I've Moved

In order to pursue some degree of simplicity I have moved my blog to my web site. It is now located at BarbaraBusenbark.com/blog

Why, You Ask?

It's great re-connecting with old friends, and being originally from New Jersey and telling folks I now live in New Hampshire, I often get the question why. All people seem to know of New Hampshire is that it's cold and it gets a lot of snow. And in truth we like to complain about that here too. It's what we talk about when we see friends and neighbors at the town dump, oopse, recycling center, the post office and the grocery store. And we do nothing to dispel such perceptions, preferring to have people think we are rugged and capable of handling anything nature throws at us which in part is quite true, using the term "us" loosely.  Although I must say, I think I have adapted to life here quite well, I pride myself on my wood stacking abilities and I've tended to farm animals, hacked ice off the eves of the house and even held elected office here (it too is part of the New Hampshire experience).

Aside from all of that though, there are days in Autumn when we say this is why we live here. Yesterday was such a day. Days like this, the air is crisp and fresh, the sun is warm and the sky being the most spectacular shade of blue is only the beginning. The trees absolutely glow with brilliant color. So instead of blathering on and on about how friendly people are here, which they are, and what a great place it is to raise children, which it is I'm just going to share some pictures of "Our Town" - which it also is, with you.

A farm on Windy Row in Peterborough

What I see when I setp out my front door and look up.

At the end of my road is the Contoocook River, always full of color in Autumn.

The Contoocook River down by the plaza

More of the Contoocook.

Walking the dog this morning, my road

 By way of follow-up, this is my studio all ready for company. "Like I said out of chaos comes order"

Gearing Up and Winding Down

Late Autumn and during the winter months my studio is a cozy refuge but when I am in the throws of the summer show season it tends to get particularly disheveled. There are but a few paintings on my gallery wall and several unfinished paintings littered about. Much as I try to continue painting in between shows it seems there's more of the "other stuff" to do. That is, putting together marketing materials, making sure my web sites are up to date and working well, making arrangements for travel, record keeping, framing and having prints done and anything else that "pops up". Last on the list, or even not on the list at all is tidying up the studio. So as I dash back in there before a show and pull out a few things to get to what I was looking for, they remain out of place until now. Now the Open Studio Tour is coming up and making my studio a showplace for my paintings is now at the top of the list.

But as Friedrich Nietzsche said, ‎"Out of chaos comes order." So it's my annual cleanathon to get ready. Mustering up the energy now, after doing six shows is a little trying, but I love it when things are in order, that may be shocking to hear from me, but it's true. Well. I guess I should qualify that with my kind of order, which I'm sure differs from someone else's or even anyone else's. Poor Tigger, even he had trouble navigating the place to find his bed.

In being brave - or foolish enough in showing these pictures I am reminded of an incident in college when I was far behind in my writing assignment for a final paper. When I started whining to a friend about how much writing I had to do, he was shocked and said "you'll never get that done!" Which was just the impetus I needed to do a fine job, and hand it in on time.

So I'm off to stuff more mailboxes with Art Tour maps, having walked several miles in the last few days to deliver a pile of them on Friday and Saturday. I'm hoping for a big turnout with the weather looking beautiful and the foliage starting to glow with yellows and reds and oranges. But really, I'd rather be painting.

Changes

Peonies

It seems a good time to reflect on changes as the summer fades into Autumn. It has been a year full of them, artistically and personally. For some, change is a scarey thing, but not for me, it excites me and makes me more curious about what could be.

Just about a year ago I began painting with a palette knife during a Lois Griffel workshop. I found it quite liberating. I had tried painting with larger brushes to get the same effect in attacking the large shapes in a painting, but it didn't work for me. A few times during the course of the year I tried to return to brushes and it was an almost painful experience, almost like having to move back in with your parents, yea you're safe, but that's not where you want to be. I was becoming convinced that palette knife was "my style".

A few months later, I was in Italy; Rome, Florence and Venice. With all the places I've traveled to, I have never been disappointed with any of the sights that are on the "must-see list".  Italy was no exception and in fact even more of an experience than I could have imagined. Seeing art, history and grandeur everywhere we turned was both overwhelming and invigorating.  Before we went, everyone I spoke with that had been there said I'd love it, even those that I didn't know very well. I thought, how would they know I'd love it? It seemed rather cliché. The truth is now I know, I can't imagine anyone not loving it. You don't have to know the person, you just have to have seen  the places we saw. But how did that trip change my paintings? People, that's how. The buildings were wonderful, but buildings and street scenes without people, well that just doesn't capture a city as alive as Rome. Couple that with the thousands of paintings and statues we saw, almost exclusively of people I felt the need to bring people into my paintings.

With new perspective and  excitement for painting I wanted to also create a more simple way to update my web pages. Knowing that then I could have more time to paint. I have new slide shows for my Watercolor and Oil painting sections. I will add more pictures in the future but it's a start. I posted a poll to see if people wanted to help me decide if this format works best for my paintings. Your input into the survey would be greatly appreciated before I add any more pictures to it. My  New Paintings page is no longer Paintings of Italy, those now have their own section. That being said there are new paintings posted there. I finally am finishing up paintings of flowers that were started when they began to bloom. I expect a few more florals will be completed soon.

More changes happened at home, one son moved to Miami and a new job for my husband. The new job brings with it an expectation of relocating. That is still in the future and such a move would bring us closer to Boston and the seacoast. The idea excites me and has me making more plans for the future. It is now the unknown which awaits us, but that's what makes life interesting. For now, I will just keep painting, kind of like Little Nemo - "just keep swimming, just keep swimming".

Today I Painted

I do try to keep some measure of practicality to my painting career. I spend a fair amount of time on marketing, designing and printing brochures and mailings. I try to keep my web site up to date and I participate in as many local art events as I can. Sometimes though, even when you know you need to be attending to the business end of things you just need to paint. 

The month of August is my busiest time. Last weekend I was in Mystic, Connecticut for their art festival, a two day show. This weekend I will be in Greeley Park, Nashua, N.H. Next Saturday, it will be Portland Maine and the following weekend, Keene, N.H. There will be a couple of weeks off before I head down to New Hope, PA. After that, the Open Studio Tour, Columbus Day weekend.

The summer started out with a show Memorial Day weekend at the Montauk, Long Island show in New York. Before leaving I took some pictures. In wandering around in search of possible subjects for future paintings I came across a garden/florist shop called Strawberry Fields. It was beautifully laid out. I took a whole bunch of pictures and I've been wanting to work on a painting ever since. 

Today I painted, it felt great to finally get to this picture. There are some other things I didn't get to that maybe I should have - but today I painted. Tomorrow, I'll have to get ready for this weekend's show in Nashua. Once again I'll pack up my truck, in the evening I will head over to set up my tent. But today I painted.

Now, They're Mine

A few months ago, I decided to take some of my older paintings out of circulation. At the time of their completion I was quite happy with them but not anymore. At first I felt like I was just tired if looking at them. Still I wasn't sure what to do with them. Some I could sand down, prime and reuse the surface for new paintings, but some I still liked. I found a place in the basement for them, still feeling like there was something else I should be doing with them.

Then today I revisited a few. I decided to hang them up in my house. Now though, instead of looking at them with a critical eye, they looked like old friends. The harshness of ousting them from the fold has passed. They are memories of having reached new strides and finding beautiful places. They are comfortable in my home and I'm happy to have them. They received many compliments which boosted my confidence so I could push forward. So, no matter what artistic merit they may lack, my walls are filling up with these gifts to myself.

There are two in particular I've chosen. The first is called "Autumn Hayfields". It's a scene from a back road that my son use to take to go to his girlfriend's house. He told me it was a pretty spot and that I should check it out to paint. I drove where he suggested, but I also told him not to drive back roads, in typical Mom fashion saying he could crash and no one would ever find him. Of course he didn't listen, but I needed to say it. When I arrived at the spot, it really didn't look like much. Still, I though, he has good taste, I figured I'd try again another day. It was a beautiful Autumn day when I went again. All of New England is picture perfect on such days probably. So was the spot Mike had told me about. Between the scene being at my son's suggestion and day being so glorious  this painting is an old friend and welcome in my home.

The other is called "Bend in the River". This one is of a place not far from my house and a road I've traveled many times. It's special for a couple of reasons. I came upon the spot early in the morning, not being a morning person, seeing the sun's effect so low in the sky is usually only at sunset for me. But I had dropped my husband off very early as he was about to fly to China on business for three weeks. Being apart for that long and in winter time when anything can happen here, I thought I would just throw myself into my painting with a new vigor to help the time move more quickly.  To that end I had brought my camera with me for the early morning drive. Seeing the light of the rising sun on the trees was beautiful. But also, that scene along the river is almost impossible to see anytime but winter. When the trees are full of foliage, the river disappears behind them. I hadn't realize there was that bit of wilderness just off the road. When my husband got home from his trip I couldn't wait to show him the new painting. He took one look at it and said "Wow". Another milestone had been reached - this one was a keeper, and so, now, they're mine.

The Perils of Plein Air

No matter what your line of work, there are phrases that are so commonly used that you forget that maybe other people are not as familiar. Painting "En Plein Air" just means painting outside. It has become increasingly popular of late but was also made very popular by earlier artists in the late 19th century. The French Impressionists were among those who favored painting en plein air. Before that paint was made in the studio before painting. While some of the early plein air painters did mix their own paint and packed it to bring with them it was really when paint was put in tubes that made the difference.

All that being the case, I have been working at my plein air painting almost from the beginning. I keep trying to refine my style and my gear. As with any painting I start hearing voices in my head when I work - the voices of every instruction I've ever learned, with many contradictions thrown in for good measure. Too much color, not enough "pure color", too much detail, not enough detail, so, short of screaming back I just keeping working at trying to make good pictures, everyone agrees that's the idea.

Now, lets add in the elements, yea, those elements, earth, wind and fire. There is the romantic ideal, painting the beauty of nature on a glorious day, and then there is the reality. Even on the best days, nature happens. Let's start with wind, there's the nice cooling breeze that keeps you comfortable and there's the wind that knocks you're painting to the ground, giving it that nice textured look with the dirt mixed into the paint. A real authenticity to your earth colors. Of course, with the proper set-up, you're painting will be secure, but the wind will still be a factor. Those lovely clouds you're trying to capture, well they are floating along in that breeze. Either paint quickly to get them as they are, or you kind of "wing" it.

Those floating clouds also tend to change the light even more quickly than the sun as works it's way around you. Again, you must decide, where is the sun coming from in your painting, because it's not going to be in the same place when you're finished. I was told to bring a compass, so you can anticipate where it will be. I have a compass tied to my backpack, but I've never used it. It looks good though. I'm not sure I could really use it properly anyhow. The fire element can also be the sun burn too. Sun screen is also in my backpack, along with my ipod, paper towels, paints, brushes, palette knives, mineral spirits, business cards, phone, garbage bags, foot warmers (for winter months), a sketchbook and bug spray. Bugs are a special favorite, between the bite and the landing in the wet paint on your canvas, I'm not sure which is more irritating.

Having a backpack leaves my hands free to carry my French box, which is not light. It goes from being a wooden box the size of a brief case, to unfold into an easel and palette on legs. Of course I also have my lunch box (no not the old school kind with Bugs Bunny or GI Joe on the side) but an insulated bag with a shoulder strap.   My camera is also hanging around my neck. I do ok, lugging my gear around, it's good exercise. But once again there's a catch, what do you do with the wet painting when you're finished. The French box has a carrying mechanism when it's closed up, but it's not a very snug fit and brushing up against anything could be a disaster.

With each of my outings I learn a little more. There is one practice I have now abandoned though. That would be putting the finished painting on the hood of the car as I pack the rest of my gear back into the back of it. It always seemed like a good idea. Get the gear in there and then much more carefully put the painting in, in a way that it is protected. The only problem is the fatigue factor. Usually by the time I've hauled gear to a site, set up, painted a few hours and made my way back to the car, I'm tired, and forgetful. Like the time leaving the Arnold Arboretum this Spring. It was beautiful day, with the flowering trees and new grass. My routine however failed me as I headed up the on ramp to leave Boston and I watched my painting fly off the hood of my car. It wasn't a very good painting anyway, the tire treads didn't help either.

Here, There and Everywhere

"I am still learning," Michelangelo. So I feel like I'm in pretty good company as I continue studying my craft. Last night was my last class in perspective drawing. Tomorrow morning I'll head up to the White Mountains for a three day painting workshop with Stapleton Kearns. When I started painting again, I took about every class I could. Now, it has more to do with who is offering the class or workshop. Being able to learn from those who have mastered drawing and painting is a gift, especially those who enjoy teaching and sharing their knowledge.

 So while the mountains await me, it was just a couple of weeks ago we traveled down to Montauk, Long Island, New York for an art show. Being a painter seems to instigate a bit of travel for different purposes. Even though I grew up in neighboring New Jersey I knew nothing of Long Island, especially the end of it where Montauk is. As with all art shows, we packed the truck with as much as we could and set off. 

We had tickets for the ferry in New London, Connecticut at 3:00. This being a new destination we weren't quite sure how long each leg of the journey would take. Taking the ferry was a new experience as well. The last time had been many years ago, on a trip to Nova Scotia, but this was different.  We had a schedule to meet, this was not vacation.


We arrived in New London early and were able to get on on earlier ferry. That was lucky because they were all sold out, it being Memorial Day weekend. We would have two more ferries to go before we reached our destination. The motel we were to stay in was very close to where the show would be so that was easy. Also, we could set up Friday night which always makes for a better process.  Having to frantically set everything up a couple of hours before people arrive, and it being early in the morning, never is a good combination, for me anyhow. 

So once we arrived at the center of Montauk and found our spot we started to unload the truck and set up the displays. The paintings would wait until tomorrow morning to be unpacked. There were many tents already set up and closed up in anticipation of tomorrow's show. As we saw license plates for others we realized people had come from all over for this show. My neighbor to the left was from Wyoming and on the right was from Chicago.

While our original plan was to have lunch in New London before boarding the ferry, we chose to get the earlier ferry and so had forgone eating. So getting set up took on a greater urgency. Of course Rick was more patient and thorough than I and went about his business as usual. We have a system in setting up, Rick barks orders and I obey. Yea, not the usual way things work, but he's the best roadie I've ever had. It's pretty much the same at break down time too.

So once done, we headed off to our motel and checked in. Then off for some food. The weather report for the weekend looked great. The next morning we got up early to go hang my paintings. This part of the setup is all me.  So magically, our little 10' x 10" square turned into my showroom.


This was the first show with my paintings of Italy. I wasn't sure how they'd be received, both because of familiarity and since they are quite different from my usual landscapes. I was pleasantly surprised at how many compliments I received for them. I had really enjoyed painting them and I was glad others enjoyed them as well. For some, it was because they too had been to Italy and loved it, for others it is a place they dream of going as well. Dealing directly with people looking at my paintings is my favorite aspect of doing these shows. Seeing their faces as they look tells you more than any words can say. But, once the show was over. we packed everything and loaded it into the truck, now,  it was our turn to enjoy the scenery.  The weather was beautiful just as predicted and one more adventure was over.

Time

Time, no matter what you do for a living, time seems to always jump into the conversation. For painters it's a question that comes up often. How long did it take you to paint that? It seems like a reasonable question and in all likelihood just a matter of curiosity. But it's not that simple. And artists tend to feel as though you're asking how much do you get paid per hour.

Tracking the amount of the time it takes to create a painting, starts well before the paint ever hits the canvas. Painting plein air (outside) or in the studio has to start with a subject. When I decided to start my series on the White Mountains I wanted to capture them in different seasons for the variety of color.  I also wanted to include at least one painting of Mount Washington, more if possible. That's easier said than done because it is covered by clouds more often than not.

It's a three hour drive so I often checked the weather and the web cam's of the area before beginning the trip. Even with all my preparations, after multiple trips I still was unable to see the peak of Mt. Washington so I would paint or take pictures of other scenes. Finally, staying up there for a weekend, the clear blue sky showed off Mt. Washington's snowy peak in all it's glory. I completed several paintings that weekend and then I worked on a larger version of one in the studio. I also worked from photographs of previous trips to continue the series.

So how long did it take to paint the studio version? When did the clock start ticking?

No Fear

It reminds me of the first day of school. I just know I'm going to do better than last year. I'll try really hard and I promise I won't talk too much in class. You just have to dive in there and go for it - no fear. That's what I'd always said to myself anyhow. But here I am about to start my 6th year of doing the circuit of summer art shows and I still feel like I'm going off to Kindergarten - well, maybe not kindergarten. Tomorrow, Rick and I will head to the Montauk Fine Art Show, Montauk, Long Island, N.Y. It's a juried show with artists from all around the country. I feel fortunate to be one of the artists chosen to participate, and also like that little girl on the first day of school, only it's good to talk to your customers, so I should do just fine.

I'm not sure though, that I can really count the first year as being part of a circuit of shows, since I only did one - Keene, N.H., Art in the Park. It was both exciting, terrifying and humorous in looking back. I didn't have any display panels, so Rick built me some. We had gone to a few shows to "scope things out" and see how it's done. I was checking out prices and Rick was taking notes on displays. "I've got a few ideas" he said, about how he could make me a setup. It so happened that it was the same year we were turning the barn into my studio. I guess that's how he came up with the idea. For a grill to hang my paintings on, Rick used the old fencing we still had from my pygmy goats and I draped sheer curtains over them to dress them up, and to hide the goat fur I couldn't get off. Much to my delight and surprise I sold several paintings. Watching people smile as they looked at my work was an amazing feeling.

The next year I did a couple more shows, and the year after that a few more. I won awards at the Beacon Hill Art Walk one year and at the Manchester Art in the Park another year. One year I looked for every show I could find within driving distance. That was good experience but more shows didn't necessarily mean more sales. There are shows where people come to look, ones where people come to buy, and ones that are not very well attended. Once I learned that lesson I started to look more carefully at which shows I wanted to participate in.

Each year I've tried to improve not only my painting but my setup. It's taken a while but now I'm very happy with my display - the goat hair is long gone but you've got to start somewhere. I want it to be attractive and welcoming.  The finishing touch is always the table in front because on it is a table cloth my mother embroidered for me many years ago. 

This will be my first year at the Montauk show. Being juried into a show in the New York area is like the first show, both exciting and terrifying. But firsts are suppose to be that way and so I'm anxiously looking forward to it - maybe someone could just give me another little push....

The rest of my schedule for the season can be found on my web site.

Leftovers, Not Finished Yet

One of these days I'm going to have to change the title of my web page New Paintings of Italy back to plain old New Paintings. I'm just not quite there yet. I'm still working on paintings of Venice. Our visit there was far too brief. It started with our arrival at the train station in the late afternoon. It was rainy and windy and lugging our suitcases, however efficiently we thought we'd packed, up and over the Grand Canal on the Scalzi Bridge, made for a somewhat rough start. Things smoothed out rapidly though. Our hotel was right on the other side of the Grand Canal across from the train station. Once we entered Hotel Antiche Figure it was clear we were in good hands.

Because we had limited time we jumped right in when the concierge asked if we wanted a map and some suggestions of getting around and where to go. I didn't know much about Venice, I'd done more reading up on where and what to do in Rome and Florence. All I knew was Sam Marco was first on the list. The phone rang as the concierge was showing us the map, he answered the caller in French and then returned to us in English. The particularly interesting tidbit he told us about was a special the island of Murano (as in Murano glass) was running. Murano Chamber of Commerce would provide you with a free water taxi ride to their island and a free tour of the Murano Glass Factory. That sounded great, but San Marco would have to come first so we said sure, Friday we'd love that, and he arranged for the water taxi to come Friday morning.

Thursday morning we got 2 day passes for the water bus and hopped on for the ride down the Grand Canal to Piazza San Marco. It was quickly apparent what a magical place this was. Every kind of water vehicle passed us, mail, UPS, construction, delivery. It was amazing. As luck would have it, Mardi Gras was just starting so when we arrived at our destination there were people in costume wandering through the crowds. We were also approached by members of the Murano Chamber of Commerce telling us about the free taxi ride to Murano. I told them we'd be going tomorrow - "Oh no, the factory is closed Fridays" he said. Well given the choice between San Marco and the surrounding museums and a glass factory, it wasn't a hard decision.

We continue on to explore the area's sites. Between the mosaic art and elaborate architectural details of Saint Mark's, and the surrounding building and the costumes, it was truly a feast for the eyes. Of course once you throw in the history of this magnificent place and you quickly can become overwhelmed.  We made it through the group of museums in the area and then went to enjoy the festivities. Before the parade there were several smaller theatrical performances. Then the parade of costumes. They were very elaborate and the participants enjoyed playing to the crowd as well. While our first day in Venice was overcast, the city had more than enough color to be completely delightful.

Walking back to our hotel was rather easy to find, that is because of the signs posted everywhere pointing to the train station, among other places. Absent those signs, for the life of me I can't imagine how you would be able to navigate the maze of twists and turns, over little bridges, through squares and down alleys.  Once we got back to the hotel we then went to dinner to a restaurant that I had read about on TripAdvisor.com, Ostaria al Vecio Pozzo. The food was so fabulous I wished I hadn't eaten all day so I could finish every bite. We had chateaubriand along with pasta stuffed with seafood. If we ever get back to Venice, that's where we're going to eat, with no appetizers ahead of time.

Friday morning we were a little unsure about our water taxi ride to Murano after the men at Piazza San Marco had said the factory was closed on Fridays. To be sure we went to the front desk to ask about what we were told.  With great charm and good humor the concierge laughed out loud and told us he lied, they're open, they just want you to visit when they want. We can go whenever we want and he'll arrange the water taxi. The woman concierge told they'll want us to buy things but we don't have to. Then she told us of Burano, where they make Venetian lace - by hand - "It's the prettiest of our islands" she said. She went on to say we should haggle over the price of lace if we wanted to buy something... that got the shopper in me ready to roll!

Deciding What to Paint

The last several weeks I've been printing out pictures of Italy like crazy, blowing some up to catch all details, while others just printing to decide if I really do want to paint them. Some things I just have to paint as soon as I see them, of course the pictures don't always capture what I see. That's when Photoshop jumps to the rescue. Then I can add the contrast, or light that my eye saw. Sometimes though, I have no idea what I thought was so exciting about a scene. Other times, my camera catches something I didn't. That happened more than once with the pictures I took in Rome, on the rainy day we spent walking from the Villa Borghese, to the Piazza Popolo, to the Trevi Fountain, and to the Piazza Navona (which by then it was dark and we were too tired to see and the Bernini fountain was covered for repairs anyway).  I guess it's good we threw our coins in the Trevi so we have to go back.

Trying to capture everything you see with the camera is difficult. Setting up a nice picture isn't so hard, but capturing the place is, especially if you want to paint it later and recreate the atmosphere of the day. So the things I wanted to get were the buildings, not just the landmarks but the character of the whole architecture of the area, old and colorful and decorative. The sky, which had some great stormy clouds and some nice bits of light where the sun was trying to peek through was also an important part as well as the reflections in the puddles. Then there were the people. The umbrellas were one thing, what is it about paintings of city streets filled with umbrellas that is so appealing? But these umbrellas were of all different colors and patterns which made the dreariness of the day brighter. There were people who looked like they were on their way to a meeting, others shopping and then there were couples lending romance to the scene. So in spite of the weather, this was a lively place, full of activity of all sorts. And clearly, more than any snapshot can show.

The Piazza del Popolo, or "People's Square" was designed much the way St. Peter's Square was, as two semi-circles. The churches, Santa Maria in Montesanto (built 1662-75) and Santa Maria dei Miracoli( built 1675-79) stand on ether side of two of the three roads which converge at the square. That view, of the two identical churches while impressive and very beautiful, but it wasn't what I wanted to paint. It was when I saw the couple sharing a red umbrella in front of the church on the left that I saw a painting. Capturing that picture, without seeming like I was taking a picture of that couple (which I was) was tricky. So, ever so inconspicuously I got them, the church, and a bit of the sky.  The bonus things my camera got were the couple coming along to my right, and all the other folks attending to their business.

For larger image go to http://barbarabusenbark.com/Pages/newpaintings.html.

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All Aboard - Off to Florence

Florence, what a wonderful place. The train ride in was uneventful, which was nice. We took the express train so it was just an hour and a half ride. The weather was gray but not too bad. When we arrived we said no to the taxi cabs and walked away from the train station and got out the map - which way now? Our hotel was right next to the Ponte Vecchio so it shouldn't be too hard to find. Still, the roads here, like Rome, zig zagged and only some had street signs. The next time we pulled out the map, a young woman asked if we needed help and gave us directions. A very nice welcome that was.

It was an amazing place, very medieval and very charming. It was full of people but not overcrowded. It was not too long a walk to the hotel, and the signs for the major sights were posed throughout the city so we had no trouble finding our way once we got the initial directions. We passed several outside markets - it was Saturday so I wasn't sure if that was just on weekends that they were there. Walking through the Ponte Vecchio the first time was fun. Teaming with people and the gold in the jewelry store windows shone so brightly in the lights that it had a magical quality.

It was about 3:00 when we checked in so we dropped off our suitcases, I changed my shoes, I had worn my new boots for the trip to Florence, and headed for the Pitti Palace, down the street. The Pitti Palaces was built to compete with the Medici's. The problem was the Pitti's went broke and the Medicic's wound up with it anyhow. The building itself is pretty ugly, but the artwork inside was amazing. And of course, once we entered, there they were - THE STAIRS! Once again a huge staircase awaited. Well, when the ceilings are 20 feet high, you get a lot of stairs.

 

How does anyone, or any family own such a collection of artwork, yes it was hundreds of years in the collecting, but still the question did come to mind. Our tour of Medici holdings didn't end there. There was the Medici Palace and the Uffizi, all filled with paintings and sculptures belonging to the Medici family at some point. The interesting part was the palace was part museum and part city offices. I loved that, though is was confusing when we exited one exhibit area and wound up at the door of the police station. The last Medici donated all of it to the city of Florence. 

Beyond the Medici throw in the Acadieme Galleria where the original David is and the Bargello Museum where there are more Michelangelo and Donatello sculptures and you've got yourself an unbelievable place - all within walking distance of one another. Still, I liked seeing the fake David in the Piazza Della Signoria where it once lived, along with the other giant sculptures.  Just imagine living in a place where such grandeur is parked in the city center, outside town hall. 

It got to be rather comical keeping it straight, which were real and which were fakes since the Academia Gallery had roomful of of sculptures saying things like the original is in the Uffizi or the Bargello.  Most of the times when we were in museums there were groups of school children, it being during the week and winter. At one point as a group passed us I turned to Rick and asked if he thought they knew how lucky they were "Not a chance", he answered. The fun part was watching how teachers and students responded to one another - there was no language barrier watching that. 

Going to the Medici Chapel was especially exciting - I had brought a page I had ripped out of my sketchbook with me that I was aching to be able to use.  A couple of months before we were to leave, I had taken a workshop to strengthen my drawing skills. The instructor made some mention of Michelangelo as we approached our break. I told him we were going to Italy, Florence in February. He told me he'd studied there for 3 months and it wasn't enough time. - but he also told me there was a room in the Medici Chapel where they had locked up Michelangelo during an invasion to keep him safe. During his stay there Michelangelo had drawn all over the walls and it was an amazing place. He wrote down in my sketchbook the Italian for this place. He told me to ask a guard if I could see it.  After going through the chapel, which was undergoing major renovations, I took out my slip of paper and showed it to a guard. "no, no" she shook her head. She was a little startled, as in, how do you know about that? There was no way she'd let us in - wherever it was, and didn't seem to have the authority anyhow. But it was very clear, she knew about it. I would have loved to have seen it, but the look on her face was very telling all by itself. I was also glad to see the chapel for Lorenzo d' Medici, Michelangelo's first patron. Michelangelo never quite finished what he's started for Lorenzo, but I was glad to see the special relationship honored.

You can't speak of Florence and not talk about the Duomo and Santa Maria del Fiori. It was spectacular. Covered in white, green and red marble, with mosaics and with soaring heights, it is beautiful and glorious. Throw in when it was built and it defies imagination.

Jaw dropping art was one reason to love Florence, the people were another. Our first night we went to Osteria del Cinghiale Bianco for dinner, it was right down the street from our hotel and had received good reviews from TripAdvisor.com. It was a great choice and we continued to eat there two more nights. We had "our table" and the wait staff was wonderful with us. The first night I had wild boar stew, what a treat. For so many years I had been reading books based in the middle ages and always they were eating wild boar - and now I got to have some. I also had the pumpkin ravioli. The best was on night 2 when Rick and I shared a Florentine steak. It was the best steak we'd ever had - including in Wyoming! With that being so good I had sliced sirloin with arugala, shaved parmesean and diced tomatoes. They gave us lemincello as a complimentary cordial the last night along with a little gift, a little clay dish bearing the wild boar insignia. 

The other treat was the stationary store near the duomo. We stopped in to see some of the famous paper made in Florence. The man was so nice, he gave us a demonstration of how they make marbled paper. He then dried the paper and gave it to me. It really was a great day.

 

The Vatican and more stairs ……

Walking was becoming our sole mode of transportation. On the way back to the hotel from the Trevi Fountain, we purchased tickets for the Vatican Museums and St. Peter’s Basilica at the tobacco store – yes, that right, the tobacco store. That’s also where you buy tickets for the bus and subway. The shopkeeper also told us which bus to catch to get to the there so we were all set for the next day. The good part was that during our walk the view of the sun setting over the ancient sites was beautiful. At dinner I suggested we take a Taxi to the Vatican, it worked out well for going to the Borghese, and it was about the same distance. That was an easy sell.

Our tickets were for 10:30 and we arrived a little early so we roamed around St. Peter’s Plaza and watched some workers dismantling the Nativity scene and take the ornaments off the huge Christmas tree. It was quite and elaborate setup but if the Vatican can’t go all out who can. The time spent waiting was also another opportunity to people watch.There were people from all over, but the ones I like to watch are the Italians. Between their stylish clothes and their expressive way of speaking along with the hand gestures it was like watching a theatrical production every time a conversation broke out.

At the appointed time we went to the spot where our group was to meet and a guide walked us to the entrance to the museums. That was the extent of the guide’s job, which was fine. What followed was a stunning array of archeological finds, a few mummies and a lot of sculptures and religious artifacts. I patiently worked my way through the rooms, always keeping my eye on the signs for what was ahead.  There was a long room filled with frescoes of maps of areas of Italy over time. That was very interesting. But no matter what I was still holding out for the big one. We continued on, there seemed to be no end to the displays.

Another sign reminding us the use of cameras is forbidden and this is a sacred place was like a drum roll for me. We were about to enter the Sistine Chapel. The chapel itself was different from what I’d imagined there was dark wood along the walls with built in benches all around the circumference of the room. The chapel was long and rather dark, with an arched ceiling. I looked up and felt an emotional jolt. The colors were beautiful and the figures were so powerfully rendered that they had a presence all their own. Sitting in the corner, one of the figures seemed to be ready to step out of the fresco. As I continued looking I could see what I had recently read about. When Michelangelo reached the halfway point there was an unveiling, with the scaffolding removed so Pope Julius II could see the progress. When Michelangelo saw it from the floor, he thought the figures were too small. After that he made his figures larger, which when you look you can see how much more imposing the figures re closer to the altar.The wall behind the altar was amazing. We sat on the benches and just stared in awe.


After seeing the Sistine Chapel we continued on to a few more rooms before we decided to exit. I had wanted to see Raphael’s work but somehow we couldn’t find it. Maybe that we didn’t have a map had something to do with that. So Rick picked up his backpack and we returned our audiphones and out we went into the fresh air, another partly cloudy day in the 50’s. It was good weather for walking once again. Our other set of tickets was for St. Peter’s Basilica at 3:00 so we had time to find some lunch.

Just as the guidebooks say we headed off the main street in search of a place to eat. We found a little spot a couple of blocks away that had a sign saying it was recommended by Rick Steves and Frommers. That sounded good and in we went guided by a young lady standing outside inviting passersby to come in to dine. We walked down a few stairs and sat down at the table. It was a great choice I had spinach and cheese ravioli with a very light cheese sauce. The pasta was so light and delicious I wish I could go back many times again.  Several locals showed up as well and it was clear they were all well acquainted, another good sign. I also had a salad, there was no choice of dressing she just brought the oil and vinegar caddy to the table. That was good enough for me.

Sufficiently rejuvenated we headed back to the plaza. I tried a few sketches of the basilica which were not very successful but kept me occupied while we waited our next tour. It was good we rested, part two had us climbing to the top of the dome. It was worth it, but a little tiring to say the least with Rick once again repeating the refrain of Rome, more stairs. Then to the inside and yet more amazing sites. There were marble columns and the marble floors and mosaic work covered the inside of the dome.  Everywhere you turned there was more to be in awe of.  But there was yet one more site here that I was very anxious to see - the Pieta by Michelangelo. No one could made a piece of cold marble turn into real beings like him. It sat enclosed in glass and shining brilliantly.  I felt very fortunate to be able to see this stunning piece of art.

Once again I was being overwhelmed by everything I was seeing. It was getting late and time to think about heading back.  And once again we considered our transportation options. True to form we opted to go it on foot. The thinking was we could always get a cab if we ran out of steam. As we headed out we passed by a couple of the Swiss Guards. These guys must get their pictures taken more than super models. But who can resist the Michelangelo designed uniforms? A few quick pictures of them and we were on our way. The thinking was maybe we can make it to the Pantheon on the way back. Once again though we were part of a Roman sunset that made the scenes even more beautiful. Turning around now and again to see it was part of the journey back to the hotel. We knew this was going to be a long walk but walking was also part of experiencing the city itself. And of course there is that "when in Rome" business. The only hazard of walking is that bit about not getting run over by a car when crossing the street. At least the bridge we took to get back across the Tiber River was for foot traffic only,  it also provided a nice view of Castel Saint'Angelo.
The walk was long, we did get to the Pantheon, and we did make it back to our hotel, how we did that, I'm not really sure.