Most may not know that the Paris Fashion week has been underway for the past few days. And boyy has it marveled the crowd. I’ve seen beautiful pieces from Dennis Basso, Ermanno Scervino, Victoria Beckham, Alex Perry and Giambattista on the runway and even spotted my favorite Fashionistas, Chriselle Lim, Patricia Bright, Alexa Chung and Lala Anthony gracing us with their stylish looks for all to see in Paris as well. But now that it’s come to an end, you can still enjoy the beautiful city of Paris and even do some tour-gazing along the countryside.
Because I could not have a chance to join in on the fun this year, I took the liberty of creating a tour guide for you all, so you get to see the best parts of Rome. If you have an additional four days to spare, why not go see the city where the known Colosseum lies. Once you are all settled in, take the time to visit the Sistine Chapel; in there you will see marvelous paintings from different known artists.
On the ceiling of the Chapel is Michelangelo’s (1475- 1564) most famous illustration of the Creation and Fall of humankind. On the ceilings central panels is Creation of Adam (1511-1512). In this painting God and Adam confront each other. God transcends to earth, wrapped in a billowing cloud of drapery.
Life leaps to Adam like a spark or flash from God’s mighty right hand. The focal point of Adam’s and God’s right to left hand movement of the fingertips is dramatically off center. The reclining positions of the figures, the heavy musculature, and the twisting poses are all parts of Michelangelo’s style.
Michelangelo incorporated his sculpture style when conducting this panel. He never lacked detail and precision of his paintings. In this panel there is low contrast. He does a good job of having warm and cool colors play off one another. The texture in this painting is very smooth and soft.
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Another fairly famous panel done by Michelangelo (1475-1564) was the Last Judgment (1534-1541) altar fresco. This painting can be seen when you look straight into the Sistine Chapel entry. Here, Michelangelo depicted Christ as the stern judge of the world, a giant who raises his mighty right arm in a gesture of damnation as broad and universal as to suggest he will destroy all creation. The choirs or Heaven surrounding him pulse with anxiety and awe. Michelangelo’s terrifying vision of the fate that awaits sinners goes far beyond any previous rendition.
When looking at this painting there is a lot to take in. There is movement everywhere but the emphasis is on God. The detail in the figures Michelangelo did is just splendid. The focus in physical appeal and movement he provided is very impressive. It doesn’t look like a mass crowd or a mess but a painting that works as one. When looking at the painting there is no real balance but levels to be seen. Above god there is a level of angels and then towards the bottom there is a level of the painting in storyline view.
The next painting you should take the liberty in seen is Raphael’s (1483-1520) Philosophy School of Athens (1509-1511). In this panel, the setting is not at a school but in a sanctuary where a congregation of great philosophers and scientists of the ancient world would gather. The male figures gather in a vast hall covered by massive vaults that recall Roman architecture. Plato and Aristotle serve as the central figures. Plato hold his book Timaeus and points to Heaven, the source of his aspiration, while Aristotle carries his book Nicomachean Ethics and gestures toward the earth, from which his observations of reality sprang. In this panel the painting has different type of hues and colors.
The crowd dispersed in the painting have a slight low contrast with their clothes but the setting has a light high contrast value. These two factors give the panel as a whole a good sense of balance for the onlooker. As you continue to gaze on the painting, the emphasis is centralized on both Plato and Aristotle when making their entrance. Raphael did a great job of providing proportions in the painting so the viewer doesn’t get globs of a huge mass crowd in the fresco plane.
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Once you have toured the Sistine Chapel take time to visit St. Peters (1606-1612). As you make your way there, you must know that Carlo Maderno was the architect to produce this façade. Pope Paul commissioned Maderno to complete Saint Peter’s in Rome. As the symbolic seat of the papacy, Saint Peter’s radiated an enormous metaphorical presence. Maderno’s façade embodies the design principles of early Baroque architecture. Vigorously projecting columns mount dramatically toward the emphatically stressed pediment-capped central section. Inside the Saint Peter’s you will see Gianlorenzo Bernini’s (1598- 1680) Baldacchino,(1624-1633) work.
His first commission, called the design and erection of a gigantic bronze balldacchino was made under the great dome. The canopy-like structure is a tall as an eight-story building. The baldacchino serves both functional and symbolic purposes. It marks the high alter of the Saint Peter, and it visually bridges human scale to the lofty vaults and dome above. When looking at this bronze structure, I feel that it shows the baroque style very well. The manner in which Bernini had to make the bronze move, was done in such a manner that is just exquisite. It brings a majestic and powerful feel in the Saint Peter’s cathedral. The detail in itself is also breathtaking. From the angels on the two upper top corners to the descending flower-like spirals on the legs, everything about this bronze structure is something to look at.
Hopefully, you were able to eat at some acquiescent restaurants and walk around some markets when you get a chance. Also, don’t forget to take tons of photos. Until next time friends.