It’s International Museum Day in Germany. And I’ve spent much of it in die grüne Hölle, ’cos this weekend it’s 24 Hours Nürburgring. Which is also art. And there’s the ring°werk museum there, so we’re sorted for museums.
But MedievalPOC has been Twitting some of my photographs from 4 ½ years of museum-ing and I’m kinda shocked at how much art I saw and photographed (and the hours I spent in Photoshop prepping, hours spent blogging), and how much I’ve forgotten until I’m reminded again. And embarrassed by my earlier photographs, so many of which I wish I could go back and retake.
Hans Baldung Grien’s Der Dreikönigsaltar was one of the very first works I saw, four years ago on my first visit to Berlin’s Gemäldegalerie, and returned to many times. The best photos I took of it was in 2015, in Gemäldegalerie — St Mauritius and Companions, which was for MedievalPOC, and I said, “This is for @mediavalpoc. I look at art far more closely because of them.” I look at the world far more closely because of her.
One last thing: I’ve never photographed the exterior wings of this altarpiece. St Katharina is on one, she who is the patron saint of scholars, spinsters, and knife sharpeners, and who has appeared alongside St Mauritius all the way back to the earliest extant work of him, the sculptures in Dom zu Magdeburg St. Mauritius und Katharina.
I didn’t know where else to put this. It’s far more beautiful standing before it than in my photo. I didn’t photograph much of the NGV’s Asian (or, Not European) collections, and if I’m going to give a whole post to their mediæval art, then this Jizō Bosatsu Bodhisattva from the Kamakura period, 1185–1333 in Japan is contemporary to that.
Giving St. George Hare’s The Victory of Faith (Miserere Domini!) its own special post ’cos it’s lezzie as fuck. Funny how 120 years can turn a piece of racist Orientalism into something ripe with intersectional feminist power. “Yeah, dunno about that, Frances, reckon it’s just 19th century white man porn.”
A few pieces of European Baroque and Rococo art I saw on my very wrecked, post-season, post-bumpout afternoon in the NGV National Gallery of Victoria. Saw out of chronology, ’cos I saw this stuff before the Mediæval art.
Dispensing with my whinging first, the NGV is one of those difficult museums to photograph in, heaps of light bouncing of old glaze, plates of glass between artwork and mob, all the usual. The works I ended up blogging are the ones I could both photograph reasonably easily and scrubbed up ok in Photoshop.
Art I’m surprised got out of Europe: Giambattista Tiepolo’s The Finding of Moses and The Banquet of Cleopatra. Mattia Preti’s Sophonisba receiving the poison. Especially when there were tiny, not very good Canalettos and tiny, not very good Rubens. I’m spoilt for both of them, pretty much every large-ish museum in north-west Europe has a few Canalettos, the Gemäldegalerie in Berlin alone has a quartet of huge ones, and Rubens, after the surprise of Musée des Beaux-Arts de Valenciennes I’m a snob. Rounding out the stash was Derby Porcelain’s The Four Continents.
As usual, a lot of what I photographed was with Medieval POC in mind, and not having much time or energy meant I’m really not representing the NGV so well. It’s not Louvre-sized, probably more like Koninklijke Musea voor Schone Kunsten van België in Brussels. There’s a lot more there than old European art, just that’s it’s also a strange place, and trying to make sense of how Australia sees itself in relation to Europe — not just England or historically to the British Empire, but Europe as a single entity wherein ‘Europe’ in fact denotes the western half only, and how Australia uses the art from that peninsula-continent to create a historical identity for itself … Australia has little to nothing in common with this. It’s part of Asia-Pacific, South-East Asia, Pasifika; it’s Aboriginal and Torres Strait Islander land. The idea of the museum, imported from Europe as it was, doesn’t seem capable of acknowledging that.
A few more pieces of art from Naarm / Melbourne’s NGV National Gallery of Victoria, which I saw on my very wrecked, post-season, post-bumpout afternoon at the end of March. I wasn’t photographing much by this point, mainly grabbing a few I thought Medieval POC would get a kick out of, and very much not trying to document the museum itself. Bits and pieces. And Anguish. I thought of Onyx when I saw that. “Why? Because I’m raked over and bleeding out?” “Nah, ’cos you’re a murder of black crows about to feast on some dainty white lamb flesh.” Or something like that. We’re supposed to identify with the sheep. Fuck that.