea that all come together in paella. This dish is rich, rich, rich, and a great treat. What better to serve with it than a fine rosé made from Bobal grapes. However, food choices are not limited to seafood. Orange chicken is a nice match, as are casseroles and even barbeque. And do not be afraid to drink this rich red wine in summer. HuffPost recently featured this article, “Spain’s Bobal Wines for Summer,” huffpost.com.

Nothing like a sugar-free dessert like this cheese cake with fruit topping. Once you have this dessert, so restrained on calories, you can be bad with a sip of Fondillon, a dessert wine made from the late harvest of grapes including Bobal.

So in the heat of summer when travel is limited, I suggest that you take a virtual trip to Valencia via Sorolla’s paintings (click here for a video montage of Sorolla’s work youtube.com), have a wonderful paella, and a glass of Valencia’s own Bobal wine from one of the sources above. Should you want to explore further a field, just click on Cellars Wine Club under Pages in this blog to see the options for all the types of clubs available. There is something for every level of wine expertise and budget, free shipping, and a “no bad bottle” return policy. Or just click here cellarswineclub.com.

Note: I am an associate of Cellars Wine Club and may earn from qualifying purchases.

Coming Soon: Caravaggio’s Chiaroscuro, and Lazio, the Roman Wine Region.

The Flight Into Egypt by Caravaggio. 1597. Click on picture to magnify.

Yes, this was painted by the bad boy of dark and light, himself, Michelangelo Merisi, known as Caravaggio. His furious life and furious painting career spilled out all over Rome and might have even been fueled by some of the wines from the Roman region.