Una buona immagine

“Amma – you were sleep talking so much last night – it was hilarious!” said the daughter. The children and the husband giggled. In my defense, it had been a rather long few days. Roaming around in Rome had taken the wind out of my sails.

“I must have been tired!” I said. “ I had dreams of the weirdest nature. I dreamt the horses ran out of the picture, and out into the gardens that had the whomping willow type of tree.” (Pitti Palace & Boboli Gardens which are perfectly delightful to behold: A lovely spot of nature in Florence)

“Yes we know. And you sat up in bed sending Sabrina to get the horses back! Poor lady doesn’t have enough work in the reception, you have to send her galloping behind horses!” I laughed with them. Sabrina had saved us considerable time by getting us a slot of time to visit the Uffizi Gallery.

I was trying to extricate the strands of weave from the coagulated mess in the brain. A number of galleries collapsed in the various chambers of the brain leaving the paintings smushed together. Waddling through the galleries with a coat hanging off one hand, a child off another and a bag on my shoulders, I wandered through the works of Leonardo Da Vinci, Michelangelo and Raphael – entire galleries devoted to Renaissance artists. I naturally gravitated towards pictures featuring the rich myths, with a whiff of the beautiful Italian countryside in the background. The Birth of Venus, Primavera et al were as beautiful as everybody said, and had I known the nuances of art could have enjoyed it more.

I felt like one of those canvases that inspired the starry night by Van Gogh. All the different colors flowing into each other, forming a confused mess of colors, but having a unique kind of beauty in itself.

Art can never exist without naked beauty displayed - William Blake.

The first time we spotted a picture featuring a nude, the son tugged at my hand, and giggled, “Why isn’t he wearing any clothes?”

I giggled with him. Do you think this is what William Blake had in mind? The renaissance era with its developments in the anatomy and study of the human figure really did go overboard on the whole human body thing. Considering that it was winter in Italy, there we were dressed in thermals, sweaters, jackets, caps, gloves and socks, looking upon the stone cold statues of apparently virile, strong men with muscles exploding out of their bodies, and not a thread of clothing on them. It was amusing, and the pair of us giggled like children in the pristine halls of the museums.

statues

Standing outside a fountain on the way from one gallery to another, I posed for a photograph. I smiled and asked if the picture was okay. Apparently, it wasn’t.

The teenaged daughter took a deep breath and with the air of explaining basics to an idiot child started instructing me on the best method to pose for a photograph. Apparently, smiling like I am happy to be in the photograph is out.
“Go for this look.” she said, and looked morose, angry, pensive all at once. “And those shots of you standing in front of a place is so third century! Look at this one, “ said she showing me a picture of a person with a sharp nose in a red coat overlooking a ruin.

If it weren’t for the fact that she was looking stylish in my coat, I could barely have recognized her, and that, she said, was the angle you have to go for.

I am not sure I will get it entirely. I come from a generation that saw as many people crowded together in one frame as possible, and all of us smiled at the the count of three – with at least one blinking at the opportune moment. From there to this sort of “Don’t even show your best face, and please don’t smile” slide is a bit quick.

But after looking at the numerous pictures in the galleries across Rome, Florence & Venice, I can see the impulse. I mean this trend probably came from too many pictures. It is probably why Madonna looks apathetic holding a babe Jesus in her hands, who displays no curiosity in his surroundings or joy or mischief. It was quite disquieting to see picture after picture like this with frozen expressions. Was the smile frowned upon so much? I can understand the looks of anguish in the scenes of the crucifixion, but even in the more joyous pictures of Madonna and Child, can one not introduce a motif of joy?

That’s what our million pictures must look like isn’t it? Frozen expressions “capturing the moment”. If we are capturing frozen expressions, I don’t mind jumping on those galloping horses out into the gardens from the painting with a wild look of freedom and joy on my face any day.

So that brings me back to the basic question of what constitutes a good picture (una buona immagine). Does every picture need to tell a story? Why is Mona Lisa so famous, and not the beautiful pictures of these ladies?