Monday

Firenze com'era

Fiorenza, detail, by Stefano Bonsignori
I was a bit sad to learn that  one of my favorite quirky little museums, Museo Storico Topografico di Firenze com'era has been closed. This was one of those city museums with models and old maps and artifacts pertaining to the history of the city and the lives of its past citizens.  Although small and a bit dark, it was nevertheless a charming and informative place.  

the Della Catena Map of Florence, 1490 courtesy Brown University
 

Notable in the collection was a series of lunette murals of Medici villas, painted by Giusto Utens around 1599.  One of which, Cafaggiolo, was the source of a mural I painted some years ago.
Lunette mural after Giusto Utens, by Lynne Rutter

Fragments of the old com'era collection are being displayed in a room of the Palazzo Vecchio, including a huge painting by cartographer Stefano Bonsignori of Fiorenza in the 1490s as well as a superb reprint of the Pianta della Catena attributed to Lorenzo Rosselli, and a series of beautiful 19th century oil sketches painted by Augusto Marrani in the late 19th century, depicting the narrow streets and picturesque passageways of the old Florence Ghetto, just before it was all torn down in a "much-disputed urban redevelopment progamme."
Strapwork cartouche detail of a map of "Trogloditica" painted by cartographer Stefano Bonsignori, Guardaroba, Palazzo Vecchio.
Fiorenza, detail, by Stefano Bonsignori

Maps are to me really fascinating, not just as historical documents but as examples of the artful and inventive display of information, and often great graphic design.   Fortunately for us map geeks, the Palazzo Vecchio also has an entire room dedicated to maps, designed by Vasari for Cosimo I de' Medici.  




click on images to view larger 
unless otherwise noted, photos by Lynne Rutter, Florence, Italy February 2014






Friday

Studio Visit: FlorenceArt.net Studio d'Arte

detail of gilt and painted ornament on a harpsichord, by Alison Woolley

My good friend and collaborator Alison Woolley has a lovely studio here in Florence, and my first order of business after settling in to our apartment was to visit FlorenceArt.net Studio d’Arte and get a look at the harpsichord she just finished ornamenting, a prestigious commission for the L'Opéra Royal de Versailles.
Harpsichord built by Atelier Marc Ducornet and painted by Alison Woolley
The "Ruckers Taskin" style harpsichord was built by Atelier Marc Ducornet in Paris, and shipped to Florence for Alison to decorate.   The design of the piece was inspired by the architecture and ornament in the Château de Versailles.  

detail of interior of harpsichord lid, gilt and painted by Alison Woolley
Yesterday Erling and I went to the studio to help pack the finished harpsichord and then the shipper came and took it away to Paris and we all felt a bit sad to see it go, particularly Alison who had been working on this for months. I know I feel a bit blue when I send off a mural from my studio and all of a sudden it seems terribly blank and quiet.
Fortunately another harpsichord will be arriving in Alison's studio soon.
samples of work at FlorenceArt.net
Elsewhere in the studio are examples of  designs, class projects, experiments,  Florentine style painted furniture, and a beautiful (top secret) design for a scarf for Salvatore Ferragamo. 
gilding tools at FlorenceArt.net


Alison regularly teaches classes in the tradtional Florentine techniques of gilding and painting furniture and other fine surfaces at the FlorenceArt.net studio as well as through special retreats in Italy and intensive workshops.  The studio accepts commissions year-round for furniture, instruments, murals, and seriously beautiful things.








Watch this video of another recent project by Alison Woolley: painting a Claviorganum.




The light in Florence is the color of Joy

The view from my Florentine home:  watching the light change over the surface of the Duomo.
Florence in the winter is lovely, empty of tourists, and our apartment has a spectacular view of the Duomo and Campanile.    I have visited here so many times in the past (cough) 34 years, but those visits were all so brief.  It’s so nice to just sit here and appreciate the light.  We awake every morning to ringing bells and a view of the Duomo.  In the evenings Brunelleschi's masterpiece is bathed in that special Florentine light, which at times infuses everything with my favorite color of yellow.

I wander the streets getting a bit lost and finding inspiration in every doorway.  I recognize the culture here as my own even though I grew up a world away, and feel the importance of art and beauty in daily life here, without the plastic layer of that weird modern need to justify the cost of everything.

  


 

Sunday

Sabbatico a Firenze

Sgraffito decoration on the facade of the Palazzo Galli-Tassi, Firenze
In just a few days, I will be leaving for a three-month sabbatical in Florence, Italy.  My goal is to spend this time in intensive study of art and painted ornament, and to solidify the material I have been collecting for a book.  

Alison luring an American buyer into her shop.
This plan took shape last winter while visiting my friend and colleague Alison Woolley of FlorenceArt.  Ever the voice of reason, she may have suggested we stay an entire year, and now that this trip is upon us I realize how short a time three months actually is.

So, for the last twelve months I have been plotting and arranging, scheduling around unexpected delays and challenges, and trying to learn some Italian.
The Duomo at night, December 2012
My remaining days here are being spent organizing the next projects at my studio, fussing over my (thankfully drought-tolerant) garden,  getting camera equipment in order, working on my packing strategy, pondering the telecommunications situation here and abroad, spending as  much time as possible with mourning the sudden loss of my geriatric parrot;   finding a million things about which to fret, all the while taking some comfort in the fact that, thanks to jet propulsion, I am only one mildly inconvenient day away from pretty much anywhere.  

Maestro Erling Wold and I will be in residence in (some rooms in) the Palazzo Galli-Tassi, a 16th century palace where we hope to create the perfect environment for our exploration of ornament, music, and a helping of Tuscan culture.

I invite you to follow our exploits here at The Ornamentalist.