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Barocci's drawings blow me away Barocci's drawings blow me away
(6 months later)
I crept into the National Gallery's exhibition Barocci: Brilliance and Grace with a certain anxiety. The title of the exhibition lavishes praise on this 16th-century Italian artist. The critics have tended to agree, with Waldemar Januszczak in the Sunday Times (pay wall) calling the show "inspired". So why would I be nervous about seeing the sweet paintings of this religious artist?I crept into the National Gallery's exhibition Barocci: Brilliance and Grace with a certain anxiety. The title of the exhibition lavishes praise on this 16th-century Italian artist. The critics have tended to agree, with Waldemar Januszczak in the Sunday Times (pay wall) calling the show "inspired". So why would I be nervous about seeing the sweet paintings of this religious artist?
It is just that in my forthcoming book The Loves of the Artists, which claims that the heart of the Renaissance was carnal rather than spiritual, I write about him in much less intoxicated tones:It is just that in my forthcoming book The Loves of the Artists, which claims that the heart of the Renaissance was carnal rather than spiritual, I write about him in much less intoxicated tones:
"In Federico Barocci's Madonna of the People, painted in 1574 for the Lay Brotherhood of Santa Maria Della Misericordia in Arezzo, a soft-focus Madonna and a sweet-faced, hippy Christ float in a gold heaven above a crowd of gentle, innocent-eyed men, women and children … Had piety sucked the life from Italian art?"
"In Federico Barocci's Madonna of the People, painted in 1574 for the Lay Brotherhood of Santa Maria Della Misericordia in Arezzo, a soft-focus Madonna and a sweet-faced, hippy Christ float in a gold heaven above a crowd of gentle, innocent-eyed men, women and children … Had piety sucked the life from Italian art?"
Hence my nerves. Would I find my view of him (already on its way to the printer) totally changing, undermined completely by this acclaimed exhibition? Or would I be repulsed by a show that other critics love?Hence my nerves. Would I find my view of him (already on its way to the printer) totally changing, undermined completely by this acclaimed exhibition? Or would I be repulsed by a show that other critics love?
To my huge relief, neither happens to be true. I can honestly have it both ways. This truly is a clever and lovely exhibition. Yet it confirms, and deepens, my sense that Barocci typifies the art of an age of Catholic renewal, when artists were made to set aside their sensual Renaissance pleasures and knuckle down to celebrating the faith.To my huge relief, neither happens to be true. I can honestly have it both ways. This truly is a clever and lovely exhibition. Yet it confirms, and deepens, my sense that Barocci typifies the art of an age of Catholic renewal, when artists were made to set aside their sensual Renaissance pleasures and knuckle down to celebrating the faith.
If the Catholic church is in trouble today, it was in far greater trouble in the 16th century. A certain Martin Luther led a no-holds-barred rebellion against the Pope that tore the Christian world asunder. For centuries, the Papacy had been the single religious authority of western Christendom. Now Protestant churches were breaking away all over the place. What was to be done? A Council was called (The Council of Trent) to purge, purify and redefine Catholicism. New orders such as the Jesuits led a severe internal reform. Together these changes are known as the Counter-Reformation, and they had a huge impact on art.If the Catholic church is in trouble today, it was in far greater trouble in the 16th century. A certain Martin Luther led a no-holds-barred rebellion against the Pope that tore the Christian world asunder. For centuries, the Papacy had been the single religious authority of western Christendom. Now Protestant churches were breaking away all over the place. What was to be done? A Council was called (The Council of Trent) to purge, purify and redefine Catholicism. New orders such as the Jesuits led a severe internal reform. Together these changes are known as the Counter-Reformation, and they had a huge impact on art.
In the age of Botticelli, Italian art was incredibly free-thinking, experimental and, above all, sexy. But the Counter-Reformation put a brake on it. The first victim of the new piety was Michelangelo, whose painting The Last Judgment was said by prudes and hypocrites to be a gay romp full of male nudes.In the age of Botticelli, Italian art was incredibly free-thinking, experimental and, above all, sexy. But the Counter-Reformation put a brake on it. The first victim of the new piety was Michelangelo, whose painting The Last Judgment was said by prudes and hypocrites to be a gay romp full of male nudes.
This exhibition shows an artist adapting to that new age. There is an amazing difference here between Barocci's drawings and his paintings. In his paintings, the softness and lack of tension soon palls – for me anyway. Meanwhile, the drawings blow me away. They are tough, energetic and highly sensual. Just like earlier Renaissance artists, Barocci draws the nude with consummate intensity – and flirtatious sexuality. In one sketch, he depicts a studio boy naked – showing his genitals in detail – then on the same sheet changes this male nude into a woman. Like David Bowie said, ch-ch-changes …This exhibition shows an artist adapting to that new age. There is an amazing difference here between Barocci's drawings and his paintings. In his paintings, the softness and lack of tension soon palls – for me anyway. Meanwhile, the drawings blow me away. They are tough, energetic and highly sensual. Just like earlier Renaissance artists, Barocci draws the nude with consummate intensity – and flirtatious sexuality. In one sketch, he depicts a studio boy naked – showing his genitals in detail – then on the same sheet changes this male nude into a woman. Like David Bowie said, ch-ch-changes …
Close by, you can see what happens to this very physical drawing when it was used as the design for an angel in a painting. The angel is fully clothed, sexless and safe. A visceral nude study has become a religiously correct painting. This happens again and again if you compare Barocci's passionate drawings with his cautious paintings.Close by, you can see what happens to this very physical drawing when it was used as the design for an angel in a painting. The angel is fully clothed, sexless and safe. A visceral nude study has become a religiously correct painting. This happens again and again if you compare Barocci's passionate drawings with his cautious paintings.
It is a fascinating insight into art and censorship. Not a hint of Barocci's secret studio life is allowed into his reverent church paintings. Even in his one secular history painting, which depicts Aeneas carrying his father Anchises on his back, Barocci carefully positions draperies so that we do not see a man's hands anywhere near another man's arse.It is a fascinating insight into art and censorship. Not a hint of Barocci's secret studio life is allowed into his reverent church paintings. Even in his one secular history painting, which depicts Aeneas carrying his father Anchises on his back, Barocci carefully positions draperies so that we do not see a man's hands anywhere near another man's arse.
You think I am being prurient? Such exposures of buttocks and penises were exactly what zealots criticised in Michelangelo. Barocci learned the lesson of The Last Judgment exquisitely: his paintings self-censor. Only in his drawings do we see him being gloriously himself.You think I am being prurient? Such exposures of buttocks and penises were exactly what zealots criticised in Michelangelo. Barocci learned the lesson of The Last Judgment exquisitely: his paintings self-censor. Only in his drawings do we see him being gloriously himself.
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