An Artistic Friendship

The Credit Suisse Exhibition: MICHELANGELO & SEBASTIANO, North Galleries, The National Gallery, London, until 25th June 2017


Sebastiano del Piombo, after partial designs by Michelangelo
Lamentation over the Dead Christ (Pietà), about 1512-16
Oil on poplar
248 × 190 cm
Museo Civico, Viterbo
© Comune di Viterbo


The North Galleries of the National Gallery provide a good background for this engaging exhibition which takes us back to Rome in the High Renaissance.  It was a time of war and religious conflict and against this the collaboration and friendship of Michelangelo (1475-1564) and Sebastiano del Piombo (1455-1547) is revealed.

The Risen Christ, about 1532-3
Black chalk on paper
37.2 × 22.1 cm
Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017 (RCIN 912768)

The talented oil painter Sebastiano arrived in Rome in 1511 and became part of the city’s vibrant art scene and he soon met Michelangelo who was painting the Sistine Chapel ceiling. They became friends and were allies against Raphael (1483 – 1520) who had been called to Rome in 1508 by the Pope to undertake the redecoration of the papal apartments.

Sebastiano del Piombo
Letter from Sebastiano del Piombo in Rome to Michelangelo in Florence, 2 July 1518
© Casa Buonarroti, Florence (IX, 468)

Paintings, drawings, letters and sculptures are used to tell the story with some exceptional loans such as the Lamentation over the Dead Christ (c1512-16) which was the first joint collaboration of Sebastiano and Michelangelo. Another of their projects the Borgherini Chapel in S. Pietro in Montorio, Rome (1516–24) – which obviously could not be brought to London – has been realistically re-created using modern technology.

The Entombment (or Christ being carried to his Tomb), about 1500-1
Oil on poplar
161.7 x 149.9 cm
© The National Gallery, London (NG790)

Lasting over twenty-five years the friendship ended when Michelangelo returned to Rome permanently to paint the Last Judgement in the Sistine Chapel.  The reason for the falling out is thought to have been an argument over painting techniques – a difference which had brought them together but now drove them apart.

HRH The Prince of Wales viewing The Credit Suisse Exhibition: Michelangelo & Sebastiano on 13 March 2017
© The National Gallery, London

This is an exhibition that demands to be seen in the flesh and I warmly urge you to do so.

Michelangelo, finished by an unknown seventeenth century artist
The Risen Christ (‘The Giustiniani Christ’), 1514-15, finished in the early 17th century
Carrara marble
250 (201 without the cross) x 90 x 51 cm
Church of San Vincenzo Martire, Monastero dei Silvestrini, Bassano Romano (Viterbo)
© Photo Alessandro Vasari

A Glimpse of Eden!

Simafra – Eden, Maddox Gallery, 9 Maddox Street, Mayfair, London W1, until 11th February 2017


Albero della conoscenza del bene e del male, 160x160 cm, mixed media on canvas, 2016

Albero della conoscenza del bene e del male,
160×160 cm, mixed media on canvas, 2016

One can quite understand why Simafra (aka Riccardo Prosperi) has become so successful with his works hanging in the homes of the likes of Cameron Diaz and other celebrities. This, his first London solo show (in association with Bellini Cipriani) consists of new works created in his Florentine studio.

Simafra says of them “I started thinking about nature when I was working on the site-specific installation at the Biagiotti Progetto Arte Foundation. The installation recreates a fictional jungle, where a real car is eaten by the jungle itself: the aim of the work is to reflect on the regenerating power of nature. During the installation, I came across a number of images of gardens, flowers and animals, that led me to the ‘Eden’ theme. Along with this natural theme, my paintings are meant to reflect on the eternal fight within good and evil, as suggested to me by our society. This theme is ancient and yet extant, just like my painting, that aims to be timeless”