Wednesday, November 15, 2017


John and I are safely home in Toronto with time to look at our many new photographs.
We see that we have collected a small portrait of native Venetians,
working on the canals
or waiting with friends
for the ferry.
Meanwhile inside the vaporetto we find the captain,
Venetians catching up on gossip,
reading books,
 or papers,
 or phones,
on the way to their destination.
 Others work
 or play
 or relax with
 a drink in the campos.
 Even the Venetian Lion must share his pedestal during break-time.
 The streets are always busy
 with strollers
 and shoppers
come rain,
or come shine.
And new friends can be made. Meet our new friend Alessandra, at the Enoteca Rio Marin.
John and I even felt Venetian ourselves with our own apartment in the quiet of Cannareggio
where many Venetians still live.

Sunday, October 29, 2017

Riccardo Ajossa at Spazio Nuovo, Rome

Last year Bill and I discovered Spazio Nuovo -- Rome's coolest contemporary art gallery. We have discovered interesting European and South American artists there.
We didn't know Riccardo Ajossa whose works are currently on display in a show called #incerticonfini (in English: Uncertain Boundaries). Above: the panel in the centre is ink on handmade paper flanked by two photographs.
Both the paper and the inks in the panel on the left have been made by the artist. The paper has been made using a traditional Korean technique. The inks are made according to historical recipes. 
For the photograghs the artist has placed details from paintings by Titian and Tiepolo in the water on Portuguese beaches and recorded the reflections.
Ajossa has also made a set of collages using his handmade papers with antique prints.
 Bill and I were drawn to one last ambitious artwork --
a table filled with artist's studies -- experiments with pigments on old paper stock
with gorgeous results.
I took these details with my phone. Phones are uniquely suited to tabletop photography.
Guillaume, one of the gallery's founders encouraged us to "dig down" through the layers to look at the works beneath.
We bought this collage. Isn't it lovely? Note to collectors: the works on the table are very reasonably priced -- if you are in Rome you might want to get down to Spazio Nuovo sooner rather than later.

Organ concerts at Portuguese church

When in Rome it is fun to take advantage of the free concerts that happen in the local churches.
John and I visited the extravagantly Baroque Sant'Antonio dei Portoghesi to hear two concerts featuring virtuoso organist, Giampaolo Di Rosa.
The interior of the church is rich with marble walls
and ornate chapels.
The space filled up quickly. The church must have established a reputation for quality concerts.
The first concert featured piano pieces by Scarlatti and organ music by Bach and finished with an impassioned improvisation by Di Rosa on the theme of the centenary of the visions at Fatima.
We were quite curious about the second concert because we knew of twentieth century atonal composer Olivier Messiaen but we were not familiar with his work.
Les Corps Glorieux (The Glorious Body) was a fascinating and gorgeous piece of music and allowed Di Rosa to use all his skills at evoking timbre and colour from his magnificent instrument.

Saturday, October 28, 2017

Monet at the Wedding Cake

John and I just saw a great show of Monet paintings at the Complesso del Vittoriano gallery in Rome.
The gallery is set into the east side of the Monument to Vittorio Emanuele II (better known as the Wedding Cake). The paintings are on loan from the Musée Marmottan Monet in Paris.
We entered through a multi-media display of details from Monet's famous Water Lily paintings.
The show opens with a number of Monet's late works -- Boats in the Port of Honfleur, 1917
Hemerocallis, 1914-1917,
Waterlilies and Agapanthus, 1914-1917
and Irises, 1924-1925. Notice how loosely painted and modern they look
compared to his late-19th century painting The Seine at Port-Ville, Evening Effect, 1894.
I love how the 20th century drawings show that new looseness -- sketch for Water Lilies, 1916-1919
and Reflections of Willows, 1916-1919.
I wonder if Monet's late paintings like The Rose Path, 1920-1922, influenced New York Abstract-Expressionist painters like Grace Hartigan and Helen Frankenthaler.
The large, gorgeous paintings at the end of the show are very exciting because they obviously lead to his final masterpieces -- the huge Water Lily paintings at the Orangerie in Paris. The Roses, 1925-1926,
Water Lilies, 1917-1919,
Wisteria, 1919-1920
and another Wisteria from the same period.
The show was fully merchandised. Need a Monet plate or teacup perhaps?
The show concludes February 2018.