Thursday, June 25, 2020

DiPasquale's "Neptune" at Virginia Beach

Paul DiPasquale (1952 - ), "Neptune", 2005, colossal bronze sculpture and base, Virginia Beach, VA, oceanfront and 31st Street. —  OGCMAPoseidon2.0011_DiPasquale.

Poseidon the Earthshaker commanded the earth beneath the Greeks' feet and he also ruled the seas. Odysseus ran afoul of Poseidon's pervasive dominion and suffered prolonged absence from home for a decade. Not until he should establish the god's cult in some land so far abroad that it knew no seafaring would Poseidon allow Odysseus to rest from toils.

Now on the New World's east coastline, the god himself looks inland. A contemporary Richmond sculptor with a propitiously Italianate surname perched in 2005 a colossal bronze image of the classical sea-god atop a reef-like base at ocean's edge in Virginia Beach. One message imbued in this sculpture, according to reports from the artist, is a divine rebuke for us to take better care the ocean from which the god emerges so sternly.*

The primary plaque on the base's front informs the visitor of civic "visionary" accomplishments that led to the creation of Virginia Beach in the 1960s and 1970s, "today the most populous city in the Commonwealth of Virginia". The visitor — indeed, "citizens and visitors from across the world" — might turn away from the huge bronze momentarily and consider the lengthy string of multi-storey hotels that lining the strand formidably right where Neptune's eyes are gazing. A separate plaque place on a nearby stele informs that the visitor of the bronze's creator.

Chairmen of the annual September
Neptune Festival commemorated as
Kings of Neptune by VB Chamber of Commerce
DiPasquale's Neptune stands over 34 feet in height (measured from sand to trident's top). That measurement makes this, reportedly, the largest bronze Neptune in the world. The logistics of creating such a massive work make for an interesting story in themselves. The artist's ingenuity, however, deserves attention: the municipal contest for the commission originally stipulated that entries be limited to 15-feet in height. DiPasquale's creation itself meets that requirement, but poised atop its base, the colossus achieves extra monumentality.

DiPasquale is a sculptor to be reckoned with. He has achieved notoriety over the last decade and trained in two stints at the American Academy in Rome. His important Arthur Ashe bronze stands monumentally in the tennis great's (and the sculptor's) hometown of Richmond. A 7-foot maquette of the "Neptune" stands in the entrance of the Virginia Museum of Fine Arts E. Clairborne and Lora Robins Sculpture Garden since 2018.


A thematically related usage of Neptune in a civic monument stands in a square in land-locked Durham, England. See Poseidon2.0010_Durham.


* J. Eurice (2005) "Neptune Rising: creating the iconic statue" in Virginia Beach Travel Guide (accessed 25 June 2020)

Tuesday, January 21, 2020

Titian's Poesie soon to be reunited

Titian, "Diana and Actaeon" (1556-59),
National Gallery & National Gallery of Scotland, NG 6611
Titian (Tiziano Vecellio, 1488/90-1576), the great Venetian painter, famously sought a lucrative commission from King Philip II of Spain. A suite of paintings (created 1556-1560) was submitted to attract the king's approval, each inspired by classical mythological narratives Titian derived from Latin poets. Especially Ovid's Metamorphoses, but also other classical Latin texts, take on new life and new meanings in the mature conception of Titian's masterpieces. The septuagenarian artist's fixation on the importance of graphic narrative has long invited comparison with Ovid's narrative mastery, and that same fixation justifies Titian's calling the suite his Poesie (poetry).

    The British National Gallery and its sibling National Gallery of Scotland own a portion of the Poesie suite, paintings to be considered discreetly from the several other Titians owned there and beyond. The Spring of 2020 will find the National Gallery teaming with the Wallace Collection, the Prado, and Boston's Gardner Museum to reunite the six-painting suite for the first time since the 16th Century. The exhibition, Titian: Love Desire Death will run from 16 March until 14 June 2020.

Titian, "Diana and Callisto" (1556-59),
National Gallery & National Gallery of Scotland, NG6616
The ramp-up to the Exhibition involves a short series of brief broadcasts on Facebook Live called "Uniting Titian's 'poesie'". The first installment aired on 20 January 2020, and one per day will show throughout the week at 6:15 GMT. Fortunately, the links on Facebook allow viewers to watch the recorded broadcasts later. Follow this link to catch up after the initial showing.

Of course there are many other Titians to encounter, even within the same museums where the Poesie paintings reside. But the exceptional opportunity to see this suite of paintings together at once is sort of a reason to plan a trip to London this spring!




Paintings in the poesie are
Diana and Actaeon (1556-1559), Actaeon1.0033_Titian
Diana and Callisto (1556-1559), Callisto1.0022_Titian
Venus and Adonis (1554), Adonis1.0032.1_Titian
DanaĆ« (1554-1556), DanaĆ«1.0008.2a3_TitianWellington
Rape of Europa (1560-1562), Europa1.0028_Titian
Perseus and Andromeda (1554-1556), PerseusAndromeda1.0015_Titian