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Archive for the ‘Tuscan Echoes A Season in Italy’ Category

Allegory with Venus and CupidAgnolo di CosimoCalled Bronzinoca. 1545

Allegory with Venus and Cupid
Agnolo di Cosimo
Called Bronzino
ca. 1545

Agnolo di Cosimo, called Bronzino, studied from the age of fourteen in the bottega of Jacopo da Pontormo. In 1545, he received a commission (most likely from Cosimo I, Grand Duke of Tuscany though some attributions list this as a commission from Francesco Salviati) for a painting to be given to King Francis I of France. The oil on wood painting is called “Allegory of Venus and Cupid” or “Venus, Cupid, Folly and Time.”

What many people do not know is that Bronzino included an homage to the master, Leonardo da Vinci, in this complicated and convoluted work.

From Venus’s intimate embrace with her son, Cupid, to the upper right  bald figure of Time who holds the hour glass in his hand, most of the foreground of the work is relatively easy to understand. Move to the background and interpretations dissolve in what is a surreal backdrop of shadow and mannerist painting.

One particular figure is the subject of this article.

To the left of Cupid, whose naked buttocks disconcertingly intrudes on the left, is the figure of someone – a woman? a man? – in the midst of agony, anger and despair. Various interpretations have this figure representing jealousy or, by some, as the figure of syphilis, representative of unwise (out of wedlock?) intercourse. Regardless, it is clearly the image of someone in great distress.

Now, more back story.

In 1505, Leonardo da Vinci was given the commission for a fresco depicting the Battle of Anghiari to be completed on a wall in the Council Chamber of the Palazzo Vecchio in Florence. His cartoon, long lost, depicted a tortuous configuration of horses and men engaged in the heat of battle.

It was to one particular figure that Leonardo gave the most fearsome features-one Niccolò Piccinino. A condottiero (military leader) of considerable fame and success, he succumbed to the forces of Ludovico Sforza at the Battle of Anghiari (1440). In the throws of that battle, as Leonardo portrayed the action, Niccolò’s fierce and focused face is grimaced in a combination of determination and madness.

battle of AnghiariCartoon copy by RubensOrig by Leonardo da Vinci1505Palazzo Vecchio, Florence

Detail, Battle of Anghiari
Cartoon copy by Rubens – 1603
Orig by Leonardo da Vinci
1505
Palazzo Vecchio, Florence

Now, back to Bronzino.

It is believed that Bronzino was given the opportunity to study Leonardo’s design, most likely from a 1553 engraving by Lorenzo Zacchia. Historians believe Zacchia created the engraving from studying the actual cartoon. Leonardo’s figures made a deep impression on the young Bronzino.

During some recent discussions with friends in Florence, it was posited that Bronzino was so affected by the face of Niccolò Piccinino that he created a mirror of the condottiero’s face, and used it (in homage to da Vinci) for a face in his Allegory.

Below is a close up detail of the Anghiari face, flipped horizontally and a close up the Bronzino’s figure.

Bronzino, Leftda Vinci, Right

Bronzino, Left
da Vinci, Right

Whether this recent interpretation will stand the test of time remains to be seen. What is true is that there is a startling similarity in the faces – one on a cartoon created by Leonardo, and the allegorical figure included in Bronzino’s work.

IF YOU GO:

The Bronzino work, Allegory of Venus and Cupid, is in the National Museum in London

Battle of Anghiari, by Leonardo da Vinci.

There has been a great deal of inquiry recently about whether some of Leonardo’s work existed behind a ‘second wall’ in the Sala dei Cinquicento (once the Council Chamber) in the Palazzo Vecchio. In March of 2012, the search for this possible fresco was terminated, though these articles are interesting. Listed below are a few links for those who are interested.

New York Times

U.K. Telegraph

Discovery News

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Jacopo da Pontormo1525 - 1528Santa Felicita, FlorenceCapponi Chapel

Jacopo da Pontormo
1525 – 1528
Santa Felicita, Florence
Capponi Chapel

The eyes are haunting: oval, staring in pain and grief. It is the fresco that initiated Mannerist painting in Florence: Pontormo’s Deposition in the Capponi Chapel of Santa Felicita.

Jacopo Carucci, known as Jacopo da Pontormo or, simply, Pontormo, was born in 1494. A student of the Florentine school, his fresco of the Deposition in the Capponi Chapel of Santa Felicita in the city is considered by many his masterpiece. Brunelleschi, he of the dome and many other architectural splendors for Florence, designed the chapel in which Pontormo worked.

Recently, during a late winter afternoon, I visited the church of Santa Felicita. The nave was empty and through a haze of frosted breath, Pontormo’s work sprang more than ever to life. The fragile odor of incense floated in the darkening space as I approached the gate that protects the fresco. It was, this time more than ever, the eyes of the grief-stricken that most startled me.

When Pontormo was twenty-one he made the journey to Rome with the specific goal of studying Michelangelo’s work. Buonarotti was completing the ceiling of the Sistine Chapel and the effect that it had on the young Jacopo was life-changing. Pontormo had the opportunity to view the mammoth fresco up close, on the scaffolding. Perhaps he studied the faces and eyes of the Delphic Sybil; her large anxious eyes glance to her left, warily.

Delphic SybilDetail, Sistine ChapelVatican, Rome

Delphic Sybil
Detail, Sistine Chapel
Vatican, Rome

A similar wariness, balanced with fear and grief fill many of the eyes of the figures Pontormo created for his Deposition.

The work was finish in 1528 after three years behind a tall brick wall that the artists built  to keep the curious eyes and mouths of critics at bay.

One of the early artists studies for the Deposition illustrates how the artist used a structure for the fresco without the necessity of reliance on the actual cross. During the Renaissance, the focal point of most other artist’s interpretation of the deposition involved, whether centered or not, the physical form the cross.

Study for DepositionJacopo da Pontormo, 1524

Study for Deposition
Jacopo da Pontormo, 1524

Pontormo has created a swirling mass of human form, consumed by grief and loss, fear and trepidation. While the cross is nowhere to be seen, while the body of Jesus is supported and held by men and women whose feet seem to barely touch the ground, Pontormo brings us ‘in’ with the eyes. He has created a scene of intense drama, one that does not rely on the standard interpretation of his time and one that clearly broke with the works of the Renaissance. Mannerism was born.

As I returned to the Borgo San Jacopo on that winter evening, it was the eyes of Pontormo’s vision that haunted me. If you ever have the opportunity to visit Florence, please don’t miss this masterpiece of Mannerist art, one that brought an entirely new vision and freedom to artists of Italy.

Pontormo Deposition Two

Detail
Jacopo da Pontormo
Deposition, Capponi Chapel
Santa Felicita

IF YOU GO

Santa Felicita

Piazza di San Felicita, 3

Florence 50125

Hours: Daily except Sunday: 9:30AM – 12:00 Noon and 3:30PM – 5:30PM

Tel: +39.055.213.018

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Michelangelo’s David towers over the history of Renaissance art in Florence. His expression of beauty, idealized and immortalized in stone, has drawn millions of visitors from around the world. Yet, there are other Davids, equally fascinating and artistically important, across the city of Florence. Four remain in the city and two have been placed in other collections.

Representations of David, the youthful seemingly weak warrior who changed the destiny of an army and a people, became the symbol of republican Florence. In the view of the  Signioria, the governing body of the city, David signified this strong message: “Don’t assume weakness in what might appear to be a feeble government. We have slingshots and we will use them.”

Donatello, David 1409/1416

Donatello, David 1409/1416

One of the earliest pieces sculpted by Donatello is his first David, completed in 1409. Though the work was given additional touches by the master in 1416, it still stands as a monumental change in the style of the more staid and accepted statues of his day; the mark of a master artist.

This is a gentle David, not a fierce warrior. The position of the fingers on the left hand, the curve of the body in a kind of easy repose, the lay of the right hand over the center of the body all convey someone at rest, someone who has not just beheaded a Goliath and turned the fortunes of war. Laying almost serenely at his feet, the head of the giant peers out from between David’s feet. Perplexing in its ease, confounding in its implied intent, this is truly a master’s piece.

Donatello, David, 1440

Donatello, David, 1440

The masterpiece of the collection of these varied and unique works of art is, I believe, the Donatello bronze David. Michelangelo is quoted in many sources as saying it was Donatello’s work, his eye and his commitment to an entirely new way of creating sculpture, that inspired Buonarotti’s work. Donatello’s is the second oldest of the Florentine Davids, having been completed in 1440. It was commissioned by Cosimo di Medici to be placed in the central courtyard of the family’s home in the center of Florence.

Cast in bronze and astonishingly different, viewers who study the piece – its details and hidden messages – are constantly amazed at its complexity. As with many masterful works of art, Donatello’s vision of the young David incites criticism and inquiry.

Why does Goliath have a helmet on his head? If David’s slingshot is, as the Bible implies, capable of accuracy with a stone, would that stone have penetrated the helmet? Would the blow have been so strong as to kill the Goliath?

Why does Donatello’s work figure a man as you view the piece from the front, yet from the back seems so feminine? The asexuality of this David presents one of its most confounding questions.

Then, there is that feather…Goliath’s helmet was cast with two feathers on it. One has been crushed by David’s foot, yet the other feather caresses nearly the entire distance of  the inner right thigh. Was the feather used to create increased stability for the pose of the cast bronze? Was it a slap in the face of the supposedly conservative morals of a city that was known to be anything but conservative?

Is this Donatello David an homage to the ancients – a rebirth of the classic bronze nudes of Greece?

The list continues. The more a viewer takes the time to study the statue on the first floor gallery of the Museo Nazionale del Bargello in Florence, the more questions that viewer takes away.

Verrocchio, David,

Verrocchio, David, 1473 – 1475

It was in 1473, that Andrea del Verrocchio began work on his bronze statue of David. (Note: Many art historians estimate the work to have been completed in ca. 1465). This work mimics the asexual posturing of the Donatello bronze David in many ways. The languid curve of the body, the position of the hand on the statue’s left hip, and a sword that seems to be held at the ready all underscore, once again, the figurative representation of Florence’s idealized vision of itself. The commission that Verrocchio received was for the work to be displayed in the Medici home.

A recent restoration of the bronze has uncovered gilding, hidden by centuries of varnish and pollution. Additionally, the placement of Goliath’s head on the piece, as originally intended, seems not to be where it has lain for centuries. Many art historians now believe that the head was originally intended to lay to the right of David’s right foot. At a recent loan to the High Museum of Art in Atlanta, the head was so positioned raising even more questions about this masterpiece of Renaissance art.

It is interesting to note that, until the next statue of David was commissioned, Verrocchio’s bronze still interpreted the youth as relatively weak, ostensibly incapable of violence. The piece now has a place of importance in the Museo Nazionale del Bargello in Florence.

Bellano, David,1470 - 1480

Bellano, David,
1470 – 1480

Sometime between 1470 and 1480, another young sculptor who was a student of Donatello, one Bartolomeo Bellano, created a bronze cast statue of David. This work, gilded on bronze, is another curious representation of the moments after Goliath’s death. Rather than head up in pride and strength, Bellano’s work shows the young man posed in a very similar way to Donatello’s bronze: the sword supports the right arm, the sling lays loose at the figure’s side, the head of the giant lays between the feet of the conqueror.  This particular piece, though created in Florence, now is part of the Met Museum’s collection in New York City.

An anonymous sculptor, known as the Master of the David and St. John statuettes, created a David out of terracotta in 1490. Absent the fact that this statue was created from fired terracotta rather than bronze, this work reflects very strongly the influence of Verrocchio’s 1476 work. The hand position, the lay of the hand on the left hip, the position of the sword all are similar in both style and, it seems, creative intent to that of Verrocchio. This piece is currently in storage and is not available for public viewing as of the date of the blog post.

m_of_david_stJohn_1490

Now comes Michelangelo. The young master selected a piece of Carrara marble that had long been abandoned in a side yard of the city’s cathedral workshops. Rossellino – who had attempted years before to carve the piece,  had ceased to work on it for reasons still unknown.

The Operai, those who were responsible for the works of the Duomo, were commissioning sculptors to create large statues to be placed along the buttresses of the Duomo, Santa Maria dei Fiori.  Michelangelo’s persistence and insistence that he should have the commission, even after masters like Leonardo da Vinci had been consulted, finally paid off. The Operai made it clear that this David was to be strong and veral. Since this statue was to be a major work for the duomo, it was to communicate to the world, THIS is Florence, this is the city of the Medici, of art and of financial power.

For as many books have been written about how the David was carved, there are differing opinions. One historian posits that the master used a wax model that was submerged in water. Michelangelo, he proposes, slowly let water out of the container and, as the level exposed the model, so carved Michelangelo. Another wrote that the statue was created,  as the master so often is quoted as saying, “I simply saw the figure of David in the marble and I carved away all the stone that did not belong.”

Whatever anyone’s interpretations are, the first view of the statue, mounted on a large base at the end of a low-lit corridor that is lined with Michelangelo’s “Slaves” (once displayed outdoors in the Boboli Gardens behind the Pitti Palace) is breathtaking. Few are unaffected by the stunning visual impact of Michelangelo’s masterpiece.

Michelangelo, David1501 - 1504

Michelangelo, David
1501 – 1504

The physics of moving such a heavy piece of marble to the top of the cathedral generated long discourse over the appropriate location for the statue. Final agreement was reached that it should stand outside the entrance doors of the city’s Palazzo Vecchio, the seat of the city government. It remained there from 1504 until 1873 when it was moved into the protection of the Accademia di Belle Arti.

The space that was once occupied by the David, in front of the Palazzo Vecchio, remained empty until 1910 when a copy of the David was placed in the same location.

Michelangelo’s intent in leaving the head of Goliath completely out of the work was in keeping with the Operai’s original intent that the work would surmount the entrance of the city’s cathedral. Others have interpreted the absence of the giant’s severed head as indication that Michelangelo created a young man who had made the decision to kill Goliath. The stone in the statues right hand and the position of the sling over his left shoulder seem to support that view. The fierce determination on the young man’s face, especially when seen straight on in photographs, also shows a focused determination to action.

Michelangelo, DavidFace Detail

Michelangelo, David
Face Detail

As with all things Florentine, surprises are found in nearly every museum, every piazza, every palazzo. When you are in the city, be sure to expand your understanding of the history of David. Many exist and each deserves the same attention that “the David” has garnered for centuries.

IF YOU GO: (Details for the Accademia follow the Bargello)

Museo Nazionale del Bargello

Via del Proconsolo, 4  50122 Florence, Italy

Tel: +39.055.238.8606

Web: Bargello

Entrance Tickets: Euro 4.00 per person

Hours (Please note the unusual hours that this museum is open)

Opening Hours:

Monday – Sunday, 08:15AM – 1:50PM

NOTE: The ticket office closes at 1:20PM and closing processed begin at 1:40PM

Closed the 1st, 3rd and 5th Sunday of each month,

Closed the 2nd and 4th Monday of each month

Closed January 1, May 1 and December 25.

Accademia di Belle Arti

Via Ricasoli, 66  50122 Florence, Italy

Tel: +39.055.215.449

Web: Accademia

Tickets: BOOK YOUR TICKETS and ENTRANCE TIME IN ADVANCE! (Web: Pre-Reserved Tickets)

Lines at the Accademia for public access are, during the summer, as long as a two hour wait. To avoid that delay, you can prepay for tickets to the Accademia to see the David on a specific day and for a specific time. Also note: the afternoon summer sun warms (and I mean WARMS) the wall where the public access line is located. To avoid any long delays book in advance!

Opening Hours:

Note; CLOSED ON MONDAY

Open 08:15AM to 6:50PM Tuesday to Sunday

Closed: Mondays, January 1, May 1 and December 25

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Michelangelo. It is a name that conjures images of paint strained eyes, of angry popes and of marble dust.

MichelangeloBacchus, 1496-1497

Michelangelo
Bacchus, 1496-1497

The Bacchus, an unusual and controversial work, was created by Michelangelo between 1496 and 1497, when the young artist was twenty years old.  The commission came from a rather unexpected source, that of Raffaele Sansoni Galeoti Riario, who became Cardinal Riario. Passionate about sculpture and, in particular his garden, Riario had commissioned the piece to add to his home sculpture garden in the Palazzo della Cancelleria in Rome.

Palazzo della Cancelleria

Palazzo della Cancelleria

An interesting side story to this commission. Riario was sold a sleeping cupid as a true piece of ancient Roman art. The connoisseurship of the Cardinal was widely known and he, eventually, discovered that the piece had been carved by Michelangelo. Upset though Riario may have been, he was also an astute businessman. It was his orders that brought Michelangelo to Rome where the artist worked for most of the remaining years of his life.

As the photo of the Cancelleria, the Chancellery of the Vatican, attests, Riario had enormous financial resources available to support his commissions.

Upon seeing the Bacchus, however, Riario’s reaction was not dissimilar to words penned by Percy Shelley many years later, “It looks drunken, brutal, and narrow-minded, and has an expression of dissoluteness the most revolting.”

Riario hated the work and refused to accept it. However, an associate of his at the Vatican, one Jacopo Galli, Riario’s banker, patron and friend of Michelangelo, paid for the commission and placed it in his private collection.

It was not until 1847 that the statue was transferred to Florence where it now resides in the Museo Nazionale del Bargello in Florence.

Bacchus, FaceMichelangelo

Bacchus, Face
Michelangelo

It is a strange work, to say the least. The expression of Bacchus, the asexual nature of his body, the posture of drunkenness he displays were all brilliant and intentional marks of a master artist. What offended Riario and what often offends people to this day is that the statue does not fit most people’s expectations of a god. Human in every aspect, with a grape-eating faun at this side, was – I believe – a not too indirect way for Michelangelo to portray his view of Riario as a person and, perhaps, the church in general.

Known to be exacerbating, difficult, unpredictably  emotional, the young sculptor may have seen this commission as a way of communicating his disdain for the patrons of his youth. It may have galled Michelangelo to know that a sleeping cupid had been the means by which orders came from Pope Julius II, one of Riario’s relatives, for the artist to report to Rome.

When you are in Florence, be sure to take a morning (see open hours below IF YOU GO) to explore the galleries in the Bargello Museum. The Ground floor gallery houses many pieces of remarkable sculpture, the Bacchus among them. The second floor galleries house Donatello’s David, works by the Della Robbia workshop and many other treasures of Renaissance art.

IF YOU GO:

Museo Nazionale el Bargello

Via del Proconsolo, 4

50122 Florence

Tel: +39.055.238.8606

Tickets: Euro 4.00 per person

Web: Bargello Firenze

Open Hours: Please note the very specific hours that the museum is open: 8:15AM – 1:50PM Daily with the exception of:

Closed, 1st, 3rd, 5th Sunday of the month, Closed 2nd and 4th Monday of the month and closed January 1, May 1, and December 25

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Art historians have stated that twenty-five percent of the entire world’s art treasures reside in Italy. While it may be something of an exaggeration, it is true beyond doubt that the artists, architects, sculptors, writers and musicians of Renaissance Florence gave to the world a gift of beauty whose value is  unimaginable.

It has been a great pleasure, over the years, to teach a class on the Art and History of Renaissance Florence. As part of establishing a sense of the time in which the artists created their works, I share a series of photos of period work along with music that would have been heard by contemporary Tuscans.

In Introduction through 1425 A.D., the first class, Gregorian chant serves as background to the works of artists Fra Angelico, Taddeo Gaddi, Giotto, Cimabue and others.

For those who are interested in the Art and History of Renaissance Florence, even if only a passing curiosity, I hope that you enjoy viewing this video, and the others that will follow in weekly future posts.

Salute! Marco

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Vivaldi Score Original

The craftswoman slowly moves the finely sharpened chisel lovingly, in long slow strokes, across what will be the back of the violin. A high intensity light illuminates her dust covered hands as notes of a violin concerto by Antonio Vivaldi float through the workshop.

The Hands of Vettori

The Hands of Vettori

I was introduced to the Vettori family by Joan Balter, luthier. I met Joan at a gathering in the home of Stefano Magazzini and Janet Shapiro, owners of Sagittario Olive Oil, near the Florentine town of Impruneta. She has worked with the restoration and care of vintage instruments, including Stradivari and Cristofori. Her expertise is widely known and respected across the violin making world.   She is the official luthier of the Aspen Music Festival and has been featured in many publications, including the New York Times.

The Vettori family’s workshop is located but a few steps north of the Monastery of San Marco, almost across the street from Cosimo I de’ Medici’s Orto dei Semplici. For the past three generations, the Vettori family has created musical instruments – violins, violas and cellos. The workshop space is spare, purposeful. Instruments hang from the ceiling, custom made instruments in various stages of finish work are being quietly attended to by the third generation of the Vettori family – Dario II, Sofia and Lapo.

I will defer to the family’s history, provided to me by the current Vettori family. In their own words…

“Dario I Vettori was born in Firenzuola, in the province of Florence in Upper Mugello, on 19th November 1903. He lived and worked there all his life and became known as ‘The Violin-Maker of the Mountain”
His initial interest in the violin was as a musician. He was the pupil of Emilio Benelli and his brother Vasco Vettori, who studied at the Conservatory in Imola. He later became the violist of the Quartetto Benelli.
He developed a passion for violin-making and became Primo Contavalli’s pupil. The instruments from this initial period have very deep fluting with excessive relief on the edges and very hard modelling of corners.
In 1937 at Stradivari’s bicentenary celebration Dario met Ornati, who subsequently became his principal inspiration.
Ornati’s influence (and through him, that of the Cremonese School) can be seen in the instruments completed in the fifties onwards.
The edges are lighter, rounder and the fluting more shallow. However, on the lower wings of the f-holes, the fluting remains more accentuated than those of Ornati. In his earliest work Dario used Stradivari models but later moved to those of Guarneri del Gesu. While using both the internal and external forms, he always carried out the purfling with the body closed.
He made use of local woods originating from trees that he himself selected in the mountains of the Tuscan Apennines.
Dario established very close contacts with other contemporary Tuscan violin makers such as Fernando Ferroni from whom he learned to use the external form and the fitting of linings over corner blocks (in willow or linden) which Ferroni had inherited from Cesaro Candi of Genoa.
After Ferroni’s death, it was Dario who inherited his molds and tools.
His only two pupils were his sons Carlo and Paolo.
Various awards were presented to him: three gold medals at the Exhibition of Genova-Pegli, in 1956, 1958 and 1960; a silver medal in Florence; a gold medal at the Exhibition of Cremona in 1965 for a quartet. During his life, Dario made 156 violins, 37 violas, 2 violoncellos and 2 quartets.
He died on 12th June 1973.

PAOLO VETTORI

Paolo Vettori was born in Firenzuola in 1945, a small city in the Tosco-Romagnolo Appennini mountains and is the fifth-eldest son of Dario (1903-1973), known as “il liutaio della montagna”. He started working in his father’s workshop at a very early age. ‘In the 1960s Paolo visited Carlo Bisaich’s violin workshop with his father and was fascinated by the instruments, models, molds and charisma of the important master. In the 1970s, he moved to Florence, where he was a frequent visitor and observer at the violin workshops of Alpo Casini and Sderci, where he received precious and important advice. When Giuseppe Stefanini moved from Brescia to Florence in 1986, the two craftsmen became acquainted and a deep, long-lasting friendship developed.

Paolo acquired various techniques, models for violin-making and formulae for varnishes exclusive to the Bisiach family, with whom Stefanini collaborated closely for many decades. Paolo has already built more than 300 instruments including violins, violas and violoncellos, employing a great variety of models, many of which came from Carlo Bisiach’s workshop, acquired in 1997 after the death of Sderci; the very same molds and tools that had taken his fascination in 1963 in the violin workshop in Via Puccinotti 94, avoiding in this way their dispersion. Paolo’s construction technique and style show strong traces of his father’s influence, but also of his immense experience acquired over the years. At this time, he works in his workshop in Via della Dogana with his two sons Dario II and Lapo and his daughter Sofia, everyone signing the instruments with their own labels. Together, the family continues to follow the tradition and the great adventure started by “grandfather Dario” in 1935. In 2005 they celebrated 70 years of violin-making.

DARIO VETTORI II
Dario Vettori II was born in Fiesole in 1979. He is the eldest son of Paolo and the grandson of Dario known as “il liutaio della montagna”. His interest in the world of music started at a very early age, studying cello at the Cherubini Conservatory in Florence. He also attended the faculty of Literature, devoting himself to the study of Art History.
At the age of eighteen he decided to dedicate himself full-time to violin making, entering his father’s workshop and enrolling with the ALI Professionisti in 2001. He had the chance to meet several well-known violin makers and to spend a considerable amount of time in the United States, working in violin-making workshops, such as Christophe Landon in New York, in Washington DC, Texas and taking Varnish and Acoustic Masterclasses in Oberlin (Ohio). This gave him the opportunity to learn restoration techniques and to admire original old instruments.
For the construction of his instruments he uses the molds and models from his family’s workshop, most of them originally belonging to Carlo Bisiach’s collection, once owned by Igino Sderci. The wide variety of models employed in the Vettori’s workshop is consisting of Guarneri “del Gesù”, Pietro Guarneri da Mantova, Stradivari, Carlo Bergonzi, Camillo Camilli, Balestrieri, Nicolò Gagliano, Francesco Mantegazza, Domenico Montagna, Giuseppe Guarneri “filius Andreae” and many others.
Dario mainly uses ¬local and Bosnian maple (some of which were left by his grandfather), Italian poplar, willow, cherry and pear wood as well as the traditional violin-making spruce from Val di Fiemme. He occasionally succeeds in finding old wood, which, according to analyses carried out at the University of Tuscia in Viterbo, comes from trees dating back to the 17th century.
The whole family took to researching old varnish formulas, mostly found in their grandfather Dario’s old manuscripts, which has allowed them to reach a quality that can be appreciated on each instrument of the family’s.
At the moment, Dario is working in the family workshop in Via della Dogana together with his father Paolo, his sister Sofia and his brother Lapo, though everyone signs their instruments with their own label.
Still today the family preserves its own tradition started by “Grandfather Dario” in 1935.
In 2015 they will celebrate 80 years of violin-making tradition.

As I study the many photographs available on the family’s web site (see below), the uniqueness of each instrument becomes apparent, no less the skill it has taken to create them.

The Vettori Workshop

The Vettori Workshop

The founder of this talented and dedicated family was Dario (b. 1903) whose interest in music and the violin came at an early age. He studied with Emilio Benelli and Darios’ brother Vasco. Dario’s talents were noted and he eventually became the violinist in the Benelli Quartet. It was in 1937, a few years along in Dario’s violin making efforts that he met Giuseppe Ornati, one of the greatest violin makers of his time, during the bicentenary celebration of Stradivarius in Cremona. As a result of that meeting, the style of Dario’s instruments began to reflect the strong influence of the Cremonese school.

Over time, the selection of woods for the violins focused only on special selections from the Tuscan Appenine mountains. To this day, the primary source of the woods used in the family’s instruments resonates with the roots of those same mountains and forests.

Fernando Ferroni, whose work was deeply influenced by Cesaro Candi of Genoa, was another famous violin maker who worked with Dario. Upon Fernando’s death, the molds and tools used by Cesaro and Fernando passed into Dario’s hands. During his life, Dario produced 156 violins, 37 violas, 2 violoncellos and 2 quartets-truly an outstanding collection of the finest possible instruments. He died on 12th June 1973.

A Bisaich Violin Pattern

A Bisaich Violin Pattern

Cello In Creation

Cello In Creation

Dario’s son Paolo and this family continue a long tradition of creating instruments that bring Italy’s, and the world’s, rich musical heritage to life.

Visitors to Florence can schedule time to visit the school to more deeply appreciate the art and labor of those who love the music created from instruments of such care and precision.

Contact the family directly, see below, for details about scheduling time with them.

The traditions of Stradivarius and Guarneri del Gesu as well as countless other luthiers remains alive,  thanks to the dedication and passion of the Vettori family.

Yet another little-known corner of Florence opens it doors and the rich traditions of hand craftsmanship and music comes alive.

IF YOU GO:

The Vettori family workshop is located at Via Della Dogana, 10

50121, Florence.

You can email Dario and other members of the family if you wish to schedule a visit, using: violins@vettorifamily.com. If you are in the city and wish to contact the family by phone: +39.055.287.337.

Web: www.vettorifamily.com

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The Hills of Tuscany

 

We are very pleased to announce a substantial reduction in the price for photography workshop participants. After renegotiating with vendors in Italy, and with Private Italy’s Italian support team, we are now offering this exceptional workshop for $2950.00 per person, land only. This is a nearly $1000.00 per participant reduction from our prior announced price and in no way affects the quality or itinerary of the workshop.

If you book before January 31, 2013, there is an additional $100.00 per person discount applied to the workshop price.

JOIN US!

There are few words on earth that evoke a sense of place more than “Tuscany.”

Visions of villas gold flecked in long afternoon light, hillsides of patterned olive trees, vines bearing luscious Sangiovese grape and hilltop villages whose towers pierce cerulean blue skies are all yours to capture during this photography workshop.

Our first few days are spent within, or close to, the Renaissance city of Florence. The workshop venues balance the well-known with some surprising corners of a city whose narrow lanes and quiet corners offer keen insights into Italy’s elusive beauty.

During the second part of this workshop, we move to a quiet retreat in the hills of central Tuscany. Villas, medieval abbeys, the pattern of cobble-stoned streets and the glory of Italy’s elusive, special luminance await your discerning and creative vision.

Classic Italia – Florence

This is a limited opportunity to join a group of like-minded, passionate, photographers who will learn from world-renowned photographer and teacher, David Simchock. With time for expert critique both during and after days of work ‘in the field’, this workshop will inspire you and expand your creative comfort zone. The texture of earth, the subtle play of light on stucco and stone, luxuriant gardens and the natural palette of one of the most beautiful places on earth are waiting for you.

For full details about this rewarding workshop, including our itinerary and pricing, visit 2013 Photography Workshop in Florence & Tuscany

We look forward to your joining us in bella Italia!

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