The Pinateca of Siena, a digital invasion
By chance I have taken part in an initiative, which is called Digital Invasion (Invasione Digitale), for motivating people to enter into the places of art all across Italy, people with cameras or even mobile phones, to shoot photos, freely, without flash, and then to put them up on social networks, like Twitter, Facebook, Instagram.
A procedure of sharing artistic images, with the speed of today’s times, to make them accessible to others, maybe only an hour after having seen them, details of a painting or a glimpse of a church, a garden and a sculpture, captured by visitors in an all-embracing bewilderment.
Once disbanded the sanctity of the museum and the works within, we wander around in search of an immediate grandeur, inebriated by a bright largeness of enjoyment like an undisciplined school-class on a tour through the silent halls.
With this walk, together with others- really too few for a such unexpected opportunity- I proceed through the halls. The organizers have provided us a descriptive text in advance , obviously through email, with the sequences and the artists.
Surprised by this possibility and with about three hours at my disposal I get ready to observe the paintings with a different look and I cheer up from the overcast and tedious day outside.
Being in ignorance of art and old masters, I approach the paintings that attract me more and that intrigue me because of interesting images and perspectives.
Madonna’ gazes so melancholic and intense enchants me. In the folds of a painting I catch sight of more figures, main characters in that component. On the predella of famous paintings there are whole stories told, like small worlds standing on their own in a wider landscape. Some bishops inspect me despotically next to gentle angels. The fixedness of their gazes offers to all visitors a recall of something different, a reflection which, however, we hold difficulties, because nearby there is another painting which in turn gives a new demand. Among the astonishment and the incomprehension and the admiration for such perfection and beauty, we remain struck and almost embarrassed for not being able to detach our look.
The work presented here focuses on the peculiarity of the details, sections of paintings from which the color has been taken out for a pictorial reading without the amplifications of pigments. A photographic claim in light of the magnificence of these paintings, where gold is the main actor next to the carmine-red, the vermillion, the faint colors of rosy reflections in religious worlds, which tell the scenes of the holy family with stylized landscapes in the distance, locations of Siena, folks from times ago.
In this syndrome of emotional contradictions between what I see and what I feel, I think about historians who know these objects d’art, their history. They have deeply studied the old masters and their peculiarities and first of all their distinctive trait. I admire these people, who pass their lives following their own itineraries with commitment and strictness and often lead them up to important discoveries for the understanding of the painter, to that tile which was missing for the full and definitive assignment of a master-piece, and who continue to research, analyse, study, examine pictures, read books and essays, always directed towards the appropriate settlement.
I deem myself fortunate for having lived in a family, where art was at home at all levels, and for have been able to move around easily amidst art-works of importance without anybody revealing or explaining anything to me. The paintings were there and I was there in front of them. This was a great gift that I have received and also in this way my photographical analysis of the sight was born.
Pick up what you have seen and return it, interpreted in a photography.
The Pinacoteca di of Siena with its important works and with the stillness of its halls has allowed me to relive intensely this freedom of enjoyment.
I vividly thank those who have organized this visit, which has provided an important service for communicating art, in the most contemporary and immediate aspects, in spite of not being backed up by any historical and artistic research, it has allowed many people to get into contact with a reality that surrounds us and which remains invisible for most.