This summer, while living in Barcelona, I had the chance to review Art Ticket Barcelona. And I must say this pass is the perfect thing for any art lover. If you plan on visiting any three of Barcelona’s premiere museums listed on the Art Ticket Barcelona, then you’ve already paid for the pass in one go. And with the pass, you might be pushed to discover some museums and galleries you might never have thought of seeing before. But many of these might open your eyes to works of art you will come to have a deep appreciation for.

Table Of Contents

1. About the Art Ticket BCN
2. #1. Museu Nacional d'Art de Catalunya
3. #2. Fundació Joan Miró
4. #3. Museu Picasso
5. #4. The Museu d’Art Contemporani de Barcelona
6. #5. The Centre de Cultura Contemporània de Barcelona
7. #6.

About the Art Ticket BCN

Barcelona Art Passport invites you to take a fascinating journey through the art at the six best museums in Barcelona. Discover the finest collection of Romanesque mural paintings in the world, enjoy Modernisme and be surprised by the most contemporary art and creation at the Museu Nacional d’Art de Catalunya, the Museu d’Art Contemporani de Barcelona and the Centre de Cultura Contemporània de Barcelona. The universes of Miró, Picasso and Tàpies await you as you embark upon this unique experience. The most obvious benefit of these passes is that you will save 45% off the normal admission price. But you also get to skip the line, which can be a real-time saver, especially in the busier summer months. The pass is also valid for 12 months, so if you plan on returning, it is easily spread out over a longer period.

How it Works

The best way to purchase the Articket is online. Once you’ve purchased your ticket online, simply exchange it for your Barcelona Art Passport at the ticket desk of any Articket museum. Then enjoy the experience of seeing the best art in Barcelona!

As someone who loves pieces of ephemera, I was so gleeful when I saw them stamp my actual art passport in each museum I visited. I loved collecting all the stamps as we went!

If you’re unfamiliar with some of the museums and galleries on this list and are considering buying the pass, I’ve given you all the details about each museum. As well as some of my favourite artworks in each space. This piece better helps you understand the culture and history of the Catalan people, as well as the artistic movements that put Spain and Barcelona on the map!

#1. Museu Nacional d’Art de Catalunya

The Museu Nacional d’Art de Catalunya sits in the towering Palau Nacional that looks over the city like an artful guard tower. The Palau National was the piece-de-resistance of Barcelona’s 1929 International Exhibition, so even just visiting the museum building itself is an experience. The Museu Nacional d’Art de Catalunya is the largest museum in Barcelona. It exhibits the world’s finest collection of Romanesque murals. Included in the collection are some fantastic paintings by influential Spanish painters El Greco and Diego Velázquez. It is also a wonderful place to visit to see beautiful examples of Catalan Modernism, with works by Gaudí. To end the experience, head to the roof, where you can enjoy 360º views of Barcelona.

Frescos of Church of Sant Climent de Taüll

The most important artworks to see in the museum are the Romanesque frescos. These incredibly preserved artworks from the Church of Sant Climent de Taüll were painted 1000 years ago! If they had been left in their original location they would have been lost to the ages, but art collectors and historians managed to move the fresco, by striping them off the walls and reproducing the exact same architectural details of the original churches here inside the museum. Here they will rest for ages to come in an environment which will assure their safety for hundreds of years to come. These frescoes are still as vibrant and the faces of the people painted on them still astonishingly emotive. It’s amazing to see the amount of colours used throughout and makes the world of thousands of years ago that much more amazing.

The Spanish Wedding by Marià Fortuny

Going ahead a few hundred years in Spain, we find ourselves in the middle of Catalan Modernism. Marià Fortuny is one of the most important Spanish artists of his era. He is best known for his incredibly detailed paintings, which provide an almost photo-realistic view of what life would live looked like in Spain in the 1800s. In this painting, we see the scene of a wedding party assembled to sign a wedding contract. Surrounding the group are textiles and furnishings which give us a glimpse in the styles popular at the time. Seated to the right of the wedding party are lower class groups of lower class people, highlighted with a bull-fighter in full regalia.

Address: Parc de Montjuïc, 08038 Barcelona
Hours: From 10 am to 6 pm, from Tuesday to Saturday.
Until 8 pm, from May to September.
From 10 am to 3 pm, Sunday and public holidays.
Closed: Mondays (except public holidays), Jan 1st, May 1st, Dec 25th

#2. Fundació Joan Miró

The Fundació Joan Miró is an internationally renowned museum where visi­tors can enjoy and learn more about Joan Miró. Joan Miró’s imaginative and abstract art, characterized by playful shapes, vibrant colours, and dreamlike symbolism, blurs the lines between reality and fantasy, incorporating elements from his Catalan heritage and personal experiences. He was a pioneer in surrealism and contributed significantly to 20th-century modern art. 

The Fundació is an exceptional building designed by the architect Josep Lluís Sert. It stands inside the Parc de Montjuïc, and you can enjoy magnificent views over Barcelona. So even a trip up here will provide you more than just a visit to a museum but also a fantastic view of the city.

Catalan peasant in the moonlight

Catalan Peasant in Moonlight evokes two recurring themes within Miró’s body of work: the connection between humanity and the earth, symbolized by the peasant figure, and the mystical allure of the night, represented by the moonlight. The fusion of man and the earth becomes evident through the shared use of the colour red, both for the peasant’s face and the exposed portions of the landscape. However, in Miró’s artistic universe, the boundaries between sky and earth blur, highlighting their interdependence. This interplay results in a harmonious exchange: the peasant’s attire adopts the hues of the night, while the sky assumes the tones of the field. Additionally, the moon’s shape hints at a sickle, imparting a poetic layer of meaning to the scene.

Pair of Lovers Playing with Almond Blossoms

During the 1970s, Miró began to explore larger and more ambitious sculptural projects, receiving notable commissions for outdoor pieces, which he enthusiastically embraced. Pair of Lovers Playing with Almond Blossoms embodies a minimalist approach, featuring simple shapes adorned with vibrant colours, suggesting that the larger sculpture closely adhered to the smaller original model. The artwork portrays two abstract figures within an enigmatic, perhaps surrealist, realm.

One figure is a tall cylinder with yellow and reddish sections, crowned by a blue spherical shape embellished with prehistoric-style abstract motifs imbued with symbolic significance. The second figure is a tall structure with a pointed blue element leaning away, accented by a red, claw-like feature around its midpoint. This element could be interpreted as a hand reaching out to catch the ball perched atop the other figure, though further exploration is required for a definitive interpretation.

Address: Parc de Montjuïc s/n, 08038 Barcelona
Hours: Tuesday, Wednesday and Friday, from April to October, from 10 am to 8 pm
Thursday, from 10 am to 9 pm
Saturday, from 10 am to 8 pm
Sunday and public holidays, from 10 am to 3 pm
Closed: Mon (except public holidays)

#3. Museu Picasso

The Museu Picasso of Barcelona is the reference centre for Pablo Picasso’s formative years. The 4,355 works of the Muse­um’s permanent collection reveal the genius of the young artist. The Picasso Museum of Barcelona is filled with a piece of Picasso’s work before he discovered Cubism, but many of which lend hints of what’s to come. Some people might be disappointed not to see any of his more famous pieces, but I think this collection is unique and truly personal to this city. We’ve all seen, at least in photographs, most of Picasso’s classic paintings, but these hidden gems are something you’ll only find in Barcelona. And they give us a glimpse of a young, burgeoning Picasso.

Science and Charity

At first glance, Science and Charity looks like it was painted by Goya or Fortuny. You’d never have imagined that a painting with such attention to realistic detail and subtle tones would be from the same man who later was defined by primitive geometric shapes and powerful colours. As a child, Picasso was a prodigy, and his father encouraged him to enter this piece into a competition, launching his career into the stars, where it would only expand from there.

Las Meninas Series

Pablo Picasso’s series of paintings based on Diego Velázquez’s masterpiece “Las Meninas” is a notable example of his exploration of art history through reinterpretation and reinvention. Picasso created a total of 58 paintings, drawings, and studies inspired by Velázquez’s iconic work between 1957 and 1961. In these reinterpretations, Picasso reimagined the characters and elements of Velázquez’s composition in his distinctive Cubist style, which he had pioneered earlier in the 20th century.

The original “Las Meninas” depicts members of the Spanish royal court, with a young princess at the center and various attendants and courtiers around her. Velázquez’s painting is celebrated for its complexity, use of mirrors, and exploration of perspective. In Picasso’s versions, he fragmented and deconstructed the figures, reshaping them into abstract and geometric forms. Faces became masks, and bodies dissolved into angular and overlapping planes. Picasso’s reinterpretations play with the viewer’s perception of space, form, and identity, challenging traditional notions of representation in art.

Address: Fundació Museu Picasso of Barcelona, Montcada 15-23
Hours: Tuesday to Sundays: 9am to 7pm (including holidays)
Thursday: until 9.30pm
Monday: 10am to 5 pm (from July 24 to September 25)
Closed: 1st Jan, 1st May, 24th June and 25th Dec.
On 24th and 31st Dec museum closes at 2.00pm.

#4. The Museu d’Art Contemporani de Barcelona

The Museu d’Art Contemporani de Barcelona, commonly known as MACBA, is the most prominent contemporary art museum in Barcelona. The MACBA Collection consists of artworks produced by artists from Catalonia, Spain, and around the world, primarily from 1960 to the present day. These collections encompass a diverse array of artistic mediums and materials, encompassing painting, sculpture, drawing, collage, assemblage, objects, installations, audiovisual creations, and sound recordings, among various other artistic forms and expressions.

Self Portrait, Jean-Michel Basquiat

Basquiat’s self-portrait is a highly charged piece with many influences and expressions. Basquiat himself was highly inspired by Spanish painter Pablo Picasso’s work, which is especially evident in this work. He combines dynamic use of colour and abstract forms to convey layered meanings throughout his paintings. Basquiat was one of the first “graffiti” artists to make this type of work considered “good enough” to make it into the galleries and now is considered one of the seminal artists in the neo-expressionist pop movement. The brush strokes and colours used throughout the piece convey such emotion and, in this piece, anger; it is hard to view the piece without becoming enraged yourself.

View this post on Instagram

A post shared by MACBA Barcelona (@macba_barcelona)

Barrière, Jaume Xifra

Jaume Xifra was a famous Catalan Conceptual artist. In 1959, he fled to France to escape the dictatorship. And it was here in France where he would pour his traumatic experiences into a new form of art. Xifra worked with cheap materials and objects to critique the world of consumerism. ‘BARRIÈRE’ is Xifra’s commentary on the police’s control over the people. A barrier, a device supposedly used to protect pedestrians, is here covered in barbed wire. Putting the supposed pedestrians at risk and creating an even more violent separation of the people from the state.

Address: Plaça dels Àngels, 1, 08001 Barcelona
Hours: From 11 am to 7.30 pm, Monday, Wednesday, Thursday and Friday.
Until 8 pm, from June 24th until September 25th.
From 10 am to 9 pm, Saturday.
From 10 am to 3 pm, Sunday and public holidays.
Closed: Tue (except public holidays), Jan 1st, Dec 25th

#5. The Centre de Cultura Contemporània de Barcelona

The Centre de Cultura Contemporània de Barcelona (CCCB) is a vibrant cultural center dedicated to contemporary culture and the arts. It serves as a multidisciplinary space where various forms of artistic expression, including visual arts, music, literature, film, and digital culture, converge. Unlike the other museums on this list, the CCCB hosts a diverse range of exhibitions and installations that explore contemporary themes, trends, and issues. These exhibitions often incorporate innovative approaches and multimedia elements, encouraging visitors to engage with contemporary art and culture in thought-provoking ways. But the program is always changing as there is not a permanent collection.

When we visited, the exhibition on display was titled “Sade: Freedom or Evil.” This exhibition explored the contemporary cultural, philosophical, and political impact of the Marquis de Sade. De Sade’s writings are seen as both liberating and corrupting, embodying a philosophy of freedom and evil simultaneously. The exhibition delves into his influence on artists and intellectuals, as well as his role as an icon in mass culture. Although the exhibition was pretty confronting, it was by far one of the best-curated art exhibitions I have seen in years. So I can confidently say that any exhibition you come to see here is bound to be of the highest quality.

Address: C/Montalegre 5, 08001 Barcelona
Hours: From 11 am to 8 pm, from Tuesday to Sunday and public holidays.
Closed: Mon (except public holidays), Jan 1st, Dec 25th

#6.

 houses a large collection of artworks by Antoni Tàpies. And the foundation was created to promote knowledge of modern art. Many people don’t even know who Antoni Tàpies is, but learning all about him is a great way to spend a breezy afternoon. The foundation is housed in a modernist building designed by architect Lluís Domènech i Montaner. And the building is an architectural gem in its own right. 

For those unfamiliar with Tapies, he is one of the greatest Catalan artists. His father was a lawyer and Catalan nationalist who influenced his cultural and political identity. Tàpies initially studied law, but his artistic inclinations led him to pursue art at the Acadèmia Valls in Barcelona. His early works were influenced by Surrealism and Catalan artists like Joan Miró. Especially once you’ve visited the Joan Miró foundations, you can see how closely he was tied to the works of Tapies.

Earth on Canvas

Tàpies is famous for his ‘pintura matèrica’ style, where he often incorporated a wide range of materials, including found objects, mixed media, and unconventional materials like sand, string, and marble dust. àpies had a deep fascination with the materiality of art. His paintings are characterized by their textured surfaces, as he used thick layers of paint and collage elements to create tactile, three-dimensional effects.

Address: C/ Aragó 255, 08007 Barcelona
Hours: Tuesday / Wednesday / Thursday / Saturday: 10 a.m. to 7 p.m.
Friday: 10 a.m. to 9 p.m.
Sunday, 10 a.m. to 3 p.m.
Closed: Mon, public holidays, Jan 1st and 6th, Dec 25th

With so many museums to see, it’s always nice to be able to save a few bucks where you can. With Articket Barcelona, you get access to all six museums for only 38€, a savings of 45% off the normal price of admission. And with this ticket, you’ll find that you’re more inclined to visit some museums you might not have thought to see and experience something unexpected.

The post An Honest Review of Art Ticket Barcelona, A Guide to the Most Amazing Museums first appeared on The Creative Adventurer.

Just steps from the centre of town, shaded under the shadow of the Alpilles, hides the old asylum of Saint-Paul de Mausole. It was here, in 1899, that would-be famed artist Vincent Van Gogh came to seek treatment and refuge for the madness that plagued his creative mind. This self-guided tour unravels the layers of Van Gogh’s creative spirit. With each brushstroke, each captivating corner, and each soul-stirring story, you gain a deeper appreciation for the enduring impact of his work on art history and the human experience.

During his stay in Saint-Remy and Saint-Paul de Mausole, Van Gogh produced 150 paintings and over 100 drawings. Many paintings he completed here, like Starry Night, are considered his magnum opus. And while his stay at the asylum was mixed with light and dark moments, there is no doubt that his art continued to flourish here in Provence. So, set foot in the footsteps of this iconic artist, embrace the beauty and darkness that shaped him, and immerse yourself in his enchanting landscapes here in Saint-Remy.

Table Of Contents

1. About Saint-Rémy-de-Provence Van Gogh Walking Tour
2. The Life of Vincent Van Gogh
3. Start Your Walking Tour: Place Jules Pelissier
4. Walking the Van Gogh Art Route
5. Van Gogh's Cypress Trees
6. Van Gogh's Olive Grove
7. Saint-Paul de Mausole, Van Gogh's Asylum
8. Exploring the Gardens
9. The Cloisters
10. Outer Courtyard
11. Van Gogh's Bedroom
12. The Starry Night
13. Van Gogh's Diagnosis
14. The Death of Vincent Van Gogh
15. A Meadow in the Mountains
16. Les Antiques

About Saint-Rémy-de-Provence Van Gogh Walking Tour

This guided walking tour will lead you from the centre of Saint-Remy, along the Route de Van Gogh, and through the Monastery Saint-Paul de Mausole. After exploring the asylum, we will make a short stop outside the Roman ruins, ‘Les Antiques,’ that lie on the outskirts of Saint-Remy. Inside the asylum and the surrounding countryside, we will discover the places that shaped his creativity and immerse ourselves in the beauty that captivated him. Leave yourself at least a half-day to explore the city, take things at your own pace and dive into hidden corners you discover for yourself. If you want to make a whole day out, consider visiting the Roman city of Glanum and treat yourself to a wonderful dinner in town.

History of Saint Remy

Saint-Rémy-de-Provence is located in the Alpilles region. The name “Alpilles” is derived from the Latin word “alpilulae,” meaning “small Alps,” due to its resemblance to the larger Alps mountain range.

Despite being in the middle of France, the area has some of Europe’s most well-preserved Roman ruins. During the 2nd century BC, the Romans established a settlement near Saint-Rémy, known as Glanum. This important Roman city flourished for centuries and boasted some of the most impressive architecture, including huge temples, a large forum, a theatre, and lavish houses. 

Following the decline of the Roman Empire, Saint-Rémy entered a period of relative obscurity. The town underwent a series of transformations and changed hands multiple times between feudal lords. In the 9th century, a Benedictine monastery was established in the town, and its influence grew over time.

Over the years, the town became a center of artistic activity, attracting writers, painters, and great thinkers. In the 16th century, French astrologer and physician Nostradamus wrote his book “Les Prophéties,” which contains cryptic prophecies about future events. Nostradamus was born in Saint-Rémy-de-Provence in 1503 and spent time studying medicine and astrology in the region. But no one person left a more indelible mark on the city than Vincent Van Gogh.

The Life of Vincent Van Gogh

Vincent van Gogh was born on March 30, 1853, in Groot-Zundert, Netherlands. Van Gogh was born into a deeply religious family. His father, Theodorus van Gogh, was a Protestant minister. But it was on his mother’s side where the artistic part of his mind came was born. His mother, Anna Carbentus, came from a family of bookbinders and art dealers. At the age of 16, Vincent began working for his uncle’s art dealership, which sparked his interest in art and the world of visual expression. But despite this, his early career path remained focused on the ministry. He attended a theology school in Amsterdam in 1877, intending to become a pastor like his father and grandfather.

Vincent’s Religious Upbringing

However, Vincent’s time as a pastor was short-lived and ultimately unsuccessful. His deeply empathetic and passionate nature often clashed with church practice’s more rigid and formal aspects. He also faced personal challenges and mental health issues, leading to his dismissal as a pastor after a brief stint in a rural congregation in Belgium. When he returned home, his father wanted to send Vincent to a lunatic asylum.

Vincent’s Mental Health Struggles Begin

Throughout his life, Van Gogh faced numerous mental health challenges that affected his ability to maintain stability and find contentment. He experienced periods of intense anxiety, depression, and emotional turmoil. These mental health struggles manifested in episodes of erratic behaviour and led to strained relationships with family, friends, and even fellow artists. But one relationship remained stronger than all the others, and this was with his brother Theo. Theo has seen a few of Vincent’s charcoal drawings he has been making while in Belgium. They were studies of the people and scenes around him. Theo immediately saw what others did not, and it was at his insistence and aid that Vincent was spared the madhouse and instead began his study and pursuit of a career in the arts.

Vincent & Theo

Theo van Gogh played a crucial role in Vincent’s personal and professional life. He was six years younger than Vincent, and while Vincent worked as a preacher, Theo embarked on a career as an art dealer. With an eye for talented artists, Theo was able to recognize Vincent’s talent immediately. He began supporting Vincent both emotionally and financially. And would continue to do so until the end of his life. Theo believed in Vincent’s artistic potential when few others did. And if it were not for Theo’s financial assistance and encouragement throughout his career, there is no doubt in my mind that Vincent would never have become one of the most famous artists of the 19th and 20th centuries.

The written correspondence between Vincent and Theo forms a rich tapestry of their relationship. They exchanged hundreds of letters, offering insights into their thoughts, struggles, and artistic aspirations. The letters reveal Vincent’s emotional vulnerability, challenges, and unwavering commitment to art. Theo, in turn, provided continuous emotional support, advice, and feedback on Vincent’s work. They were more than brothers, more than family, they were truly each other’s soulmates.

Van Gogh in Provence

In 1888, Van Gogh moved to Arles in southern France to seek inspiration and refuge. Here, he produced some of his most iconic works, including The Sunflowers and Café Terrace at Night. However, his time in Arles was also marked by increased mental instability, leading to conflicts with others, including his friend and fellow artist Paul Gauguin. Following a heated argument with Gauguin, Van Gogh infamously severed a portion of his earlobe. He was sent to the local hospital after being found in a pool of blood inside his apartment.

Even after returning to his home from the hospital, Vincent confided in his brother that he was still suffering from hallucinations and delusions of poisoning. On the insistence of both his brothers and physician Félix Rey, Vincent voluntarily admitted himself to the asylum of Saint-Paul de Mausole in Saint-Rémy-de-Provence in May 1889.

Start Your Walking Tour: Place Jules Pelissier

We now begin our walk. In the centre of Saint-Remy, Vincent would have arrived to make his way to Saint-Paul-de-Mausole asylum. Standing in the Place Jules Pelissier, the town’s central square, take a moment to soak in the atmosphere. Look around and admire the historic buildings surrounding you. On the west side of the square, look up and see the towering spire of the Saint-Martin Collegiate Church. This spire was one of the few things Van Gogh could see from his bedroom in the asylum. And it is one of the most iconic elements of his renowned painting, The Starry Night.

One can imagine how lonely Van Gogh must have felt. He would have been so close to the centre of town, and yet he was confined to the grounds of an asylum. On any day of the week, this square is filled with people having lively conversations outside on the terraces. He probably could have heard the noise from the square travel across the fields into the window sill where he painted. Van Gogh loved going out during his time in Arles. And he must have longed for those long nights outside the cafes. 

Walking the Van Gogh Art Route

As you turn south down Rue de la Commune, you are approaching the start of the Van Gogh Route. This is a self-guided walk towards the Monastery of Saint-Paul de Mausole. Along the way, there are 19 signs reproducing Van Gogh’s most emblematic paintings. A short quote from one of Van Gogh’s letters accompanies each image. And while I think trying to contextualize these paintings is so important, much remains to be discovered and discussed. So I hope this article is a great accompaniment. The walk is marked by these small golden emblems on the ground that bare Van Gogh’s iconic signature.

Place Mireille

Standing at the apex of the Place Mireille, you can look down the roads to put yourself at the very spot where Van Gogh painted a scene entitled The Road Menders. In this artwork, Van Gogh captures several figures engaged in manual labour, working along this very road. A road which now bears his name in his honour.

The Road Menders

In his paintings, Van Gogh often depicted scenes of everyday life and the toils of the working class. In The Road Mender, he highlights the dignity and significance of ordinary people and their contributions to society. Compared to Van Gogh’s paintings in Arles, you can see how the colours in this palette are much more muted. Although the brushwork still conveys that classical Van Gogh-ian sense of energy and emotion, the piece has a tone of sadness. Like he is looking into the lives of these everyday Provencal men and women but cannot connect with them, simply paint them from afar.

Canal des Alpines

Continuing along, we can see a large cypress tree on the right side of the road as we cross the Canal Des Alpines. This is just one of many Cypress trees found all over Saint-Remy, which deeply inspired Van Gogh’s oeuvre. 

Van Gogh’s Cypress Trees

Cypress trees hold significant importance and symbolism in the works of Vincent van Gogh. And he painted an entire series dedicated to them during his stay in Saint-Remy. Cypress trees have long been associated with notions of immortality and eternity. The tall and slender form of the cypress tree, reaching upward into the sky, is reminiscent of a natural cathedral spire. Van Gogh often used the cypress tree to symbolize the divine and the connection between the earthly and the spiritual realms. As if the tree, just like himself, were trying to reach out, away from the pains of this mortal realm, into eternal and transcendental peace.

While at the asylum of Saint-Paul de Mausole, he could look out his window every day to gaze upon the cypress trees spread out across the Provencal countryside. When he was allowed to leave the ground and paint en-plein air, these were some of the closest fields where he could come to study and sketch the cypress trees. So this very tree might have been one of the many that Van Gogh painted.

Almond Blossoms

Just past the canal crossing, on the right side of the road, we can see far-reaching fields of almond trees. These iconic trees were etched into the history book in Vicent van Gogh’s painting Almond Blossoms. Van Gogh painted Almond Blossoms as a gift for his brother Theo upon the arrival of his firstborn son. Although Vincent was no doubt worried about how the little child would impact Theo’s ability to support Vincent financially, the love he had for his brother was immense. And therefore, for his new nephew as well.

“I started right away to make a picture for him, to hang in their bedroom, branches of white almond blossom against a blue sky.”

Vincent

He wanted to create a painting that was intended to commemorate the joy and hope associated with the arrival of a new life into the family. Almond blossoms begin to bud at the beginning of Spring. And therefore, they have long been associated with hope and rebirth. Van Gogh’s use of this floral motif suggests a sense of renewal and new beginnings. Perhaps a hope for a renewal in himself as well as for the new baby for Theo.

The delicate blossoms against the vibrant blue sky can be seen as a reflection of Van Gogh’s longing for peace, serenity, and emotional harmony. The upward-reaching branches and the ethereal quality of the blossoms evoke a sense of spirituality. As if these blooms are not placed within our mortal realm but instead up in the heavens.

Influence of Japanese Art

Van Gogh was greatly influenced by Japanese art, particularly ukiyo-e prints. He admired Japanese woodblock prints’ stylized and decorative qualities. Their flattened perspective and stark, bold outlines. In Almond Blossom, Van Gogh employed bold, dark outlines around the blossoms and branches, reminiscent of the black outlines found in Japanese woodblock prints. The bright blue sky against the delicate white blossoms also creates a striking visual effect.

The Colors of Provence

Continuing along Avenue Vincent Van Gogh, take a moment to look around you as you walk, to soak up all the colours of Provence. Van Gogh’s artistic style underwent a significant transformation during his time in Provence and in Saint-Remy. The vivid landscapes and unique light of the area greatly influenced him. As you walk, see what you can find that is reminiscent of Van Gogh’s Provencal colour palette, characterized by bold, deep, and intense colours. You might spot vibrantly painted window shutters and rainbows of flowers blooming along the road. The radiant yellows of the sunflowers and wheat fields dominated the Provençal countryside. And, of course, the bright blue skies above you.

Van Gogh’s Olive Grove

Turn left down Avenue Dr. Edgar Leroy towards Saint-Paul de Mausole. Although this route takes us away from the main road, this detour provides beautiful views across the Alpilles Valley. Further away from houses, you can see far out across the landscape of Provence. 

Along the road, we pass a series of olive groves, which were the subject of dozens of variations painted by Van Gogh. I think Olive Trees are one of his best series. Exemplified in these paintings is his emblematic expressive brushwork. The textural strokes capture the energy and movement of the foliage and the terrain. As if we can feel the breeze through the trees in the painting itself. But walking along this road, try to close your eyes and feel for yourself that movement in the wind that Van Gogh captures, like magic in a bottle.

Olive trees are also frequently associated with the idea of peace. In Roman times, athletes and emperors were awarded olive wreaths as a symbol of peace and honour. And in Christian art, the dove carrying an olive branch is often depicted as a symbol of peace, representing the reconciliation between God and humanity after the Great Flood. Van Gogh’s obsession with these trees was not just because they were what was available for him to paint. But due to his deep desire for tranquillity in his mind.

Saint-Paul de Mausole, Van Gogh’s Asylum

A short walk from the Avenue Dr. Edgar Leroy, make the first right to walk along the thick outer stone walls of the Saint-Paul de Mausole. Take note of how high and imposing these walls are. Ensuring all those inside cannot get out or even see the countryside around them. And although Vincent was given special permission to occasionally venture outside these walls, for the most part, he spent the last months of his life only within the confines of the asylum.

Hours and Admission

Hours: Open seven days a week, from 9:30 a.m. to 7 p.m. in the summer, with earlier closings in the winter. Admission: Adults 7€ | Student, Teens (12-16) and Seniors 5€ | Children under 12 are free

History of Saint-Paul de Mausole

In the 11th century, a Romanesque monastery was built on this site. The name “Mausole” is derived from the Latin word “mausoleum.” It was given this name as its location was a mere few meters from the ancient Roman mausoleum, just outside the ruins of Glanum. The monastery flourished for several centuries, serving as a religious center for monks and pilgrims.

In the 19th century, the monastery underwent a significant transformation. In 1815, the religious order left, and the building was repurposed as a psychiatric institution. It became an asylum known as the “Asile de Saint-Paul,” catering to individuals with severe mental health conditions. The tranquil surroundings and therapeutic environment sought to offer patients a place of refuge and treatment. But treatment for mental health conditions in the 19th century left much to be desired. And for many, treatments were little more than a restrictive diet and twice daily baths.

Van Gogh in Saint-Paul de Mausole

Although Vincent voluntarily admitted himself into the hospital, his stay there relied heavily on his brother Theo’s assistance. Vincent received not one but two private rooms. One of which Vincent could use as his studio. A luxury no other patients were given.

When he first arrived, he was hopeful and spoke positively about his experience. “I feel happier here with my work than I could be outside. By staying here a long time, I shall have learned regular habits, and in the long run, the result will be more order in my life.” Much of this early progress was made simply due to the fact that the doctors here at Saint-Remy forced Van Gogh to stop many of his harmful vices. Van Gogh was not only an alcoholic, but his eating habits and overconsumption of coffee all negatively impacted his mental health conditions.

Exploring the Gardens

When Vincent was first admitted, he couldn’t leave the ground until the doctors and nurses deemed him fit enough to do so. During these first few months, Van Gogh painted only what he found within the gardens surrounding the Monastery. He looked closely at everything around him, finding peace in those quiet little moments and vignettes that proliferated the gardens.

Entering through the front gates, you step into the asylum’s tranquil gardens, left almost exactly as they would have been when Van Gogh stayed here. Lining the outer walls of the asylum are beautiful garden beds. Vines crawl up the stone walls to disguise their prison-like intentions. Van Gogh vividly describes the gardens for us in a letter to Theo;

A view of the garden of the asylum where I am, on the right a gray terrace, a section the house, some rosebushes that have lost their flowers; on the left, the earth of the garden – red ochre – earth burnt by the sun, covered in fallen pine twigs. This edge of the garden is planted with large pines with red ochre trunks and branches, with green foliage saddened by a mixture of black. These tall trees stand out against an evening sky streaked with violet against a yellow background. High up, the yellow turns to pink, turns to green. Under the trees, empty stone benches, dark box. The sky is reflected yellow in a puddle after the rain.

Vincent Van Gogh

Irises

The very first painting that Van Gogh endeavoured to paint was that of the garden’s irises. Van Gogh captures these flowers in different stages of their blooms. Some almost appear to be falling to the ground under the weight of their petals. This painting was one of Van Gogh’s studies, meaning he painted it directly from life without sketching it first. There was some calm he found in these intricate studies. Like he was immersing himself into the world of the painting, leaving his darkened world behind him.

Lilacs

A stark contrast to his almost realistic portrayal of the Irises is Van Gogh’s painting of the Lilacs. You can even see the purple irises in the background of the painting, but their forms are almost abstract. Nothing more than a few swashes of painting. Through Lilacs, we can see Van Gogh’s absolute dynamism in his vivid energy and dramatic expression he communicates to us through his brushstrokes. He pushes the boundaries of impressionism and creates his own post-impressionist style.

When you receive the canvases that I have done in the garden, you will see that I am not too melancholy here.

Vincent Van Gogh

Corner of Saint-Paul Hospital

While Van Gogh was trying to let give his brother hope that his stay here at the asylum was helping him rid himself of the sadness he felt in Arles, there was no doubt that this place still felt like a prison. He felt trapped inside, literally and figuratively both inside the walls of the asylum and inside the prison of his troubled mind.

“You’ll understand that this combination of red ochre, of green saddened with grey, of black lines that define the outlines, this gives rise a little to the feeling of anxiety from which some of my companions in misfortune often suffer, and which is called ‘seeing red’.”

Vincent Van Gogh

Romanesque Chapel

The entrance to the old Romanesque stone chapel is beside the entrance to the asylum. The chapel is as silent as silence can be. The huge stone arches frame the cold stone walls in the darkness. The only light being emitted from the stained glass windows and the entry door. Modern-day lighting has been added to the ceiling to give the visitor a better view of the 11th-century architecture. Van Gogh would have been encouraged, perhaps even forced, to come here for prayer, as this was still thought to be a method of curing their mental illnesses. 

But for Vincent, his relationship with religion was complex. And it continued to evolve throughout his life. Although he was raised in a religious family, his failure to become a pastor and his disillusionment with the church as an institution deeply wounded him. While Van Gogh distanced himself from traditional religious institutions, he continued to engage with religious themes in his art. 

The Pietà

But during Vincent’s time at the asylum, especially when he could not even go outside after his episodes, he found solace and inspiration in biblical stories. And he developed a more personal and reflective view of his spirituality. During moments of despair and loneliness, he believed his art was a spiritual expression and a means to connect with a higher power. When he could not make art of his own, he began making copies of some famous paintings, most of which were religious. He told his brother;

“I started making them inadvertently and now find that I can learn from them and that they give me a kind of comfort. My brush then moves through my fingers like a bow over the strings of a violin – completely for my pleasure.”

Van Gogh made the Pietà from a lithograph of Delacroix’s painting. While the composition of the subject remains the same, Van Gogh’s brought his stylistic approach to the brushwork. The Pietà depicts the Virgin Mary cradling the dead body of Jesus Christ after his crucifixion. The word “Pietà” comes from the Italian word for “pity” or “compassion,” and the theme is one of deep sorrow and mourning. It is impossible not to see the connection for Van Gogh in this work of art. A man desperate for compassion, for understanding, and to be held by a woman. Most of the women in Van Gogh’s were sources of pain and rejection. And yet here we see a woman who is the epitome of acceptance.

Vestibule in the Asylum

Stepping inside the main building, take a minute to walk inside and turn back towards the entry door. This view was captured almost precisely as we see it today by Van Gogh during his stay. Van Gogh hated the living condition here. He described the experience to his brother;

“There is someone here who has been shouting and talking like me all the time for a fortnight. He thinks he hears voices and words in the echoes of the corridors, probably because the auditory nerve is diseased and over-sensitive, and in my case, it was both sight and hearing at the same time, which is usual at the onset of epilepsy, according to what Dr. Félix Rey said one day.”

Especially when compared to the actual view of the hallways, one can really appreciate how his painting displays the profound solitude he felt there. The walls seem to fold in upon themselves. Not a single person can be seen, yet tension is in the air as if we can hear that invisible man screaming from afar.

The Cloisters

Proceed inside the main building, towards the interior cloisters. Cloisters are covered walkways, usually surrounding a courtyard or garden. Cloisters are a distinctive architecture in monasteries built in the 11th century. Today, you can still wander around the cloisters to experience the tranquil space Van Gogh himself would have experienced during his daily walks.

From inside the cloisters, look up at the second-floor windows. It was from here that Van Gogh would have looked down on the gardens on days when he was too ill to go outside.

Outer Courtyard

Before heading upstairs to Van Gogh’s bedroom, walk through the gift shop towards the outer courtyard. Rows and rows of lavender bloom here in the summer and the fields are packed with poppies, irises and roses in the spring.

View of the Asylum and Chapel of Saint-Rémy

As indicated by several letters to Theo, Van Gogh spent the autumn painting in the courtyard. One of the most important paintings he made here was View of the Asylum and Chapel of Saint-Rémy. It is the only painting Vincent made of the entirety of the asylum, not just its gardens or interior walls.

Unlike some paintings he painted indoors from sketches he made outside, this one was painting en-plein air. Standing right here in the lush green space. The colour palette of this painting is very different than his vibrant paintings. The colours are muted, with hues of green infiltrating the rest o of the colours. This was due to the fact that Van Gogh was attempting to capture the changing light outside in the autumn. It was something he was obsessed with—the ability to freeze time and capture a moment in paint.

Van Gogh’s Bedroom

Walking upstairs, we step onto the second floor. It was here where the patient’s bedrooms were held. Inside a room facing out onto the back courtyard, we find the very room where Van Gogh once resided. The room has been meticulously restored to resemble how it appeared during Van Gogh’s stay. The only difference was that Van Gogh was not allowed to paint in the bedroom. Instead, he would have had to go to his studio to do any painting. But the studio and bedroom set up have been combined in this recreation.

Observe the simple furniture and the worn floor. But most important, take your time to gaze out the east-facing window. The bars of which were a prison cell for Van Gogh. He would have been inspired to sketch the painting The Starry Night from this window.

This morning, I saw the countryside from my window a long time before sunrise with nothing but the morning star, which looked very big.

Vincent Van Gogh

The Starry Night

The Starry Night depicts a small village with houses and a church steeple nestled beneath a swirling sky filled with luminous stars. Van Gogh painted this same scene numerous times. But this is the only version of the painting set at night. While the paintings during the day capture the scene accurately, the version at night takes on a more dramatic and expressive tone. Van Gogh takes more risks, changing the scenery to fit his vision. Although historians can date the painting and know that the moon was a waxing gibbous moon on this night, Vincent paints it as a crescent moon.

Although the idea of changing elements of a landscape to suit the intention of the painting better seems like an obvious choice, it was one Van Gogh struggled with. While living with Gaugin, Gaughin frequently encouraged Vincent to delve more into abstraction. But Van Gogh was so focused on painting precisely what he saw. And yet here we see him break away from reality and reach for the stars…literally.

The swirling sky, filled with vibrant stars, seems to move before your eyes. The vivid colours contrast against the night sky. The intense movement and whirling patterns convey a sense of chaos, yet they also evoke a feeling of transcendent beauty and spiritual depth. The stars, in particular, have been interpreted as symbols of hope. They are aspirations beyond the earthly realm. And those iconic cypress trees serve as a bridge from reality towards the celestial domains. It is as if Vincent is trying to paint his way out of his dark existence.

Van Gogh’s Diagnosis

While in Saint-Rémy, Van Gogh’s mental health continued to fluctuate. He experienced both periods of intense creativity and moments of utter despair. During his stay, Van Gogh suffered four serious “attacks” as they were described by the doctors. These were painful and distressing for Van Gogh and his brother Theo. The attack was followed by a period of deep depression in which Van Gogh didn’t paint at all. Then, after some time, Vincent’s creativity and drive would return, and he would resume paintings.

So what did Van Gogh suffer from? This question has enraptured the minds of psychiatrists from around the world for ages. And the truth is that we will never know without these doctors being able to speak directly to the man himself. But many surmise that Van Gogh suffered from manic-depressive psychosis, worsened by his epileptic fits. Epilepsy was prevalent on his mother’s side, and as it is a hereditary disease, this connection makes sense. These attacks were brought on by triggering events in Van Gogh’s life. 

At Eternity’s Gate

One of the most intensive paintings done in Saint Remy was his painting entitled At Eternity’s Gate. Vincent had made this sketch of a pensioner and war veteran in 1882, and while recovering from one of his intensive attacks, he began painting this sorrowful scene. And yet, even in the darkest moments, we have the reference to eternity. As if Van Gogh himself is still clinging to his faith to see himself through this period of darkness.

Portrait of a patient

Though here there are some patients very seriously ill, the fear and horror of madness that I used to have has already lessened a great deal. And though here you continually hear terrible cries and howls like beasts in a menagerie, in spite of that, people get to know each other very well and help each other when their attacks come on.

Vincent Van Gogh

Prisoners’ Round (after Gustave Doré)

Another painting that seems to evoke the internal nature of Van Gogh’s mind during his time in Saint-Remy was Prisoners’ Round. This painting is another copy he made after a print by Gustave Doré. The scene depicts a group of prisoners walking around in a circle in the exercise yard at Newgate Prison. The scene is dark, damp and almost claustrophobic. The walls seem to cave in upon the prisoners below.

The man in the group’s centre is placed at the forefront of the image; his head turned slightly towards us, the viewer. This man is also the only one now wearing a cap on his head, showing off his strawberry blonde hair, the same as Vincent himself. Vincent is placing himself in a literal prison, as no doubt this is how he felt inside the asylum and the torment of his mind. And yet even in the darkest recesses of the world, there is hope. Small and delicate but present. And we can see this by looking closely at the two white butterflies soaring high above the prisoners below. As if they are on their way out, escaping this dark world and flying toward the sun.

The Funeral of Van Gogh

When Van Gogh died, only two months after leaving the asylum, this was one of the paintings that Theo chose to be placed next to his coffin. Painter Émile Bernard came to Vincent’s funeral. When he saw this painting, he wrote,

Convicts walking in a circle surrounded by high prison walls, a canvas inspired by Doré of a terrifying ferocity and which is also symbolic of his end. Wasn’t life like that for him, a high prison like this with such high walls – so high? And these people walking endlessly round this pit, weren’t they the poor artists, the poor damned souls walking past under the whip of Destiny?

Émile Bernard

Road with Cypress and Star 

I want to end this tour, in the treatment room, just opposite Van Gogh’s bedroom. Here, Vincent would take his twice-daily baths, the only “treatment” the doctor gave him to cure his illness. A therapy that no doubt made little to no difference. Instead, he was left abandoned by the very people, the doctors and nurses, who he so desperately had hoped would cure him of his disease. And there must have been no worse feeling than the hopelessness that that abandonment would have caused. More than anything, I think Vincent was very lonely and needed companionship. His search for romantic love in his life has been utterly heartbreaking. And the real true love of his life had always been his brother. To be closer to him, Vincent decided to check himself out of the hospital and move to the small town of Auvers-sur-Oise near Paris (where Theo lived.) 

The Obelisk of Death

Vincent’s last painting while in Saint-Remy is this scene entitled Road with Cypress and Star. This vertical landscape depicts a winding road centred by a deep, dark cypress tree. Many call this an “obelisk of death,” as if Van Gogh knew he was to die.

Behind the tree is a vast expanse of yellow wheat fields and blue mountains. The night sky dominates the upper part of the canvas, with a bright yellow star shining brilliantly above the cypress tree on the left and a vibrating crescent moon to the right. The sky is painted in swirling, turbulent patterns. But it is the bottom of the painting that we will focus upon. In the sea of churning grass are a pair of travellers, walking almost arm in arm. The two men are walking towards the tremendous black cypress tree. Their heads held high, unafraid, looking up towards the beautiful eternal sky above them. Beauty surrounds them in the face of great darkness.

The Death of Vincent Van Gogh

When Van Gogh arrived in Auvers-sur-Oise, he was placed under the care of Dr. Paul Gachet. Despite receiving some medical attention, his mental health continued to decline. And on July 27, 1890, at the age of 37, Van Gogh tragically took his own life by shooting himself in the chest. He passed away two days later, with his brother Theo by his side. 

Devastated at the loss of his brother and suffering from syphilis, Theo died only a year later. They were buried together, side by side, in the town cemetery of Auvers-sur-Oise. Ivy was planted on top of their graves. And today, the vines have grown together, clutching each other, forming one large mass. Emblematic of the connection these two brothers had for one and one in their lifetime. And now for eternity.

Leaving the Asylum

We now take our time to leave the Saint-Paul Asylum, walking back through the gardens and out onto VC des Carrieres road. As you walk back through the gardens, we walk the same path that Vincent would have taken upon his departure. One of Vincent’s last letters to Theo from Saint-Remy spoke enthusiastically of his health and creative endeavours.

At the moment the improvement is continuing, the whole horrible crisis has disappeared like a thunderstorm, and I’m working here with calm, unremitting ardour to give a last stroke of the brush. I’m working on a canvas of roses on bright green background and two canvases of large bouquets of violet Irises, one lot against a pink background in which the effect is harmonious and soft through the combination of greens, pinks, violets. On the contrary, the other violet bouquet (ranging up to pure carmine and Prussian blue) standing out against a striking lemon yellow background with other yellow tones in the vase and the base on which it rests is an effect of terribly disparate complementaries that reinforce each other by their opposition.

Vincent Van Gogh

A Meadow in the Mountains

Exiting through the main gates of the asylum, we turn to the left to walk down the small path that leads into the Parc D’Amour. This beautiful park is where Vincent Van Gogh would come to paint the mountains. In his painting, A Meadow in the Mountains: Le Mas de Saint-Paul, we can see a vast meadow surrounded by rolling hills and mountains in the background. The same mountains we can see spread out in front of our eyes.

The hills in this background play a significant role in this painting. They represent a sense of permanence, stability, and grandeur. Something that we know Vincent was profoundly searching for in his life. A state of tranquillity, enduring, just like nature itself. Their pale blue colour contrasts with the dynamic nature of the vibrant yellow and green meadow below. Walking along this path, you can take in the calm surrounding this valley. The sound of the wind rushing through the tall grass is the only sound that casts itself down on the ground in the sun-soaked afternoon.

Les Antiques

Walking through the park, towards the west side where the D5 roadway now passes, we can hope across the road to see the ruins of Glanum. Just outside a car park stands the great Antiques of ancient Rome. “Les Antiques” refers to these two Roman monuments that once stood on the outskirts of Glanum. The grandest of the two structures is the Triumphal Arch of Glanum. It was erected in the 1st century BCE to commemorate the military victories of the Roman Empire. This arch would have served as the entrance gate to Glanum. The arch is adorned with intricate carvings, including images of military generals and their prisoners. All across the arch are beautiful carvings of the Provencal harvest. We can see grapes, olives, stone fruits and even chestnuts. These agricultural symbols were a means for Rome to display the wealth of their land to any visitors. 

Mausoleum of the Julii

The tallest of the two structures is the Mausoleum of the Julii. The name of the 11th-century abbey, Monastery of Saint-Paul de Mausole, refers to this very Mausole or Mausoleum. When the Benedictine abbey was built in the 11th century, this site was still as important to the people of Provence as it is today. Although Vincent never painted these Antiquities, he would have no doubt visited these sites frequently as they were so close to the abbey. The Mausoleum of the Julii, also known as the “Tomb of the Julii,” dates back to the 1st century BCE. It was built to house the tombs of the mother and father of the three Julii brothers.

The father was a military general, and Julii was one of the most distinguished families in Rome. Carved into the tombs are a series of acanthus leaves, representing eternal rebirth to the ancient Romans. As a man obsessed with eternity, one can imagine how this structure would have greatly captured the imagination of the great artist. Perhaps inspiring Van Gogh to continue his search for the hereafter in the symbolism he painted into his masterpieces.

I hope you have enjoyed this extraordinary journey into the tumultuous yet brilliant artistic world of Vincent van Gogh. As you wander through the charming streets that once captivated the tormented artist, you can’t help but feel a sense of reverence for his resilience and creativity amidst personal struggles. I hope that you come away from Saint-Remy with a deeper understanding of this masterful painter, and maybe seeing this magnificent part of Provence will ignite your own artistic journey!

Happy Travels, Adventurers

The post The Ultimate Self-Guided Tour of Saint-Rémy-de-Provence in the Footsteps of Van Gogh first appeared on The Creative Adventurer.

This had been a mission of mine for a while. But I’m usually too busy to sit or haven’t found the right artist. Lucky for me, on this last trip, I completely fell in love with a watercolour painter. He totally charmed me into finally checking this experience off my list. It was one of the best moments of my life, and I came away with a work of art I will treasure forever. I wanted to share all there is to know about getting your portrait painted in the Place du Tertre and taking home a one-of-a-kind souvenir from Paris.

Table Of Contents

1. Location & Access
2. History of the Place du Tertre
3. The Painters of Place du Tertre
4. When To Arrive
5. How to choose an artist?
6. My Experience at the Place du Tertre
7. Learning to Sit for a Portrait
8. What to Wear?
9. How Long Does it Take to get a Portrait?
10. How much does a portrait at Place du Tertre cost?
11. Do You Need to Speak French?
12. How to get your portrait safely home?
13. What to Do in the Area?

Location & Access

The Place du Tertre is a delightful, historic square located in the heart of Montmartre. It is merely a few steps from the famous Basilica of the Sacré Cœur. To get to the Place du Tertre, take the metro to Abbesses station. From there, it is a gorgeous five-minute walk (uphill) toward the celebrated square.

History of the Place du Tertre

The Place du Tertre has a rich and storied history that dates back to the Middle Ages. Originally, the area of Montmartre was a tiny village on the outskirts of Paris. The word ‘Montmartre’ means “mountain of the martyr.” Legend has it that the patron saint of Paris, Saint-Denis, was beheaded on the hill of Montmartre in the 3rd century AD.

In the 12th century, the Benedictine Montmartre Abbey was built here, and the Place du Tertre stood in the centre. After the dissolution of the monastery, the area was opened to the public in 1635. And this square served as the centre of village life in Montmartre.

During the 19th century, the Place du Tertre became a gathering place for artists. They were drawn to Montmartre’s free spirit and artistic atmosphere. Famous artists such as Picasso, Van Gogh, and Toulouse-Lautrec frequented the area. And many studios and workshops popped up in the narrow streets and alleys around the square.

In the early 20th century, the Place du Tertre became a tourist destination. Local artists began selling their paintings and creating portraits of tourists on the square. Today, the square is still a hub of artistic activity, with dozens of local artists selling their work and creating portraits for visitors.

The Painters of Place du Tertre

After I got my portrait painted, one of the main questions I got was, “are the painters here really that good? Or is this another tourist trap?” Great question and one that I initially had myself. The reality is, you can’t be just anyone to be able to paint here. There are a limited number of painters allowed to set up their easels on the square. And each of them had to undergo a rigorous portfolio approval review process to become an “artist in residence.” The wait time for these residences can be up to ten years! News spots only open up if an artist dies or decides to give up his residence. So anyone you find here has really paid their dues.

This means that you might be able to find the same artists painting here year after year. Many people make it a tradition to get a new portrait painted here every five years, often by the same painter. Each artist is given one square meter to set up their outdoor studio. You can see the little markings on the cobblestones when it’s not filled with artists. Each artist is given a printed permit which proves they are approved to work here. Any painters set up here without permission could be fined so you know these artists are the real deal!

When To Arrive

Painters start arriving here around 10 am throughout the week. I find Mondays the quietest. The French aren’t early risers, so don’t expect them to come out in droves until they’ve had their morning coffee. The painters generally stick around until the sun begins to set. But there is no firm set time for opening and closing.

In the winter, especially when it gets freezing, you’ll often find fewer painters coming out to brave the cold. But even at Christmas, I found the square was packed! Weekends are the most popular, so prepare for it to be hectic! But you’ll also find the most artists on the show on those days as well. No one will come out during the rain, so consider those days a write-off.

How to choose an artist?

With so many artists in the square, choosing the right one for you might seem like a difficult task. It can be overwhelming to see so many artists working away and feel the need to pick just one. But the first thing you should do, before making any decisions, is to spend some relaxed time just looking at all the artists at work. Roam around, and look at the past example paintings done by these artists. As well as the ones they are in the midst of painting. This will ensure that their technique has stayed the same since those portfolio examples.

View this post on Instagram

A post shared by Régine (@imogeneetjavotte)

When I visited, there were a variety of different art styles that I could see across the square. There were hyperrealistic pencil drawings that were so detailed they looked almost more like a photo than a painting. Then there are the more classical caricatures that overemphasize people’s most eye-catching characteristics, but these are a bit “cartoony.” The charcoal drawings are so expressive and really convey the silhouette of a person’s face. But the watercolour paintings were my favourite. Although perhaps not as photorealistic as the pencil drawings, they felt so expressive and conveyed much emotion through the brushstrokes.

My Experience at the Place du Tertre

I spent about 15 minutes observing various artists and inquired about their pricing. Most were about €60, but nothing completely entranced me. That was until I saw, in the middle of the crowd, my very own Van Gogh, Majid Aghili. Majid had been painting here on the square for over 15 years. And he looked like he was plucked right out of a French film with his chic round black glasses, checkered scarf and flat cap. He was smoking a cigarette and had paint all up under his fingernails. A sign of a real artist.

We hit it off immediately as I told him how much my late mother loved watercolour painting, which drew me to him. He loved the bright colours I was wearing on such a dreary winter’s day. He stated his price, €80, and I immediately went to find the ATM. €80 was more than the average I had seen in the square, but his work was much more elevated than some of the cheaper options, and I loved his unique style. And style and experience will always add something to your bill.

Learning to Sit for a Portrait

The key to sitting for a portrait is choosing a comfortable position. Not just in how you’re seated but ensuring you select a relaxed facial expression. A big-toothy smile is pretty hard to keep up after 10 minutes. If you know your best side, let the artist know and sit in that orientation.

Another thing to remember when sitting for a portrait is that people will be looking at you the entire time. You are literally on display. This felt awkward at first, but if you just zone out and relax, you’ll come away with a much better portrait than if your face shows any of that uncomfortably. One of the hardest parts was seeing other people reacting to the paintings before being able to see it myself! But when he turned it around, it was such a wonderful surprise, and I was just in awe. Not only of his skills but how beautifully he captured my spirit and self.

What to Wear?

I hadn’t planned on getting my portrait done, but in retrospect, I think I would have thought more in advance about what I wanted to wear if I was going to do it again. I was lucky I loved my outfit and wasn’t wearing too many patterns or accessories that would be harder to capture in the portrait. These portraits might be something you’ll want to have on display forever, so be sure to choose an outfit that will pass the test of time. A simple, more classic look is always a great choice so the outfit doesn’t detract from your face. This is less of an issue with black-and-white paintings, but you might want to keep your fashion style in mind.

I generally wear some pretty vibrant makeup colours, but a bare face would have been a better approach for this occasion. That way the artist can better capture your natural features, otherwise hidden behind the makeup.

View this post on Instagram

A post shared by polanri (@polanri)

How Long Does it Take to get a Portrait?

Some artists have huge queues, so waiting in line for your turn might take an hour or so. This also might play into your decision of which artist to choose. Many artists might have a list and will tell you when to return instead of waiting in the square.

How long the actual process of painting your portrait will take depends on the complexity of the work. The quick, gestural charcol drawings can take as little as five minutes. While watercolour impressionist paintings take around 30 minutes. And some hyperrealistic colour pencil drawings, with multiple family members, would an hour or more! If time is a consideration, you can also ask yourself this question to your artist prior to agreeing upon getting the portrait made. But you definitely don’t want to rush your artist.

View this post on Instagram

A post shared by Manon (@shotbymaann)

How much does a portrait at Place du Tertre cost?

Every artist has a different set price. Some artists have their prices written on their display boards, but others will require asking to find out. With so much variety in style, the price varies to reflect the time and skills of the artists. The black and white caricature-like drawings were the cheapest. But the caricatures are often less realistic in representing the sitter. The paintings which are more representative are, of course, going to cost more. In general, I saw prices from €25 to €120. Be sure to set the price before you sit down and have the money on hand. If you adore your painting, you can also tip, but tipping in France is not the norm or expected.

All the artists I spoke with only accepted cash, so be aware of this if you plan to get your portrait painted. There is an ATM down the street if you need to take out some money. While mobile payments by card are getting more and more popular, many artists here are still very old-school.

Do You Need to Speak French?

Since most of these artists are used to working with tourists, many speak some English, but it’s not guaranteed. Learning French before your travels is a great idea, and I’ve included some key phrases to learn when speaking to the artists on the square.

Hello – Bonjoy!
Thank You – Merci
How much is one portrait? – Combien coûte un portrait?
How much for two people? – Combien pour deux personnes?
How long will it take? – Combien de temps ça va prendre?
Do you take credit card or cash? – Prends-tu une carte de crédit ou des espèces?
When should I come back? – Quand dois-je revenir?
This is beautiful – C’est beau

View this post on Instagram

A post shared by ArtmonyParis (@artmonyparis)

How to get your portrait safely home?

Various sellers are walking around the square peddling small cardboard tubes to safely store your rolled-up portrait. Some artists also offer these as part of their portrait package. When I asked how much they cost, the seller told me €10. I thought this was too much, so I walked away, not needing it that badly. And, of course, the seller chased me down, asking me for my best offer. After offering him €5, he too happily agreed. I think could have haggled him down further based on how fast he decided to take the fiver. But it was worth it to keep the work of art safe. I carried it around in my bag for months, and when I got home, it was in perfect condition.

What to Do in the Area?

If you need to wait your turn for your portrait, there are plenty of things to see and do in Montmartre to pass the time. While you might be tempted to sit at one of the cafes facing Place du Tertre, these places are insanely overpriced and the definition of a tourist trap. If you want to enjoy a coffee, there are lots of cute and affordable options on Rue des Trois Frères.

If you’re looking for something to eat, I’d recommend heading to Rue des Abbesses. This is one of the most picturesque streets in Montmartre but it still manages to avoid being filled with overpriced cafes.

Basilica of the Sacré Cœur

If you’ve never been to the Basilica of the Sacré Cœur, it’s well worth checking out. Depending on what time you arrive, the line to get inside can be pretty long. But since entry is free, the line moves quickly. If you’re not looking to go inside the Basilica but just want a great photo, I’d recommend getting a shot from Rue du Chevalier-de-La-Barre. This street is located behind the church and is often almost empty compared to the jam-packed balcony outside the front entrance to the church.

Montmartre Cemetery

Another great thing to do in the area is to visit the Montmartre Cemetery. The cemetery is about a 15-minute walk from the Place du Tertre. This picturesque burial ground is known for its tranquil atmosphere and scenic beauty. The cemetery is the final resting place of many notable figures, including artists, writers, musicians, and actors such as Edgar Degas, Hector Berlioz, François Truffaut, and Emile Zola.

View this post on Instagram

A post shared by Claudia Meisinger (@c.m.singer)

The Moulins

One of the most iconic aspects of Montmartre are the various Moulins, or windmills, found throughout the neighbourhood. In the 19th century, Montmartre was originally a rural village on the outskirts of Paris. The windmills were used to grind wheat into flour and were vital to the local economy. At the peak of their use, there were as many as 30 windmills in Montmartre, but today only a few remain. Despite their diminished numbers, the windmills remain an iconic symbol of Montmartre and are a popular attraction for visitors.

The Moulin Rouge

The most famous of all these windmills is the iconic Moulin Rouge. Made famous for being the setting for the film of the same name starring Ewan McGregor and Nicole Kidman. The Moulin Rouge is a renowned cabaret and dance hall. It was opened in 1889 and quickly became a symbol of the Belle Époque era, with its stunning decor, lavish costumes, and talented performers. It was the birthplace of the can-can dance, which quickly becoming popular across Europe and beyond. The Moulin Rouge also attracted famous patrons such as Pablo Picasso, Henri de Toulouse-Lautrec, and Edith Piaf. The same painters that inspired many of the artists working in the Place du Tertre today!

–

Getting your portrait painted on the Place du Tertre is a special memory for anyone visiting Paris. It’s a unique and unforgettable experience that captures the essence of the city’s vibrant artistic culture. Whether it’s your first or 10th time, getting your portrait painted on the Place du Tertre is an experience that should not be missed!

Happy Travels, Adventurers

The post The Ultimate Souvenir from Paris, Portrait Paintings on the Place du Tertre first appeared on The Creative Adventurer.

If you’ve visited Prague, there is no doubt you will have come across Mucha’s work. He is one of the most prolific Czech painters in the world, and the city LOVES his paintings and posters. They seem to appear on every street corner and postcard in Prague. His famous prints have become so popular they are often sold at University Poster fairs and cover the walls of hundreds of dorm rooms around the world.

Mucha’s Art Nouveau

His style of art is quintessentially Art Nouveau. Most of his more commercial works feature images of beautiful young women in flowing dresses surrounded by lush flowers. He kept the tones for these advertorial pieces in pale pastels, typical of the art nouveau style. But the ‘Slav Epic’ is something completely different. A departure from his commercial work and something genuinely personal to the artist. If you are interested in learning more about the Slavic people and their history, this is an immersive and exciting way to do it!

View this post on Instagram

A post shared by Jana Medkova (@jankamedkova)

Where to Find the Artwork

I am SO EXCITED to finally get to update this blog with the new locations for the Slav Epic. When I visited Prague in 2015, I didn’t know I would be one of the last people to see the Slav Epic in person. I caught the exhibition just a few months before it closed. Until the end of 2016, the Slav Epic was housed in the National Gallery’s Veletržní Palace in Prague.

Moravský Krumlov

Originally, the canvases were exhibited in the city of Moravský Krumlov. They were displayed in the castle and remained a precious treasure of the town for over 50 years. Then, the city of Prague contested that the painting had been left to them by Mucha in the first place. And they shouldn’t be displayed so far away from where most tourists visit. But Prague had no space suitable for showing all these incredibly large works of art. You almost need an airport hanger! The city of Moravský Krumlov felt the paintings needed an appropriately regal and elevated space. They wanted them to be displayed inside the old palace of Moravský Krumlov, where they felt like they belonged. 

Political Battle over the Paintings

In 2012, the city of Prague eventually won the right to display the works. They found a temporary space for them in the National Gallery’s Veletržní Palace. But this space was only to house them for four years. After 2016, the paintings were boxed up, and a political battle between Prague and Moravský Krumlov erupted again. No one could agree on where they would be displayed. They travelled to Japan for international exhibitions, but when they returned, they sat in storage.

Finally, in 2020 the Prague City Council decided to return the paintings to the château in Moravský Krumlov. They will be on display here until 2026. After returning to their original home, the canvas exhibition spaces were repaired to better showcase these incredible works of art.

View this post on Instagram

A post shared by Frank Kotsos (@frankkotsos)

Access & Admission 

As the exhibition takes place in Moravský Krumlov, most visitors will arrive via Prague, Vienna or nearby Brno.

The train from Prague to Moravský Krumlov takes about 4 hours (with one transfer.) After arriving at the stations, you can hop on a bus which will take you to the entrance to the castle. If you are travelling from Vienna, the journey is slightly shorter, only 3 hours on the train. The shortest trip will be from Brno, as it is only 1 hour on the train.

Tickets

It’s best to purchase tickets in advance to ensure you won’t be disappointed that they are sold out when you arrive.

Prices: Adults 250 CZK, Seniors 65+ 170 CZK, Students 10-25 years old 150 CZK

Hours

January–May:  9:00 a.m.–4:00 p.m. (last entry at 3 p.m.)
June–August:  9:00 a.m.–5:00 p.m. (last entry at 4 p.m.)
September–December  9:00 a.m.–4:00 p.m. (last entry at 3 p.m.)
all year round: closed on Mondays

View this post on Instagram

A post shared by 위드 피터팬 (@withpeterpan)

The Size Paintings

Seeing the paintings for the first time in person, you’re immediately awestruck by the sheer size of these canvases. They feel more like walled frescos than simple pictures. Moments are frozen in time, captured in life-sized (and in some cases, larger than life) works of art. Each of the paintings depicts the history of the Slav people, their civilization, wars, and celebrations. The next thing you’ll notice about these paintings is how the people represented differ from Mucha’s other works. These are not the languid, sensual forms of Mucha’s commercial art nouveau posters. These deftly painted scenes profoundly portray the emotions and collective journey of the subjects in each brushstroke.

About Alphonse Mucha

Alfons Maria Mucha, although better known internationally as Alphonse Mucha, was a Czech painter born in 1860. He born in the small town of Ivančice in southern Moravia. Mucha showed an aptitude for painting very early on. He received his secondary education at the Cathedral of St. Peter and Paul in Brno. He was accepted into the arts school firstly as he was also an accomplished singer. Mucha was famously quoted as saying, “for me, the notions of painting, going to church, and music are so closely knit that often I cannot decide whether I like church for its music or music for its place in the mystery which it accompanies.” The dramatic scenes in many religious paintings undoubtedly influenced the art he would later go on to make. 

Mucha in Vienna

At 19 years of age, Mucha travelled to Vienna. There he became an apprentice scenery painter for theatre companies. His flair for the dramatic would continue to be influenced through these explorations. After his apprenticeship, Mucha moved back to Moravia. There he was employed by Count Belize to create portraits, decorative art and lettering for tombstones. Belasi saw Mucha had real talent. He wasn’t just an everyday artist. Belasi brought Mucha with him on his trips to Venice, Florence and Milan. There he was able to introduce him to many more professional artists.

Mucha in Paris

Eventually, Mucha moved to Paris in 1888 and started to professionally study art at the Académie Julian and Académie Colarossi. These schools specialized in studying female nudes and figurative paintings. As well as historical and religious art.

While in Paris, Mucha lived inside the Slavic community boarding houses who famously sheltered struggling artists. It was perhaps living within this community that endowed Mucha to the Slavic people even more. Mucha’s first large client was the Central Library of Fine Arts. It was from here that his career as an illustrator and graphic artist took off. He successfully made a life for himself in Paris for many years, creating commercial art. These printed works featured his iconic attractive sets of women, in flowing gowns and floral backdrops.

View this post on Instagram

A post shared by Mucha Foundation (@realalphonsemucha)

History of the Slav Epic

At the age of 43, Mucha returned to his homeland of Moravia. There, he devoted himself to painting a series about the history of all the Slavic people. Mucha’s inspiration for the series first started when he was researching another assignment. While studying and travelling through the Balkans, he was genuinely struck by the hardships and sufferings of the Slav people. He also noted there was no real documentation of these people’s stories in art. Mucha decided it would be his final task to bring these stories to life with paint.

Although he secured a financier for the giant undertaking, this was more of a passion project for the artist. Sitting in his studio, surrounded by this enormous canvas, Mucha painted the past into reality. The Slav Epic depicts in chronological order the mythologies and histories of the Czechs and Slavic people.

Romanticism

Many of the themes in this series fall under romanticism. Romanticism is characterized by its emphasis on emotion and individualism and the glorification of the past and nature. In these paintings, sensations are portrayed on people’s faces in a far more sophisticated way than before. Looks of horror, terror, awe and apprehension started to round out the range of human emotion in art. Previously emotion had been stunted between pure joy or sadness. Romanticism also elevated folk art, which had previously been thought of as a lesser form of art.

It took Mucha over 14 years to complete the series. In 1928, on the 10th anniversary of Czechoslovakia’s independence, Mucha presented the collection of paintings to the Czech nation. He considered it his most important piece of work he ever created. The Czech Republic cherished the gift. It was like nothing else they had ever seen before. Notably, during World War II, the Slav Epic was one of the first things hidden away before the Nazis took hold of the city and seized works of art.

View this post on Instagram

A post shared by Roberto Rampazzo de Carvalho (@rampazzo.decarvalho)

The Slavs in Their Original Homeland

The series is set chronological and starts with the painting entitled “The Slavs in their Original Homeland,” painted in 1912. In the 4th to 6th century, the Slavic people lived largely in unpopulated, rural areas, which often were considered marshes. Because there was no national army to protect these farmers, their lands were invaded time and time again.

In this painting, you can see a mother and child hiding in the bushes. Behind them, their village is being burned to the ground. The red fires glowing in the distance to the left of the frame. Their eyes are so vulnerable and seem to cry out to the viewer for help. They look right into your soul. This is a trope that Mucha uses throughout almost the entirety of the series.

In the top corner of the piece, you can see three figures floating in mid-air. The largest of the figures, a priest, holds his hands outstretched. In the same position as Jesus on the cross. The two on either side of him are a young boy and girl. The boy, dressed in blood-red robes represents war. The girl on the right, dressed in white represents peace. The two figures seem to foreshadow the future of the Slavic people. Their history is marred by many wars but also by the hope for peace.

View this post on Instagram

A post shared by Markéta Gajdová (@markys.g)

Colours in the Slav Epic

The colours used in this painting are significant in the series and also in comparison to Mucha’s other works. Most of Mucha’s artworks are pale and delicate. In this series, we find there is definitely a dark tone to his work. Colours here are not just used haphazardly. He uses colour to his advantage and to help tell the story using symbolism.

Many of the paintings throughout the series have two separate planes of existence set in the same scene. Often mythological beings are seen floating above the historic action below. This is Mucha’s way of combining the essential mythologies of the Slavic people to past events.

View this post on Instagram

A post shared by 藤田吾翔 (@gosho_fujita)

 The Celebration of Svantovít 

Sventovit is a Slavic deity of war, fertility and abundance. Sventovit is depicted as a four-headed god with two heads looking forward and two looking back. These four directions are positioned like a compass, looking north, south, east and west. The different directions they point also symbolize the different seasons of the year. Mucha’s next piece, “The Celebration of Svantovít” features the god Sventovit is located in the upper right portion of the painting. The god’s head is just cut off on the top of the canvas. Almost as if we portals cannot look upon him. But we can see some of the branches which sprout forth from his head. He is surrounded by other celestial beings painted in an almost opalescent quality.

View this post on Instagram

A post shared by Michaela Ohlídalová (@miicha_ella)

Arcona

Before the 1200s, the Slavs headed westwards and built a temple to Sventovit in the city of Arcona. As Sventovit was also the god of the seasons the Slavs would have a grand celebration every year during the autumn. The festival was obviously held at this temple. Pilgrims would come from all over Europe to celebrate with them here.

In 1168 the Danes attacked the city and destroyed the temple in their conquest of the east. We can see the Danes in the upper left corner of the canvas. They are represented by the fearsome-looking warriors being lead by a pack of wolves.

Celebration

Below the celestial scene, the Slavs are preparing for their autumnal celebrations. The Slavs and pilgrims are all dressed in white, a symbol of purity. Only one character seems to be aware of the incoming attack. A mother holding her child in the center of the frame looks out at the viewer. She is almost begging the viewer to take notice. And save them from the horrors which are about to happen to the peaceful pilgrims and Slavs.

Introduction of the Slavonic Liturgy in Great Moravia

In this painting, the “Introduction of the Slavonic Liturgy in Great Moravia” we have a lot going on. So let’s study the earthly plane first. The scene takes place in Velehrad around the year 880. In the lower right corner of the painting, we see a ray of light shining down. A deacon, with his back turned to the audience, reads out an edict. Sitting on his throne awaiting the reading is Prince Svatopluk of Greater Moravia. The deacon is reading out the announcement that Pope John VIII has officially sanctioned the use of Slavic liturgy.

To the left of the deacon, almost hidden behind a small tree, stands Methodius. Two novices are seen kneeling by his side. The task of translating the Bible into the Slavic language was a job upon which Methodius staked his life. And it would make him a saint. Methodius, and his brother Cyril, both helped with this translation of the Bible. The Pope also made Methodius archbishop for his achievements. In the middle ages, having a bible in your native language was a way of ensuring its legacy.

View this post on Instagram

A post shared by finest figurative paintings (@figurative_painters)

Slavic Language

But not everyone is happy to hear this news. The two German priests surrounding Svatopluk, whose faces are shaded and almost hidden in darkness, can barely conceal their anger. These Germans had been making their way through Moravia in the hopes of eliminating the Slavic language for good. They wanted to force the Slavs to learn the German language in order to practice Christianity.

In the very front of the foreground, once more staring out at the audience, stands a young man with his fist clenched. He raises his other hand in the air, which holds a large ring. The circle symbolizes this moment of strength in unity for the Slavic people.

View this post on Instagram

A post shared by Mucha Foundation (@realalphonsemucha)

Boris of Bulgaria and Igor of Russia

Floating above this scene, we have members of the divine realm. In the upper left corner, we can see the Pope sitting on his throne. Beside him, sits the Byzantine emperor, who was the head of the Orthodox Church. Surrounding the great religious leaders Slav who suffered forced Germanification, who now cry out for comfort. In the center of the ethereal world, we see stylized images of Methodius and Cyril as Saints. To the very right, we have the portraits of Boris of Bulgaria and Igor of Russia and their wives. These rulers helped spread the Slavic Bible across the country which helped strengthen their rule and their culture.

Tsar Simeon I of Bulgaria 

Much as the Bible was important in the perpetuation of the Slavic language, art and literature were also significant in ensuring a legacy for this nation. When Methodius died, the Archbishop of Moravia, Prince Svatopluk, under the influence of his German priests, withdrew his support for the Slavic Bible. With this exodus, he also exiled all of Methodius’ followers out of Moravia. They were scholars without a place to call home. Methodius had died and his successor was not recognized by the Pope and therefore had no power. His followers felt they were the only ones left who could continue Methodius’ great work. But all was not yet lost.

View this post on Instagram

A post shared by Aleph Null (@_alephnull_)

Tsar Simeon I

Luckily, Tsar Simeon I of Bulgaria, who had a great kindness in his heart for the Slavic people, gave the scholar refuge inside his court. Tsar Simeon I, was a powerful ruler. Simeon’s successful campaigns against the Byzantines, Magyars and Serbs led Bulgaria to its greatest territorial expansion ever! It was on its way to being one of the most powerful states in Eastern and Southeast Europe. But Simone was also a lover of literature and art. We can see Simeon himself highlighted here under a golden arch. He is seen dictating to his scribes from his raised dais. Other scholars are spread out all over the court. Almost hastily and messily, writing and reading under the golden light of the throne room.

The painting’s foreground is rather small. The upper portion, which takes up about half the space, focuses on the palace’s decor. The frescoes on the wall feature both Byzantine and Slavic designs. Slavic leaders are painted, and a circular motif is applied in gold to the front of the baldachin.

King Přemysl Otakar II of Bohemia

The fifth painting in the series is entitled “King Přemysl Otakar II of Bohemia.” This painting was made 12 years after the first. The piece depicts King Přemysl Otakar II, who ruled Bohemia from 1253-1278. The King is celebrating the marriage of his niece to the prince of Hungary. This marriage would forge a great alliance and strengthen the bonds of both countries. 

The wedding took place on October 5th, 1264. It was one of the greatest celebrations in Europe’s history to date. Held on the banks of the Danube, under a large canopy, fancy tents were set up along the river to accommodate all the royal guests. The event was dubbed the “Union of Slavic dynasty“. The King happily is greeting his guests inside an ornate tent covered in rich carpets and a beautiful mosaic dome. This scene is lit from above, as if from that celestial place. The light of the hope for the countries’ futures.

View this post on Instagram

A post shared by Slav Epic (@slav_epic)

The Coronation of Serbian Tsar Štěpán Dušan

The next painting in the series is the “The The Coronation of Serbian Tsar Štěpán Dušan.” Dušan fought many successful wars, growing the size of the country and enriching the livelihood of his people in the process. On Easter Sunday in 1346, he had himself crowned as the Tsar of the Serbs and Greeks. The painting takes place on the hillside, down from the Church of Saint Marko near Skopje. In this scene, we see crowds of peasants and nobles alike, in line for his coronation. Under Dušan’s rule, Serbia was the major power in the Balkans, and a multi-ethnic and multi-lingual empire. He enacted Dušan’s Code which was a compilation of several legal systems, which is considered to be one of the first acts of the constitution.

View this post on Instagram

A post shared by Radka (@radka_london)

The children will follow in their leader’s footsteps and bring freedom to the Czech people

Dušan is depicted at the centre of the frame, but not larger than any other person presented. Walking in front of him are some young Serbian girls in traditional attire. The children stand at the front of the procession, as Mucha always maintained that “the children will follow in their leader’s footsteps and bring freedom to the Czech people.” In their hands, they carry flowers and olive branches, the symbols of peace and victory. The children’s gaze focuses once more on the viewer, asking them to join in on the celebrations.

View this post on Instagram

A post shared by Ivana (@ivanalepojev)

Jan Milíč of Kroměříž

This painting, “Jan Milíč of Kroměříž,” is the first of a triptych in the Slav Epic series. These three paintings jump forward in history slightly and focus on the reformist preachers of the 14th and 15th centuries. Jan Milíč of Kroměříž was a Czech Catholic priest who found himself in opposition with the rest of his clergymen. He found the Catholics to be immoral and indulgent. Their greed was outweighing their piety. 

He redesigned from his official priestly duties and instead dedicated himself to helping the sick and poor of the city of Prague. Milíč made it his mission to persuade the prostitutes of a large house of ill repute to shed their sinful ways and repent. By the sheer eloquence of his words alone, they followed.

View this post on Instagram

A post shared by Aleph Null (@_alephnull_)

Unlike the rest of the paintings in this series, this one is primarily made up of women. Even Milíč himself is very small in proportion to the rest of the scene. At this moment in time, we can see the former prostitutes shedding their brightly coloured clothes and lavish jewels in exchange for simple, white robes. A mode of dressings that represented their newfound purity.

Jerusalem

Milíč set about building a new church, which he would call his “Jerusalem“. This church would become the Týn Church which now stands in Prague’s Old Town Square. In this painting, we can see the women gathered around the spot that would become this church. The scaffolding reaching high up, making the verticality of the painting one of the most impactful things about this piece. One of the prostitutes in the foreground, dressed in red, has her mouth gagged in order to prevent her from gossiping, a mortal sin.

View this post on Instagram

A post shared by Xen Von Katz (@xenvonkatz)

Jan Hus Preaching at the Bethlehem Chapel

The second and largest painting in the triptych is “Jan Hus Preaching at the Bethlehem Chapel”. In this dimly lit scene, we see the Czech theologian and philosopher Jan Hus sitting in the center of the Bethlehem Chapel in 1412. Jan was at the height of his popularity at this time. Jan Hus preached against the Catholic Church of Bohemia, as he believed they were using the church for their own gains. And they would not let the Bohemian people have the Slavic language used in church. The scenes show Hus on the left side of the painting, preaching from his pulpit. But Hus, despite being perhaps the most famous character in the scene is not the central focus. The audience is filled with both everyday people and the highest rungs of Bohemia. All together, presented equally.

The church is also filled with famous characters who would shape the future of Bohemia. Perhaps influenced by the teachings of Hus. The future leader of the Hussite army Jan Žižka, stands under a fresco of St. George and the Dragon. In front of the pulpit is a small group of Hus’ students who are diligently taking notes. All of them sit there, transfixed by the words he speaks.

View this post on Instagram

A post shared by Mucha Foundation (@realalphonsemucha)

Queen Sophia, wife of King Váklav IV

On the right side of the frame, we see the bright red canopy of Queen Sophia, wife of King Váklav IV. She sits with her assembly listening to the great lecturer. One of her ladies in waiting turns her head to the side, looking off at a shadowy figure in the corner. This figure represents one of the spying priests who would bring about the death of Jan Hus.

Mucha represents the Bethlehem Chapel as he imagined it. The real church was destroyed in 1836, long before Mucha started this painting. Mucha draws the interior in the high Gothic style as it feels so grand and perhaps reflects the magnificence of the sermons Jan Hus would have been giving. You can visit the new Bethlehem Chapel in Prague today, and while the architecture isn’t nearly as impressive now, its prominence in history is unparalleled.

The Gathering at Křížky

Jan Hus’ teachings were not taken kindly by the papacy. When Alexander V was elected as a pope, he excommunicated Hus. But this would not stop him from preaching. Angered at his insolence, the pope plotted to arrest Hus. He planned an assembly of the Council of Constance to discuss Hus’ opposition to the church. When Hus arrived to have what he thought would be a sensible debate, he was arrested. They repeatedly ask Hus to stop preaching and bend to the ways of the Catholic church but Hus just repeated, “I would not for a chapel of gold retreat from the truth!”.

Hus was burned at the stake for “heresy against the doctrines of the Catholic Church“. As he burned they say he could be heard singing Psalms, a peaceful protestor to the end. But his death would not be in vain. His followers, who called themselves the Hussites, rose up against the Catholic Church. They wanted to take up arms to defend their faith and their right to practice religion in the Slavic language. In 1418, there was a gathering of the Hussites before the great war they would embark on. It is depicted here, in the painting called, “The Gathering at Křížky.”

View this post on Instagram

A post shared by Susie (@susie__writes)

Koranda

On the right side of the frame, atop a makeshift pulpit stands the preacher Koranda, one of Jan Hus’ most diligent followers. Koranda preaches to the thousands of followers who have concentrated on the hillside. In the foreground, a young man puts his hands around his mouth, in mid-scream. He is calling out for more pilgrims to come over to this spot and listen to Koranda. Koranda is famously quoted as saying, “the faithful should carry swords, not walking sticks.” It was perhaps this moment that the Hussite Wars began. While the painting’s hills and foreground are lit in a pale morning sunrise, there is a dark sky looming above them. This ominous tone is foreshadowing the devastation that will be brought by impending hostilities.

After the Battle of Grunewald

This scene is perhaps one of the most ghastly of all the paintings in the series. The painting depicts the morning “After the Battle of Grunewald“. The great Battle of Grunewald is one of the most significant medieval European victories in history. It was a show of unity for nations under the thumb of Germany. The Teutonic Knights, a German catholic order, had been ravaging the Baltic lands since the 1400s. They wanted to spread Christianity to the pagan nations as they deemed them “savages”. The Slavs, who were also at war with the German Catholics, saw an opportunity to join forces and create a united front against them. The Slavs, the Poles and the Lithuanians all signed a treaty on July 15th, 1410. This was done to help each other defend themselves against the great Teutonic Knights.

View this post on Instagram

A post shared by Aleph Null (@_alephnull_)

Polish–Lithuanian Union

The battle at Grunewald in Poland was a bloody affair, but in the end, the Polish–Lithuanian union were the victors. The battle is thought to have been the marking point in history when the balance of power shifted in Central and Eastern Europe. Many historical war scenes are often depicted as gory and bloody and yet Mucha chose a different approach. Instead, the battleground is almost entirely white, like covered in freshly fallen snow. This is once more to show the purity of the fallen soldiers, who died for the good of their country.

At the top of the frame stands Polish King Władysław Jagiełło and his cousin the Lithuanian Grand Duke Vytautas. They look down at the field of dead soldiers in horror. Such a high cost for freedom which should have been granted naturally. A priest in a white hood can be seen blessing the fallen soldiers as he moves throughout the battlefield.

After the Battle of Vítkov

The 11th piece in the series is entitled “After the Battle of Vítkov.” Like the previous painting, this one also focuses on fallen soldiers. Mucha was a pacifist and hated the loss of which war incurred. The battle was between the Czech people and the then King of Hungary, Sigismund, brother of King Wenceslas. Sigismund was thought to be the one who plotted the death of the people’s prophet, Jan Hus. After Hus died, the people refused to accept Sigismund as their king and marched against the Hungarian army, which occupied Prague Castle at the time.

Zižka

The sun rising above the clouds beams down on a figure which represents Zižka, the leader of the Czech army. We have seen Zižka before, first in the church scene listening to Hus’ teachings. Here we see him still fighting for the same things Hus had preached. Zižka is painted here by Mucha almost as a saintly figure, with the light of god cast down upon him.

In the bottom left of the frame, a mother is seen with her children. But she turns away from them, towards the viewer. She looks utterly overcome with pain, exhaustion and defeat. Although her army may have won the battle, many men had to die and she is perhaps thinking about her young children, who will no doubt go to war like so many other young men. These powerful characters looking out at the audience always seem to have these discerning looks, as if they, like the viewer, know what is to come next.

View this post on Instagram

A post shared by Aleph Null (@_alephnull_)

 Petr of Chelčice 

Mucha aimed with his Slav Epic series to ensure he depicted both sides of the story. And in the painting, “Petr of Chelčice ” we see this balance. While the Hussites were an oppressed people, there were also more extreme factions of Hussites who themselves terrorized many people. This extremist group was called the Taborites. In 1420 the Taborites attacked the village of Vodňany. They plundered the town and burned it to the ground. In the distance of the painting, we see a hint of this action as the black smoke fills the air and almost the entire skyline.

The remaining citizens of Vodňany came to a pond away from the city carrying their dead and wounded in the hopes they would be safe here. The dead are wrapped in white sheets and set against a white pure background. Many of Mucha’s war scenes depict not the action of the battles itself but the after-effects of these traumas on the innocent victims or those left behind. Those who needed to carry on.

Petr Chelčický

In the middle of the frame, we can see a man dressed in a long brown coat and pale blue shawl. He holds a tattered book in his hand, the Czech bible. This is Petr Chelčický. Petr is seen holding the hand of a man, who in anger wants to set off back to the village to avenger his fallen family. But Petr is attempting to calm and dissuade him from seeking revenge.

Chelčický believed and taught pacifism and hated the idea of war. Mucha himself shared in this belief and wanted to highlight the man which he himself looked up to greatly. Petr Chelčický would go on to found the Unity of the Brethren. Their motto was “In essentials, unity; in non-essentials, liberty; in all things, love.”

View this post on Instagram

A post shared by Aleph Null (@_alephnull_)

The Hussite King Jiří z Podĕbrad

Despite the strength and unity of the Czech people, Rome was still in opposition to them. In 1458 Bohemia elected its first king; Jiří z Podĕbrad portrayed here in “The Hussite King Jiří z Podĕbrad“. Jiří z Podĕbrad was well-loved by his people. With many successful battles, the Hussites had demanded an acknowledgement from the Church. Jiří z Podĕbrad sent an envoy to Rome with a treaty. He asked that the Pope confirmed his election and grant Bohemia their own religious privileges. The Pope sent back to Prague his cardinal Fantinus de Valle, to the Royal Court in Prague’s Old Town.

View this post on Instagram

A post shared by Aleph Null (@_alephnull_)

Mucha’s Villains

In Mucha’s series, so many of the villains are seen painted in red. And there is no purer red, than the cardinal’s robes. He is centred in the frame, surrounded by the golden light flowing in through the gothic tracery’s stained glass windows. But instead of the golden light on the sun seeming holy or uplifting, there is an ominous, almost firey tone, to the lighting. He has not brought news of peace but of more war. The profile of Fantinus has actually been modelled off Pope Pius II. Fantinus was mere a solider in the Pope’s envoy.

The scene around him is calamitous. The king is seen turning away, his chair on its side, no doubt having been kicked down in a fit of rage. The overturned chair also represents the fact that Bohemia was still not seen as an official kingdom as the Papacy would not acknowledge it. At the bottom of the scene, in the center of the frame, we see a young boy looking out at the viewer. The boy is holding a book in his hands, which has the words “Roma” written on the cover. The book is closed, depicting the fact that Rome has closed the door on the Bohemian people.

The Defence of Sziget by Nikola Zrinski

“The Defence of Sziget by Nikola Zrinski” stands out, as the red hue is so saturated in juxtaposition to the softer tones of the rest of the series. The scene is fiery, literally. It depicts the last assault of the Bohemian forces against the Turkish army. In 1566, when this painting is set, the Ottoman Empire was spreading eastwards, taking city by city by force. Their next attack was set on the city of Sziget, a town in modern-day Hungary.

Nikola Zrinski

Within the walls of the city, the last remaining Bohemians forces gather around their leader, Croatian nobleman Nikola Zrinski. With no way out, the soldiers and common folk decided that instead of surrendering, they would fight to the very end.

One of the most dramatic moments of the siege is the burning of the city. Upon seeing the Turkish forces burst through the battlements, Zrinski’s wife Eva set fire to the city. She knew while this would no doubt kill hundreds of her own soldiers, but it would also kill thousands of Turks. And perhaps stop their advance into the rest of eastern Europe. In this scene, we can see Eva, along with other fellow women, climbing the scaffolding which contained the cities gunpowder supply. They ready themselves, for the right moment, when the Turkish army is close. Then Eva will hurl down the cresset she holds, to set the entire thing ablaze. You can see Eva at the very top of the scaffolding, standing proud and regal, brave in the face of her sacrifice. It was this decision that successfully halted the Ottoman expansion towards the city of Vienna.

Dividing the canvas like a scar, is a dark plume of smoke rising from the ground. The smoke is so thick it doesn’t seem to belong in the earthy realm. Instead, perhaps it is foreshadowing the demise yet to come. This battle is often referred to as “the battle that saved the civilization.”

View this post on Instagram

A post shared by Mucha Foundation (@realalphonsemucha)

The Printing of the Bible of Kralice in Ivančice

“The Printing of the Bible of Kralice in Ivančice” is of particular importance to the Mucha, as it depicts his hometown. The town of Ivančice where Mucha was born is faithfully reinterpreted for us here, on a seemingly idyllic autumnal afternoon. No doubt he would have chosen his favourite time of year to paint this scene. The painting shows members of the Brethren School, gathered in 1578 to admire their new printing press, at work producing the first Czech translation of the New Testament.

View this post on Instagram

A post shared by Mami Otsuka (@mamitalia2010)

Jan the Elder

This theme of all men being equal was something Mucha believed in and was preached by the Brethren School itself. The teacher Jan the Elder of Žerotin can be seen almost obscured under the wooden shelter on the left side of the canvas despite him being one of the founders of the school. In reality, while the Brethren School was located in Ivančice, the bible had to be printed in secret in the town of Kralice. While the action is celebratory, the act of printing the bible in another language was seen as an affront to the Catholic church.

In the foreground of the frame, we see an old man reading to a young scholar. The scholar is looking out at the audience, with a look of apprehension or perhaps impending doom in his eyes. He seems to know that this act is bound to bring persecution down on the school. But printing the bible in Czech was in itself a symbol of the power of the Czech national identity. Since the bible was one of the most-read pieces of literature, having it in your own language ensured its legacy.

View this post on Instagram

A post shared by (@snbcastel)

Jan Amos Komenský

As foreshadowed by the look of terror in the boy from the previous painting, the religious liberties of the Bohemian people would not last. In 1619 the Holy Roman Emperor Ferdinand II became King of Bohemia. Without a true Czech King on the throne to fight for the rights of the Bohemian people, the Catholic church was reinstated in what was now a Protestant region. But not without bloodshed. In 1620, 30,000 Bohemians died trying to defend their liberty. Noblemen and academics were given the choice to convert to Catholicism or to be exiled.

Naarden

The painting of “Jan Amos Komenský” depicts the result of this exile. Komenský had been a member of the Brethern school who faced this choice. Not wanting to bend the knee to the catholic church, he left the country he loved so much, breaking his heart in the process. He spent the rest of his life in the town of Naarden, in the Netherlands. The town is located near the water, and historically it was said that Komenský would walk along the coast every day. Perhaps the calm sound of waves crashing on land allowing him to dream about the country he left behind. One day, when he felt like his life was coming to a close, he asked for a chair to be brought out to the coast. There he sat, and let death take him home once more.

View this post on Instagram

A post shared by Aleph Null (@_alephnull_)

The scene is painted in a sombre, yet peaceful swath of blues and whites. The purity of the white shores upon which he walked is framed by the melancholy blue of the sky. The sombre sky reflecting the sadness which Komenský felt being compelled to leave his homeland and many of his people. A group of his followers can be seen grieving on the shore, holding each other close. A single lantern sits on the sand, glowing brightly in the darkness, perhaps a hint at the hope which still exists for the Bohemian people.

Czech Mason Temple

This is the only painting in the series which Mucha actually signed! Mucha was deeply connected to Komenský. It is well known that Mucha was a member of the Czech Mason Temple, which was founded in Prague in 1919 and named after Komenský himself. One of the symbols of the Masonic Temple is the Eye of God often seen in a triangle surrounded by rays of light. It is thought that Mucha’s inclusion of the lantern in this scene is symbolic of this same Eye of God and therefore a masonic symbol.

The Holy Mount Athos

The 17th piece in the series is called “The Holy Mount Athos.” Mucha believed that Mount Athos was a spiritual nest for the Czechs and Slav people. Mount Athos is a mountain in northeastern Greece and an important centre of Eastern Orthodox monasticism. Mount Athos is home to 20 monasteries under the direct jurisdiction of the Ecumenical Patriarch of Constantinople. Mucha visited the mountain himself in 1924. The spiritual haven made a huge impression on the painter.

The painting depicts the Russian pilgrimage to this holy site. Once more, we are privy to Mucha’s depiction of the heavenly and the earthly places above and below the canvas. In the upper portion of the painting, we can see the celestial realm. An ethereal glow falls in through the windows, showering the angels in heavenly light. Each of the angles holds in their hand a small model of a Slavic monastery that was built around Mount Athos. Each one of the angels seems to shelter and protect these little treasures. In the center of the frame are two female angels, identifiable by the fact they are not barechested and instead draped with immaculate white fabric. They hold an insignia in their hands which indicates they represent “faith” and “purity”.

View this post on Instagram

A post shared by Aleph Null (@_alephnull_)

High Priests

In the earthly plane, we can see the Russian pilgrims entering the sanctuary in a semi-circle, bowing and praying. Four high priests stand at the back of the scene, just under the Slavic icons. Each one of them holds a relic in their hand which the pilgrims kiss upon greeting. In the foreground of the canvas, we see once more a young man, holding up an older blind man in his arms. One can imagine them to be the same two figures from the school of the Brethren a few paintings ago. The young man, being so inspired by the teaching of the older one, has helped bring him to this holy place where he can finally be at peace.

The Oath of Omladina under the Slavic Linden Tree

There are two important things to understand when reading the painting “The Oath of Omladina under the Slavic Linden Tree”. One is mythological and the other historical. The historical piece of the story is imprinted in the title with the mention of the Omladina. The Omladina were a group of Czech Nationalists made up mainly of youths created in the 1890s. 68 members of the group were furthermore put on trial for their beliefs and sent to prison for their “radical” ideas. These ideas revolved around the creation of a Czech nationalistic revival, despite the fact that Bohemia was currently occupied by the Austria-Hungary empire.

View this post on Instagram

A post shared by Aleph Null (@_alephnull_)

The Daughter of Sláva

The scene which takes place here combines the Omladina with an allegorical scene of the Daughter of Sláva. Mucha was inspired by the poems of Ján Kollár whose oeuvre focused on stories of the gods and goddesses from Slavis history. The Daughter of Sláva stands in the center of the frame, beneath a Linden tree. The Linden tree is also a symbol of the Slavs. Surrounding the tree, in a circle of unity, are imagined members of the Omladina. The Omladina are in the process of taking an oath and pledging their allegiance to the goddess Slavia, and to the Czech people. While the men in the frame are portrayed in their formal, modern-day fashions, there are groups of figures surrounding them dressed in folk costumes. These are traditional representations of the first Czech people.

Jaroslava and Jiří

Sitting on what almost looks like the edge of a stage are two figures, a male and female. These characters were actually modelled off Mucha’s own children; Jaroslava and Jiří. The composition of girl on the right strumming the lyre was actually used in the posters that Mucha created to promote the exhibition of the Slav Epic in Prague in 1928. Mucha would never finish this painting, and the composition remains bare on the canvas, unvarnished. The faces are also unfinished, but in a sense that almost makes the painting more interesting as future Czech revolutionaries can imagine their own faces in the image. Inspiring them to never lose their Czech identity and the histories that come along with it.

View this post on Instagram

A post shared by Yamakawa Szilvia (@szirichan)

The Abolition of Serfdom in Russia

Mucha’s painting of the “Abolition of Serfdom in Russia” is a real reflection of the artist’s disheartening experience of visiting Russia for the first time. Mucha had always looked up to the Russians and was excited to finally visit the city. But when he got there in 1913 he was so disappointed to find the city was overrun with poverty and suffering. It was not the progressive place he thought it would be, instead, he found so many cultural practices to be years behind the rest of Europe. Especially in terms of equality, something he valued over everything else.

View this post on Instagram

A post shared by Aleph Null (@_alephnull_)

Tsar Alexander II

Tsar Alexander II had given Russian serfs personal freedom in 1861. Which Mucha felt was long overdue. The term “serf”, referred to an unfree peasant of the Russian Empire. They differed from slaves only in the sense that they could not be bought and sold independently from their land. Instead were “attached” to the land they lived on. So if you bought a piece of land, the serfs came with it, but could never be moved from that spot. The emancipation movement of 1861 meant that 23 million people received their liberty. They now could marry without having to gain consent, could own property and even start a business.

When the edict was read out, as portrayed here, the serfs and nobles alike had much uncertainty about what this freedom would look like. For the peasants, having never known this kind of life before, some of them were overwhelmed and confused. Mucha’s crowd is subdued rather than excited. They sit for a moment, apprehensive that the emancipation order could be being revoked. And this liberty taken away as fast as it was given.

View this post on Instagram

A post shared by Farnaz (@khatibifarnaz)

St Basil’s Cathedral and the Kremlin

St Basil’s Cathedral and the Kremlin are almost completely obscured in the background of the scene by the thick fog. Making the picture more about the people than the country which looms over them. The sun is only starting to peek out of the clouds, offering a faint glimmer of hope. In the foreground of the picture, once more we see a mother and child looking out at the viewer. Their faces are a complex mixture of trepidation, anxiety and optimism.

The Apotheosis of the Slavs, Slavs for Humanity

The final painting in the series is perhaps the most impressive, the colours within its frame is almost otherworldly. It’s entitled “The Apotheosis of the Slavs, Slavs for Humanity.” In this scene, Mucha sums ups all the themes that were explored throughout the preceding paintings.

It celebrates the independence of the Slav nation in the 20th century.
The painting is divided into four sections, each separated by colour. The blue portion in the bottom right represents the mythology of the Slavic people. Those stories are the bedrock upon which their culture was built.

View this post on Instagram

A post shared by Aleph Null (@_alephnull_)

The red in the top-right reflects the brutal Hussites wars fought in the middle ages. The dark shadowy figures on either side of the painting represent the enemies of the Slavic people and the oppression they surrounded the Slavs with throughout their lifetime.

Independent Czech Republic

The last group is the one marked with a bright yellow glowing light. In the centre, a man stands with his arms outstretched. So vast, they almost touch the edges of the canvas. He represents the new, independent Czech Republic. But he doesn’t stand alone. Behind him is the figure of Jesus Christ, supporting him on the journey to come. The man greets a group of soldiers, seen in their uniforms, returning from the First World War. The Austro-Hungarian Empire collapsed after WWI, and the Slavic people were free of their reign in 1918. Just below the waist of the towering figure is a man crouched over, holding his heart. From his clenched hands, a beam of light is radiating. The light represents the Czech people’s love for their nation. And it is this love that will illuminate the future pathway for the Slavic people.

Young boys and girls wave branches with bright green leaves, saluting the men returning home from battle. They are seen wearing traditional folk costumes. Symbolic of the fact that their traditions will never die and will continue in the hearts of future generations.

View this post on Instagram

A post shared by Harriet (@harriet.tan)

Souls of the Slav People

Mucha hoped that those who viewed these paintings would be able to see into the souls of the Slav people. He wanted all Slavs and Czechs, now more than ever, to come together through their shared history. He hoped that by documenting these stories, perhaps unknown by many, they would find peace and hope. I had never known anything about the Slavic people until I visited Prague. After experiencing this series I was so inspired to do more reading about the stories portrayed here in the Slav Epic. By understanding the past these people suffered and survived through you have so much more appreciation for the culture they had to fight to preserve.

Fully taking in the Slav Epic can take some time, but the experience is absolutely worth it. I hope that when it finally reopens in its new home in Moravský Krumlov people flock to see it. This is a collection of works of art that NEEDS to be seen in person to be fully appreciated. While learning about it online is great, seeing these gigantic paintings, overtake your field of vision is such an awe-inspiring experience and I truly hope you all manage to see it for yourself!

The post The Ultimate Guide to Exploring the Beauty and Meaning of Alphonse Mucha’s Masterpiece, the Slav Epic [UPDATED 2023] first appeared on The Creative Adventurer.

Access and Admission

The Carrières de Lumières is located 800 m from the Château des Baux-de-Provence, 15 km north-east of Arles and 30 km south of Avignon. You can access it By road on the A7 motorway (exit Avignon), A9 (Nîmes) and A54 (Baux-de-Provence). The Carrières are less than 10 minutes walk from the village of Les Baux-de-Provence, so you can easily get there if you are parked near the village.

Tickets for the Carrières de Lumières can be purchased as a combined ticket with your entry to the castle. The combined ticket costs €17.5 for adults, €16 for seniors, €13.5 for children & students and €50 for families (2 adults and 2 children). Kids under 7 are free.

If you are looking just to see the Immersive Exhibition, tickets are €14 for adults, €13 for seniors, €11.5 for children and students, €39.5 for families (for 2 adults and 2 children) Kids under 7 are free.

The Immersive Experience

The show changes every year but always combines famous paintings from a particular artist with modern music and dynamic light projections which encapsulate the entire room into a mesmerizing exhibit. There are over 2,000 digital images projected onto over 7,000 m2 inside the quarry. 

The projections cover the entire space from floor to ceiling. Viewers can walk around the whole time as different parts of the quarry display different designs and experiences. But if you want to relax you can find one of the many benches or sitting areas and simply sit to enjoy the show. The program is around 20-30 minutes long but I would advise staying for at least 2 cycles to make sure you experience all different aspects of the exhibit from various parts of the quarry.

The Artists

When we visited the show on display featured artworks from Bosch, Brueghel and Arcimboldo. The show featured a fantastical musical score by Luca Longobardi using music from Led Zeppelin. The combination of the antiquated artworks with modern music was one of the most innovative parts of the show.

Bosch, Brueghel and Arcimboldo were all artists who focused on the shifting nature of good and evil. Carefully curated pieces all combine together to create a seamless story of the variant nature of humanity. 

In addition to modern music, the paintings themselves are animated and move as they are being projected. This brings these paintings to life in a way they’ve never been seen before. Even the slightest movement turns brings history to life.

Hieronymus Bosch’s paintings which are so detailed are blown up larger than life along the walls and ceilings. From this perspective, you can inspect the works close up. You’ll discover elements of the paintings you’ve never been able to see before. Check the website to see the theme they are presented this year. Or just show up and let yourself be surprised! No matter who the artist is, the love and passion the curators have for transforming the space and bringing art into people’s lives in a new perspective is always an absolute treat.

Les-Baux is a place you cannot skip on your travels through Provence! And a visit to see the Carrières de Lumières makes it all the more special. I hope you get the chance to experience everything this region has to offer for yourself.

Happy Travels, Adventurers

The post Why You NEED to Visit the AMAZING Carrières de Lumières in Les Baux first appeared on The Creative Adventurer.

Now that we’ve been in this period of stay-at-home orders for a while, museums and art galleries around the world have all gotten their act together to put together content online for their would-be visitors. Some of the world’s best institutions are now providing guests visual visits to some of the world’s best exhibitions. If you are suffering from wanderlust, these are a great cure. Or maybe you have an older student at home who wants to use this as an at-home learning opportunity! Either way, these virtual galleries are a fantastic way to see the world all from the comfort of your couch! 

Table Of Contents

1. The Uffizi Gallery
2. The State Hermitage Museum
3. Frida Khalo Museum
4. The British Museum
5. Musée d'Orsay
6. Rijksmuseum
7. Vatican Museums
8. Van Gogh Museum
9. The Belvedere
10. MET

The Uffizi Gallery

The Uffizi Gallery, located in Florence, Italy, is one of the world’s most famous museums. Inside its hallowed walls are some of the most important paintings from the Italian Renaissance. The collection of art was gifted to the city of Florence by the Medici family. The Medici’s were once Italy’s ruling dynasty and amassed some of the world’s greatest artists and artwork in their personal collection. The museum initially opened in 1765 to the general public. Today (or at least pre-covid), it saw more than four million people each year!

Uffizi 360°

Truthfully, visiting the Uffizi can be a bit of a pain. It is one of the most visited museums in the world. Honestly, sometimes I find it to be almost obnoxiously crowded. But for a good reason, I suppose as their collection is so renowned. I just find myself constantly yearning to have the gallery all to myself. Well, 2020 kind of made that happen! 10 of the museum’s most popular galleries are now on display on their website in 360°! You can virtually walk through the gallery and zoom into each painting along the wall.

Uffizi Google Stories

If you are interested in learning more about a specific painting, then head over to Google Art and Culture Galleries. Over here, you can click on any image that catches your eye. It will bring you into a detailed description of the piece and more information about the artists. They also have a few online exhibitions. One of these walks you through every last detail of Piero di Cosimo‘s famous panting “Perseus Freeing Andromeda.”

The State Hermitage Museum

I have long dreamt of visiting the Hermitage Museum, of delving into the dark Russian winter only to wander the halls of this incredible fortress of beauty. The State Hermitage Museum is located in Saint Petersburg, Russia and is the second-largest art museum in the world! The largest museum in the world is, of course, the Louvre. The museum has a deep connection with the Russian empire. The collection was founded by Empress Catherine the Great and contains over three million items! And while you might not be able to view each one of those items in person, they have an AMAZING virtual tour! So you can spend every wake hour exploring this massive treasure trove!

The online tour is at 360°, so you can look up down and all around just as you would if you were really there. The best thing about their online gallery is their information icons. You can click the “i” buttons to get details on the space or various particular objects on display. Many other online galleries make you work a little harder to get information about what you’re seeing. So the fact that this is all right there in the application is fantastic!

Frida Khalo Museum

I have an entire post all about walking (virtually) in the steps of Frida Kahlo. If you’re looking for a quick intro into the life and work of this fantastic artist, then the Frida Khalo Museum has the thing for you! The Casa Azul was Frida’s childhood home where she lived in Mexico City. After going off to school and living independently, she returned to this home in her adulthood. It was there that she would live until her death, inside her beloved Casa Azul. Today, you can explore her family home, which has been transformed into a museum dedicated to the artist. Inside, you can explore her most intimate spaces precisely as they were when she lived there. You can see some of her earliest works of art, sketches and folk creations.

Google Arts and Culture has created a wonderful online gallery of a special exhibit entitled “Appearances Can Be Deceiving“. This exhibit is a collection of Frida’s personal wardrobe, jewllery, prostetics and more. It also contains a series of personal photograph taken by Frida. The exhibition was a travelling collection which was halted in 2020 after the pandemic hit. But now you can explore the entire thing online.

The British Museum

The British Museum, located in London, England was established in 1753! It started off as nothing more than a collection of Irish physician and scientist Sir Hans Sloane. Sloane has a collection of 71,000 items which he bequeathed to the British people upon his death. The museum opened to the public in 1759 and, over the years, added to its collection. But most of the growth of the collection was a result of expanding British colonization. Which is to this day one of the most contentious parts of the museum’s collection.

A Journey Through Time

The British Museum has one of the most unique online virtual museums. Instead of taking you through the museums, gallery by gallery exploring in 360°, you are taken on a journey through time. A giant timeline is presented in front of you, separated into 5 different areas of the continent. You can even sort the timeline by a thematic elements from art and design to power, identity, religion, and belief.

Throughout the timeline, there are colour-coded dots that you can click to draw you into that point in time and space. From there you are presented with an object from the museum’s collection. The detailed synopsis of the item is present in both text and audio, so you can get a lovely little story told to you as you explore!

Musée d’Orsay

Ok, I’m going to say it…I like the Musée d’Orsay better than the Louvre. I know, I know! That’s sacrilege. And for the record, I do love the Louvre, but I’ve never been a great fan of those supersized museums. I find them a bit overwhelming and would much prefer a smaller, more curated collection. And it’s also all about location, location, location. And let me tell you, the Musée d’Orsay certainly has a beautiful location, set inside an old 19th-century train station. In fact, one of the online exhibits that you can explore through Google Arts and Culture is all about the location! An old Beaux-arts style railways station was transformed and saved from demolition in the 1970s to become the great Musée d’Orsay.

Musée d’Orsay Google Collection

Today this impressive building holds mainly French art dating from 1848 to 1914, including the most extensive collection of Impressionist and post-Impressionist masterpieces. Through the Google online galleries, you can see works from Monet, Manet, Degas, Renoir, Cézanne, Seurat, Sisley, Gauguin, and Van Gogh. Zoom right in to see the tiny textures of the brush strokes. You can study the gentle expressions on even the background characters’ faces! Getting this close to these famous paintings is something you can only experience online, as those velvet ropes always keep you at a little bit of a distance.

Rijksmuseum

The Rijksmuseum, located in Amsterdam, is the Dutch National Museum. Inside its great walls are pieces dedicated to the arts and history of Amsterdam. The original Rijksmuseum opened in 1798 in the Hague (a neighbouring city to Amsterdam and the seat of the Netherlands’ government). In 1806, Napoleon Bonapart had established the Kingdom of Holland. Under his rule, he had the museum moved from its current home in the Hague to the new metropolis of Amsterdam. When the museum moved to Amsterdam, it was housed inside an existing palace. But this was deemed not large or regal enough to hold all their masterpieces. Eventually, a new design was a commission, and Pierre Cuypers, with his richly decorative gothic and Renaissance, inspired structure, won over the competition.

The museum is home to over 8,000 objects. But the most visited art works are their precious collection of masterpieces by Rembrandt and Johannes Vermeer. Today you can see the interiors of their treasured museum online. The beautiful video gallery opens up as you enter the webpage. The video depicts the interior of the museum as the light each come on one by one as if opening up just for you!

Audio Guide

When you click on a painting, you will be entered into a video and audio guide through the details and history of the piece. At the beginning and end of the track, you can hear the sound of whispering echoing throughout the room. This is meant to replicate the quiet rabble of the voice inside the gallery when it would have been filled with people.

Video Series

The Rijksmuseum also has a video series online where you can listen to curators speaking about some of their favourite pieces in the gallery. These experts are so passionate about the works. It’s so exciting to get this opportunity for a 1:1 guide through the Rijksmuseum.

Vatican Museums

The Vatican Museums were founded in the early 16th century by Pope Julius II. He wanted the public to be able to view the immense art collection amassed by the Catholic Church. This included letting visitors enter the incredible Sistine Chapel that is famously decorated with frescoes by Michelangelo. The museum’s collections contain over 70,000 items, but only 20,000 of them are on display for the public. One can only imagine their storage rooms and the hidden treasure you can find in there!

Walking through the halls of the Vatican Museum feels like being allowed to enter a truly holy place. But the hoards of tourists surrounding you kind of ruin the moment. You are only allowed to be inside the Sistine Chapel for a limited amount of time, and they ask you to remain silent (which, of course, too many people ignore). For this reason, getting to explore the galleries in the privacy of your home is a really unique opportunity!

Vatican in VR

Italy was hit the hardest during the first wave of the Coronavirus. Almost immediately their whole country had to be shut down. In order to allow people to continue to experience the wonders of the Vatican Museum, they created an online environment to explore. Inside Vatican 360 you can virtually explore all the great rooms of the museum. Some of the building’s most famous rooms are now yours alone. You can spend as long as you’d like studying the details of the fantastically frescoed walls and ceilings. If you have a VR headset, some of the rooms are also available to be viewed with the headset. I get a little sick using these but honestly it was so beautiful and cool I pushed through it to enjoy the experience.

If you are interested in learning more about the most essential items from the collection, then watch Get Your Guide‘s online tour. This video (embedded below for you) is under 30 minutes long and acts as a primer for your first-time visit. The video explores the most important works of art and architecture locked away inside the museum.

Van Gogh Museum

The Van Gogh Museum in Amsterdam is a museum dedicated solely to the works of Vincent van Gogh. Famously, Vincent van Gogh only ever sold one painting during his lifetime, ‘The Red Vineyard.’ Today he is one of the world’s most notable painters, with his works selling for millions upon millions of dollars. But you don’t need to spend a dime to get to stare upon his wonderfully rich and brilliant works of art! The Van Gogh Museum, opened in 1973 and contains more Van Gogh paintings and drawings than anywhere else in the world.

Unravel Van Gogh

The museum has long been at the forefront of digital technology and launched the website ‘Unravel Van Gogh‘ to allow visitors worldwide to experience Van Gogh’s paintings and understand themes in his life that influenced the work. Launching the site, you can explore various of his most famous paintings. Each image has a different interactive experience. Some can be explored from sketch to final artwork. Others have been retouched to appear closer to their original colouring (after years and years of discolouration). The paintings are blended with text and audio, which provide insights into the painting’s smallest details.

Van Gogh exchanged hundreds of letters with his brother, and this correspondence is used in the interactives as clues into the artist’s mind. I spent hours on this site. While not everything is entirely user-friendly, you’ll find the more time you explore, the more things you will uncover. Making the experience more like an investigation. We see Van Gogh’s painting as being some of the most vibrant ones ever made, but getting to see them as they would have appeared when first painted was an absolute shock! I couldn’t believe that they would be even more colourful than they are now, but seeing the digital reconstructions was mesmerizing!

4k Video Tour

If you’d like to see what the museum’s interiors look like, the museum has 4K Video Tours online that you can watch. If you are still clamouring for more Van Gogh, you can also look into the artists’ tragic love life through a little online exhibition through Google Arts and Culture. The exhibit features a series of his paintings and old photographs that tell the story of Vincent’s love affairs.

The Belvedere

The Belvedere was one of the highlights of my trip to Vienna. In the center of town are two ornate Baroque palaces, that play host to a great art gallery and museum. The palaces were once the summer residence of Prince Eugene of Savoy in the 17th century. Today, the Belvedere houses the most extraordinary Austrian art collection dating from the Middle Ages to the present day. The most infamous artists featured inside are undoubtedly Gustav Klimt and Egon Schiele. 

Augmented Reality

One of the most unique features of Belvedere’s online gallery is its use of augmented reality. You can visit their website and use an app on your phone to study a series of Egon Schiele‘s paintings in greater detail. When you use your phone to scan the image on the screen, it will trigger an audio track that guides you through the work of art. You can also use your phone as a scanner, using infrared technology to uncover hidden secrets beneath the finished painting.

Google’s Arts and Culture website contains Belvedere’s complete collection of digitized artwork for you to view and read about. They also have an excellent digital exhibition on one of the world’s most romantic paintings, Gustav Klimt‘s ‘The Kiss.‘ I was lucky enough to see this work of art in person and was absolutely mesmerized by it. Getting the chance to learn a little bit more about the painting was a great way to recall some of those treasured memories.

MET

The MET or Metropolitan Museum of Art is America’s most famous art gallery. Located in the heart of New York City, the collection is home to over two million works of art! To help organize millions of objects are 17 different curatorial departments. These departments range from everything from the American Wing, Arms and Armour, the Costume Institute, Egyptian Art, European Art, Islamic art, the Medieval Collection at the Cloisters and more.

MET Primer

On the MET’s website, they have a great collection of editorial content called their “Primers.” These ‘Primers’ give you a quick and immersive look at select exhibitions. This fantastically designed website feels like reading an editorial magazine. If you never had the chance to visit the MET Cloisters, which contains the collections of medieval works of art, their online visit is the next best thing!

Their current exhibition features pieces from the newly designed ‘British Galleries’. This reimagined space is meant to provide a fresh perspective on British decorative arts. You can even head over to Soundcloud and listen to the exhibition’s audio guide as you browse the collection online.

Costume Institute Online

The MET’s most famous exhibits are undoubtedly the Costume Institute Collections. The celebrity-rich MET Gala, which raises money for the museum, has brought a ton of new visitors through the doors of the museum over the years. Although this year’s Gala had to be cancelled due to covid, you can view some of their old exhibitions online! I found this access to be amazing as I was only able to make it out there to see a few of them in real life. Getting to go back in time and study some of their older exhibitions is a beautiful opportunity.

Andrew Bolton, the curator of these exhibits, is one of my heroes, and I loved being lead through the displays by his comforting voice. Many of the items on display in the Costume Insitute are so delicately sewn and contain a myriad of complex textures. Getting the chance to zoom in and see these features in such microscopic detail is something you could only experience online.

I hope you enjoyed this guide to my favourite online museums and galleries. I think visiting one of these will really help make you feel like you’ve had a little adventure, even if you never left the house. If you enjoyed this post, be sure to check out my other virtual travel content. Let me know in the comments where you’d want to explore virtually that hasn’t been created just yet!

Happy (Virtual) Travels, Adventurers

The post 10 Best Art Galleries You Can Still Visit Virtually first appeared on The Creative Adventurer.

Table Of Contents

1. Hours and Admission
2. History of Santa Croce
3. Exterior of Santa Croce
4. Layout of the Basilica
5. High Altar
6. Bardi Chapel
7. Peruzzi Chapel
8. Baroncelli Chapel‎ 
9. Castellani Chapel
10. Sacristy
11. Rinuccini Chapel
12. Medici Chapel
13. The Pazzi Chapel
14. Primary Cloister
15. Cloister Tombs
16. Secondary Cloister
17. The Museo dell' Opera di Santa Croce

Hours and Admission

The entry in Santa Croce is much less of a trial than visiting the Duomo. After viewing the exterior, to enter the interior and purchase your ticket, walk along Largo Bargellini, the street to the left of the church, and you’ll see the single and family entrance along the side.

Hours:

Monday – Saturday: 9:30 am – 5:30 pm
Sundays and Holy Days: 2:00 pm – 5:30 pm (
Closed: New Year’s Day (January 1), Easter, St. Anthony of Padua (June 13), St. Francis (October 4), Christmas (December 25), St. Stephen’s Day (December 26).

Tickets:

Adults: €8
Kids aged from 11 to 17 years: €6
Audio Guides: €4

Access

Santa Croce is located in the heart of Florence. If you are arriving by train, at the Santa Maria Novella railway station, can easily reach it on foot with a walk of about 20 minutes through the historic centre. The visitors’ entrance and ticket office are in Largo Bargellini, along the side of the basilica.

History of Santa Croce

The first stone laid here was said to have been placed by St. Francis himself in 1228 BC. This Basilica has the honour of being the largest Franciscan church in the world! There are 16 chapels inside, many illuminated by the frescos of the legend Giotto himself. Construction on the church began in 1295 by Arnolfo di Cambio, the same architect as the Duomo. Its construction wouldn’t be completed until 1442, when it was consecrated by the Pope.

Exterior of Santa Croce

The exterior, however, is much more “modern” as it was built in 1860, during the Gothic revival period. Looking at the exterior facade, there are several similarities to that of the Duomo. It uses the same combination of white, pale green and red marble but in a more restrained fashion, as was the Franciscan way. The central portal of the church has a large pair of doors with beautiful carvings made out of wood instead of bronze. The architect of the facade was Niccolo Matas, who was, surprisingly enough for a Franciscan church, Jewish. He even designed a large blue Star of David to crown the church’s top as his little signature.

The church has three separate tympanums across the front. A tympanum is a semi-circular or triangular decorative surface over an entrance or door. The central one features an image of the ‘Triumph of the Cross‘ by Giovanni Duprè. The one on the left depicts the ‘Invention of the cross‘ by Titto Sarrocchi, and on the right, we have the ‘Vision of Constantine‘ by Emilio Zocchi.

Layout of the Basilica

The floorplan of the church is designed in the shape of an Egyptian “T” called the tau cross. This differs from the traditional Roman “t” cross design as the Franscians use the Egyptian tau as their symbol. The interior is a three-aisle design divided by two rows of thick octagonal columns. Between the columns are wide, pointed arches, which house the side family chapels. This design was heavily influenced by Cambio’s research into the architecture of ancient Rome, as was the fashion in the Renaissance.

View this post on Instagram

A post shared by Rossano Fabbrini (@rfab57_rossano)

Timber Ceiling

The ceiling is unique since you can admire the timber roof, replete with geometric patterns. The beams were painted in the 14th century, yet you can still make out the vibrant colours today! Along the walls of the Basilica are a series of tall and thin stained glass windows. Enter through the left portal to explore this part of the church, making your way around the interior clockwise.

The funerary monuments are one of the most macabre yet beautiful elements of Santa Croce. The church also goes by the nickname ‘The Temple of the Italian Glories’ because it is the resting place of so many incredible Italians. Over 300 tombs throughout the church date as far back as the 14th century. There are both tombs for the dead buried here and statues dedicated to those buried elsewhere. Many affluent families wanted to pay tribute to their favourite celebrities. So they would commission a funerary monument to be built for them inside this illustrious temple.

View this post on Instagram

A post shared by Rossano Fabbrini (@rfab57_rossano)

Galileo Galilei

One of the first of these tombs is Galileo. Yes, THE Galileo! Galileo Galilei, the famous father of modern science, died in Florence in 1642. He was buried here under a grand baroque tomb. Above the monument is a burst of famous scientists in the centre. His head is raised to the sky, always looking at the stars. On either side of him are sculptures which represent Geometry and Astronomy.

View this post on Instagram

A post shared by Rossano Fabbrini (@rfab57_rossano)

Lorenzo Ghiberti

Further up ahead is the tomb of Lorenzo Ghiberti, one of the most celebrated bronze smiths in Florence. He was the one who created those iconic Baptistry doors, making him a legend. But despite this fame, his resting place is slightly less opulent. There is only a simple stone marker on the floor. It is embellished only with an image of a great eagle surrounded by laurel leaves.

The Incredulity of St Thomas

Most of the large framed paintings which you’ll see as you walk along the side aisles were the curation and sometimes creation of Giorgio Vasari. In 1565, as of the initial construction of the church, Cosimo Medici wanted to redress it to make it a little more opulent. He employed Giorgio Vasari as his artist advisor. Vasari was the one who decided the narrative program of the paintings. He chose the subject of Christ’s passion, and each mural along the wall follows this narrative.

The painting of the Incredulity of St Thomas was done by Vasari himself. Vasari painted it in 1579 in the style of Mannerism which was popular in the late Renaissance. Mannerism exaggerates the qualities that the Renaissance emphasized, such as proportion, balance, and ideal beauty. In the centre of the painting, we find Christ and St. Thomas framed between two arches. The two sides get continuously darker and darker as they fade outwards, keeping the focus on these two central characters.

Pietà by Bronzino

Agnolo Bronzino was the court painter for Cosimo I de Medici. His painting of the Pieta, framed here in a thin golden frame, is fantastically real. The blue-coloured flesh is so lifelike that you feel almost sick looking upon it. Mary’s pained expression is heartbreaking as she looks upon her lifeless child.

Pipe organ

The church’s organ is a rather small, modest instrument compared to some grander organs in Europe. It was built by organ builder Tuscan Onofrio Zefferini in 1579. The case which surrounds the entire organ’s frame was made by Vasari.

Bardi Chapel

Many side chapels were purchased by wealthy families to dissolve their sins through financial transactions to the church. The Bardi family was one of the most prosperous merchants and banking families in Florence and thereby had a lot of crimes to dissolve. But this work of art would not save them from ruin in the mortal realm. In 1343 they lent the equivalent of 100 million dollars to the King of England during the hundred years’ war. When they lost and couldn’t repay the loan, this bankrupted the Bardi’s and left them in complete financial ruin.

But the frescoes and chapels we’re looking at were built during the height of their reign. The chapel was commissioned by a branch of the Bardi family, the Bardi di Vernio. There are two Bardi di Vernio chapels, the most important of which is located on the northern side. While the iconic Bardi Chapel was painted with frescoes by Giotto, this chapel has murals by Maso di Banco. Despite his less household name, Banco’s frescoes were so well done that Vasari mistakenly thought they were by Giotto when he first saw them. The chapel also contains a wooden sculpture of two angels designed by Giorgio Vasari.

Saint Sylvester

The murals inside this chapel depict the story of Saint Sylvester. Saint Sylvester, who became Pope, has a very fantastical legend. In the frescoes, you can see Emperor Constantine being baptized by Sylvester, the miracle of Sylvester’s resurrection of the bull and, most surprisingly, Sylvester’s defeat of the dragon! That’s right, he was said to have slain a dragon. And the resurrection of the two wizards the dragon killed with his breath. Fantastical indeed.

Crucifix by Donatello

But one of the most important art pieces inside the chapel is the Crucifix by Donatello. This crucifix was made in 1408 and imbues within that powerful Renaissance style. Donatello relied on raw human emotion and natural forms to create his cross. This figure does not attempt to be both beautiful and holy. It is more like a real-life portrayal of what it would have looked like to be crucified. Contorted, in agony, mouth open, his body twisted in an awkward position. It made the people who looked upon it react powerfully, as they could see themselves in the sculpture.

High Altar

The high altar is located inside Major Chapel, right in the centre of the church. Whereas the rest of the church doesn’t have the same lofty heights as other gothic churches of the era, the high altar soars above the rest of the building. Wonderfully embellished umbrella ribs in the vaults help this narrow centrepiece keep its structure and shape. Long, thin-mullioned windows stretch up the entire length of the Maggiore Chapel. The colours in these stained glass windows are brilliant and cast rainbow hues across the church.

View this post on Instagram

A post shared by Benjamin José Bermúdez Vergara (@benjabermudezv)

Legend of the True Cross

Covering this space are frescoes depicting the Legend of the True Cross by Agnolo Gaddi from 1380. This story is the earliest surviving painting on this subject. The story is based on the legend of the cross on which Jesus was crucified. It’s said that the cross was made from a tree planted over the grave of Adam. The tree grew from the seeds of the original tree of sin. After years of growth, it was torn down by King Solomon to be used to make a bridge. The Queen of Sheba was given a message about the impending doom this wood would be transformed into. Although Solomon would rip it up afterwards, it was still salvaged and eventually became the instrument of passion. The frescoes can be read from top to bottom on the right wall and on the left.

The polyptych of Madonna and Saints by Niccolo di Pietro Gerini was also painted in the same style as Giotto. A polyptych is a panel painting which has been divided into sections. Along the back walls are stained glass windows representing the Deposition from the cross. These were created from drawings made by Lorenzo Ghiberti in the 14th century.

Bardi Chapel

Giotto had previously painted a fantastical masterpiece in the Church of Assisi, and the Bardi’s were anxious to have one of their own. Giotto’s six scenes in this chapel depict the ‘Life and Death of St. Francis.’ This piece was painted in the 1300s but heavily restored in the 17th and 19th centuries. The restoration was poor. It didn’t allow viewers to understand which part of the fresco was done by Giotto and what restoration work was done by less trained hands. So after much consideration, the restoration pieces were removed, and the original artworks by Giotto were the only parts left. This is why the fresco still looks unfinished. Giotto was one of the first artists of the Renaissance to propose a method of painting which focused on accurate proportions and shapes. His face looked like real people that the citizens of Florence could relate to.

View this post on Instagram

A post shared by Anton (@karetnikov.jr)

Peruzzi Chapel

Peruzzi Chapel with frescoes by Giotto represents the scenes from the lives of St. John the Baptist and St. John the Evangelist. Although these are now pretty faded, they retain the artistry and shapes of those medieval principles. The frescoes are in such a state because when Giotto made them, he was experimenting with a new technique called secco. This technique combined lime and an organic binder with the paints to be applied upon the walls as frescoes. While secco was easier to use, it did result in a less long-lasting and pigmented mural. The chapel was known to be one of the significant influences on Michelangelo 140 years after Giotto first painted it. It was said that Michelangelo would come here to be inspired just a few years before he painted the Sistine Chapel.

View this post on Instagram

A post shared by Benjamin José Bermúdez Vergara (@benjabermudezv)

Baroncelli Chapel‎ 

Turning towards the southern walls, you face the Baroncelli Chapel‎ in splendour. The chapel was built in 1338 and is covered in frescoes by Taddeo Gaddi. Gaddi worked directly under Giotto as the master’s apprentice. But Gaddi wasn’t one to simply follow the traditional path. He loved pushing the limits, experimenting and trying new and exciting methods. One was his use of geometry and perspective to create almost three-dimensional illusions inside his paintings.

The frescoes focus on the life of the Virgin Mary and Jesus’ presentation at the temple in Jerusalem. Many of these scenes take place at night, a unique choice at the time to present paintings in the evening when the background is dark. But Gaddi loved a challenge, and his scenes at twilight capture a shining brilliance which feels so unique to the art form at the time.

Castellani Chapel

Adjacent to the Baroncelli Chapel‎ , we find the impressive Castellani Chapel, immediately notable for the enormous Byzantine cross which hangs at the back of the chapel. The chapel was built in 1385 and commissioned by Vanni Castellani. The chapel and its frescoes are dedicated to Saint Anthony, the abbot. Anthony is thought to be the father of monks and the monastic lifestyle. They believed his ascetic and isolated life led to a better connection with God.

Sacristy

From the last chapel along the eastern wall, head through the corridor which leads to the sacristy. You’ll pass through a long corridor with various famous works of art that didn’t find their way into a family chapel. Upon stepping into the hallway, take the first left into the sacristy. A sacristy is a room for keeping vestments, other church furnishings, and sacred vessels. The sacristry was built in 1340 and commissioned by the Peruzzi family.

The room is distinctly gothic, with richly painted trusses on the ceiling. Surrounding the rest of the room are large wooden cabinets which contain various vestments and sacred relics collected by the church. But treasures inside the sacristy are overshadowed by an enormous fresco by Taddeo Gaddi. It took over 60 years for the entire piece to be completed, and Gaddi died before seeing it. The richly painted frame surrounding the panels looks straight out of an illuminated manuscript.

Rinuccini Chapel

Inside the sacristy, you’ll find the elaborate Rinuccini Chapel. This is one of the best-preserved parts of the church. The Rinuccini Chapel is in nearly the same condition as it was in the 14th century, with the same furnishings. The golden polyptych is silhouetted perfectly by the light pouring in through the gothic windows. On the right, we find frescoes that present Mary Magdalene’s life. On the left, we have murals depicting the life of the Virgin Mary, both painted by Giovanni da Milano. These frescoes are much paler than some of their counterparts found within the church. Giovanni da Milano found that warmer, softer colours allowed for more delicate storytelling, which felt appropriate for these two women.

Medici Chapel

After exploring the sacristy, continue walking down the corridor before leaving this area to see the famous Medici Chapel. This 15th-century family chapel was designed for the wealthy Medici family, commissioned by Cosimo, the Elder and designed by the family’s favour architect, Michelozzo. Entering this chapel, you’ll immediately find it much less colourful than the other chapels inside the church. It feels more restrained but is very large in comparison, complete with over a dozen pews.

The chapel is dedicated to the Medici’s patron saints Cosma and Damiano. These two saints were doctors, and the word in Italian for doctors is “Medici.” It seems like the Medicis picked a patron saint based solely on vanity. Above the altar is a beautiful terracotta glazed piece of the Madonna and Child surrounded by angels and saints. Above the altarpiece is a stained glass window by Alesso Baldovinetti with the image of the two patron saints. They are notable as each of them holds in their hand a feathered pen, representing their learned profession.

View this post on Instagram

A post shared by Benjamin José Bermúdez Vergara (@benjabermudezv)

Annunciation by Donatello

Walking back outside to the main church, we now head down the right side of the nave to study the monuments located there. Along the wall, you’ll notice a small, grey stone bas-relief. This little scene of the Annunciation was made by Donatello in 1433. Donatello had been studying in Rome when he created this piece. The ancient Roman columns on either side indicate the influence of the ancient city upon the artist’s works. The entire scene seems to take place inside a Roman building, almost as if we are peeking at them mid-conversation. I especially love the little rust-coloured cherubs who playfully listen above the entire frame.

Niccolò Machiavelli Tomb

Niccolò Machiavelli was an Italian diplomat, politician, historian, philosopher, writer, playwright and poet of the Renaissance period. Can you say jack of all trades or what?! He is often referred to as the father of modern political philosophy. Although he died in 1527, his tomb wasn’t finished until 1787. The monument was designed by Alberto Rombotti and sculpted by Innocenzo Spinazzi. The woman in the rich draperies is the figure of Politica, the allegorical symbol for politics. She holds in one hand a portrait of Machiavelli; in the other, she holds scales, swords and scroll – all symbols of politics. The tomb bears the inscription “Tanto nomini nullum par eulogium,” which translates to “No elegy is equal to such a name.”

Pulpit

In such an open space, it’s easy to not get close to things that deserve a little more attention. The pulpit is one of those works of art you might pass right by but needs serious recognition. It was created by Benedetto da Maiano and is thought to be one of the most beautiful pulpits sculpted during the Renaissance. The design of the pulpit tells the story of the Life of Saint Francis. In each scene are fantastically realistic images of animals, landscapes and gorgeously emotive faces, which help describe this narrative. In between the filagreed brackets, which help hold up the pulpit, are tiny little statues set into adorable wooden niches. One of those little touches adds to the entire piece’s incredible details.

View this post on Instagram

A post shared by Rossano Fabbrini (@rfab57_rossano)

Vittorio Alfieri Tomb by Canova

Count Vittorio Alfieri was an Italian dramatist and poet. He was considered the “founder of Italian tragedy” and died in 1803. His family bought a spot inside the church as his resting place and commissioned neoclassical artist Antonio Canova to create his tombstone. Canova was famous for his baroque-inspired designs, which always had a fair amount of dramatic flair. This would no doubt have been something which Alfieri himself would have appreciated. The allegorical figure in the process of laying a wreath on his tomb is from Italy. She is mourning the loss of one of her children. It was once said of Canova that “as long as Canova exists, immortality can be bought.” His sculptures are so powerful they seem to find a way of stirring people’s souls until time immemorial.

Cenotaph of Dante

The Cenotaph for Dante (buried in Ravenna) is one of the most moving monuments. The poet’s monument is called a ‘cenotaph,’ a tomb without the remains of the deceased. On the front of the tomb are carved the words “Onorate L’Altissimo Poeta,” which translates to “Honor the Poet of the Highest Regard.” On the right of the monument is the sculpture of Poetry, who rests slumped over his tomb, crying out in mourning. Dante was poetry’s greatest treasure, and she is lost without him. On the left, we have the allegorical sculpture of Italy (a figure you’ll see a few times on this tour).

View this post on Instagram

A post shared by Benjamin José Bermúdez Vergara (@benjabermudezv)

This symbolic sculpture is often referred to as Italia turrita. Turrita means “with towers,” as the woman’s crown is made up of towers intended to represent the various cities in Italy. In the centre of the crown is a five-pointed star, ‘Stella d’Italia, ‘ which symbolizes the shining destiny of the country. The turrita’s hand gestures towards the central figure atop the rest of the group. This is Dante himself. Immortalized in stone for eternity. Even here, he sits with a hand on his chin, like he is mid-thought. I love to stare at him and wonder if some of that creative genius, frozen in stone, might be transferred to me.

Michelangelo Tomb

But of all the tombs, the most important is Michelangelo’s. Although he died in Rome, he is buried here beneath a monument which looks more like an enormous architectural feature than a simple tomb. Across the memorial are statues of allegorical figures representing Sculpture, Architecture and Painting. Each one of them was lovingly sculpted by his friend Giorgio Vasari. Above the tombstone is a bust o the artist himself. When the monument was unveiled, it became THE masterpiece for anyone planning their funerary monument to reference and attempt to outdo.

View this post on Instagram

A post shared by Matthew Coetzee (@coetzeematthew)

Tomb of Giovan Battista Niccolini

Giovan Battista Niccolini was an Italian poet and playwright during the Italian unification movement. He died in 1861 in Florence, and his tomb lies here under one of the most recognizable monuments in the church. Above his grave is the Statue of Poetry, created by Pio Fedi. This masterpiece almost too closely resembles the iconic Statue of Liberty in America, although at a much smaller scale. Although there is no documented evidence of the creation of the two, the similarities are striking. The drapery of her robe and even her pose are almost identical. Even her crown of sun rays is the same. The main difference is the face. This one is softer and more feminine, while the Statue of Liberty is more severe and almost androgynous-looking.

The other difference is what they carry in their hand. This statue holds a broken chain, a symbol of the defeat of tyranny, while the one in New York holds a burning torch. The Florentine version proceeded with the American design for three years. Still, it’s interesting to wonder if French sculptor Frédéric Auguste Bartholdi paid a visit to Santa Croce before creating his majestic figure. This brings us back to the front of the church, completing out 360 degrees tour of the interior. It’s not time to head out to the cloisters. The exit towards the cloisters is through a door beside the Dontallo Annunciation.

The Pazzi Chapel

Outside, before your cloisters, you’ll pass under the domed ceiling, which leads into the Pazzi Chapel. The Pazzi Chapel was designed by the master architect Filippo Brunelleschi in 1430. The Pazzi family commissioned him specifically for this chapel; no doubt, he would not have come cheap. But the results are worth it! Before entering the chapel, look up at the small outer dome above the entrance doorway. This dome is covered in gorgeously detailed glazed terracotta flowers. The four seasons’ blue and yellow flowers and fruits stand out against the dull colours of the rest of the exterior stonework. In the centre of the flowers is the coat of arms of the Pazzi family, which is made of two fish and four crosses.

When you walk inside, the most impressive feature is the vaulted dome with round windows surrounding the base. On the top is a lantern which lets more natural light flow into the otherwise darkened chapel. Around the dome’s edges are the figures of four saints; St. Matthew, St. Luke, St. John and St. Mark. Along the walls and even on parts of the dome are various lunettes with glazed terracotta images of Saints on them. What’s shocking to learn about this space is it was once an old piece of the cloisters. Brunelleschi had to work within the original structure to create his new interior. Despite these limitations, the architect still managed to create something beautiful.

View this post on Instagram

A post shared by Rossano Fabbrini (@rfab57_rossano)

Primary Cloister

Santa Croce is home to three cloisters constructed in different periods by different architects. The first and primary cloister was designed by Arnolfo di Cambio. This is the largest cloister, intended to join the church to the refectory with an open garden in the centre. Arnolfo di Cambio’s cloisters can be identified by his signature use of gothic octagonal pilasters with leafy capitals instead of roman renaissance columns. You can still make out the ancient gardens in the corner of the galleries. The tall cedars of the Atlas and the Himalayas are the most prominent of the remaining plants, giving the stone structure a little more life!

Cloister Tombs

Before entering the cloister yard, take a moment to walk down the tombs. Along the northern wall, against the side of the church, are what is called “the cloister of the dead.” This area was built in 1869 underneath the raised porch. Under here, you’ll find more funerary monuments and gravestones. These stones were moved here from the former cemetery, which had been destroyed to make room for additional constructions.

Secondary Cloister

The second cloister goes by the name “Brunelleschi’s cloister, as it was built by Filippo Brunelleschi. This cloister is much small and older than the previous one. It was built in 1470, located along the opposite side of the refectory (which will be the last stop on our tour.)

Florence Nightingale

The cloister houses a beautiful statue of Florence Nightingale. Florence Nightingale is thought to be the mother of nursing. But she was English, so what was she doing inside an Italian cloister? When her mother was pregnant, she travelled to Italy with her husband and unexpectedly gave birth in Florence. Her parents had been so taken with the city that they named her after it.

Another oddity in the middle of the cloister is the 20th-century Henry Moore sculpture ‘Warrior with Shield.’ It was initially donated to the British Institute but moved to Santa Croce. Moore’s sculpture might seem out of place, as he was so devoutly a modernist in the middle of a renaissance mecca. But Moore actually found great inspiration when he visited Italy. The quote says, “I had to go to Italy against my will. But thank goodness, now I did go.” He had thought it would be a place of stagnant art, nothing new or inspiriting. But instead, he found a place where art was still alive, where it would ring out everywhere he looked. He fused this passion with his modernist ideals and found a new outlook on the work he began to create.

The Museo dell’ Opera di Santa Croce

The Great Refectory of Santa Croce was the dining room where the monks would eat their meals and share in communion. Interestingly, the words come from the Latin reficere “to remake or restore,” so a refectorium is “a place one goes to be restored.” This is also where we get the name “restaurant” today! For the monks, this room was a place of meditation and sustenance. Today the refectory serves as the Museo dell’ Opera di Santa Croce.

The museum was established after the great floods in Florence in 1966. The water rose in the Arno river and flooded the city, destroying dozens of homes. Inside Santa Croce, the water levels were five meters deep! Hundreds of precious paintings and other treasures were severely water-damaged and needed immediate restoration. The refectory was turned into a de facto art hospital. Here, the pieces could be laid out and worked on since most of the other spaces in the city were occupied with other restoration works. Some of the pieces would need years of restoration work to be completed. In 2006, the city opened this space into a museum where people could see these historical pieces as they were being restored. It was an opportunity to see how the present day was working hard to preserve this treasured past.

View this post on Instagram

A post shared by Rossano Fabbrini (@rfab57_rossano)

Triumph of Death

The first few rooms of the museum are dedicated to various frescoes which had to be removed from their original locations due to deterioration or damage. They have been preserved inside new panels to ensure their account lasts for eons. One of the most important of these panels is the fragment of the “Triumph of Death” painted by Andrea Orcagna in the mid-14th century. It depicts a scene from hell, as illustrated by Dante. It depicts snakes entangling sinners, dragons, devils devouring the dead, groups of people crammed into tiny spaces trying to breathe, and strange animals prowling the underground. 

The Last Supper

In almost every refectory, you’ll find scenes from the Last Supper, but the one painted on the wall of this Great refectory is genuinely awe-inspiring. This fresco, painted by Taddeo Gaddi, on the wall of the refectory, is made up of six different scenes. The six scenes took over 30 years to complete and finally finished in 1366! Despite the age of the piece, the colours are still shockingly vibrant. In the very centre, we have the Crucifixion. Instead of portraying Christ solely on a piece of wood, the cross here is more like a tree of life.

View this post on Instagram

A post shared by Rossano Fabbrini (@rfab57_rossano)

Sprouting forth from its branches are inscriptions written on white scrolls. The inscriptions announced to the prophets surrounding the scene the message of salvation, which Jesus died for humanity’s sins, and preached his entire life. Running along the bottom is the seminal scene of the Last Supper. Many areas from this portion of the mural are missing. Those spots were either damaged or destroyed by the great flood. On the left side, we see two panels; the top portrays St. Francis receiving the stigmata and below the St. Louis of Toulouse. On the right, up top, we see an image of St. Benedict’s retreat and below, Jesus dining at the Pharisees. 

Cimabue Crucifix

One of the last pieces you’ll see in the refectory is Cimabue’s Crucifix. Although his historical piece was damaged during the catastrophic flood that decimated Florence in the 60s, we still have a good sample of this religious icon. The cross was made in 1265 by the Florentine painter Cimabue. The cross was made from five primary and eight ancillary timber boards to form the shape of the Byzantine cross. Another difference this crucifix has from others is the humanist painting style in iconography. Structure, posture, and even colour conveyed silent messages about humanity and nature.

The shape of the body on the cross and how he is positioned feel more natural and effective. He seems almost to fall down as if he can’t hold himself anymore. The crucifix was one of the most critical pieces from the church to be destroyed in the great flood. Over 60% of the paint on the surface was damaged, and its restoration became priority #1! As artisans and restorers from all over the world came to its aid, it became the symbol of the flood and hope for restoration. Today you can still see the crucifix on display and admire the work of many dedicated artists.

View this post on Instagram

A post shared by Benjamin José Bermúdez Vergara (@benjabermudezv)

I think Santa Croce is my favourite Florence church, despite it perhaps not being the most famous. The histories here run so deep, yet many of the original works of art, furnishings and treasures are still on display, as they have been for hundreds of years.

Happy Travels Adventurers.

The post The Ultimate Guided Tour of the Basilica Santa Croce, a Gothic-Renaissance Masterpiece first appeared on The Creative Adventurer.

It was her sanctuary but also her cage since for most of her life she was bedridden from injury and sickness. She spent more years inside these blue walls than perhaps anywhere else in the world. As such, it is one of the most intimate looks into her life that you can experience.

Self-Guided Tour of Casa Azul

1. Access
2. Hours
3. Tickets & How to Avoid the Lines
4. Frida's Neighbourhood of Coyoacán
5. Biography of Frida Kahlo
6. Frida and Diego
7. Start of the Self-Guided Tour of the Casa Azul
8. Touring the Exterior
9. Entry
10. Gardens
11. The Pyramid
12. Looks are Deceiving Exhibition
13. Sitting Room / Gallery
14. Dining Room
15. Diego's Bedroom
16. The Kitchen
17. Stairwell
18. Frida's Studio
19. Day Bedroom
20. Night Bedroom

Tickets & How to Avoid the Lines

Everyone seems to go on and on about the lines at Casa Azul. And yes, there are lines. But there are also lines at the Louvre, the MET and other famous museums around the world. There are lines wherever you find places which inflame the public’s imagination and curiosity to see what’s inside. So don’t be surprised, just be prepared. The best way to do this is by purchasing your tickets in advance. You select the date and time you want to arrive. When you get to Casa Azul you hop into pre-purchased ticket line (which is much shorter). Sometimes with your pre-purchased admission, you can just walk right inside.

Tickets cost 230 pesos ($12 US) on weekdays and 250 pesos ($13 US) on weekends. If you want to take pictures and some videos, you need to pay an extra 30 pesos ($1.50 US). Videos are not allowed inside but are ok in the outdoor areas.

Frida’s Neighbourhood of Coyoacán

Coyoacán is a small, quiet neighbourhood on the southern end of the city. It was once nothing more than a humble village but as Mexico City expanded, Coyoacán was absorbed into the megacity. The name comes from the Aztec word, which means “place of coyotes.” The streets are some of the oldest in Mexico City, full of colourful colonial architecture which gives it that bohemian feeling it became synonymous for. Frida’s father, an artist and famous photographer, found this quirky neighbourhood appealing. For more on Coyoacán check out my self guided walking tour!

Biography of Frida Kahlo

Frida Kahlo is one of the best-known female artists of the 20th-century. Her art is most notable for being full of ideas about sex, death, the body, gender, postcolonialism, class and race. All these ideas culminate in some of the most fantastic surrealist paintings which are anything but ordinary. Frida was born in 1907 inside the Casa Azul. The house was built by her father in 1904 and would be an emotional touchstone for young Frida. Both her mother and father had had some horrible events in their lives before Frida was born. Her father’s previous wife died in childbirth. And her mother’s ex-lover killed himself in front of her to profess his undying love. It’s impossible not to wonder how these powerful moments imprinted themselves into the family. Perhaps resulting in Frida’s ill-fated, yet extraordinary life.

Frida’s Early Health Issues

At a young age, Frida developed polio which resulted in her being bedridden for many months. It also left her with a severe limp and one of her legs being slightly shorter than the other. Being home all the time as a child meant she was around her father. She followed him around his studio, where she learned all about the creative process and how to compose a painting. She began painting and drawing under his watchful eye. Without any sons of his own, Frida became his creative successor.

He enrolled her in an art school in 1922, where she initially met Diego Rivera who was at the time, was painting a mural in the university’s auditorium. She was enthralled with him as soon as she laid eye on him and his art. She was so sure of him being one of her conquests that and would tell her friends she was going to marry him, even before speaking one word to the artist.

The Accident

One the way home from school one day, Frida’s was caught in a severe bus accident. A train crashed into the bus she was on, and it practically exploded on impact. Various people died instantly, and a few died in the hospital. Frida was left for dead, the ambulance refused to take her to the hospital as they assumed she would be dead before they arrived. But Frida was a fighter although her injuries would leave her disabled for the rest of her life.

She underwent over 30 different significant operations. The hospital staff thought she would never be able to get out of bed again. But by the end of the month, she was taking her first steps outside. Years of surgeries and recovery meant being confined to her bed once more. Her father made her a custom easel where she could paint in bed while lying down. She used this time to paint portraits of herself, as a way to comprehend the reality of what had happened to her. As her painting improved, and she was able to walk freely, she knew she had to help her family financially. Her operations had cost them greatly, and she needed to find out if she could make a career out of her art.

Frida and Diego

Frida went with various pieces of her artwork to get a critique from the famous Diego Rivera. When she met inside him, she claimed it wasn’t to flirt or get his attention. She wanted harsh criticism from the iconic artist and learn how she could improve. Diego was quite impressed by her artwork and was immediately taken with Frida’s bold personality. Frida was not your typical beauty. She embraced her more masculine characteristics. Frida had a monobrow and a bit of a moustache, but instead of hiding it or trying to remove it, she flaunted it. Some people said that she was one of the great beauties others found her almost hideous. It was this juxtaposition of opinions that Frida loved, using her sexuality as the great divider.

Frida and Diego’s Marriage

After only a short period of knowing Rivera, the two were married in 1929. Her mother and father roundly objected to the marriage, and so the two of them had a small, civil ceremony, presided over by only by a hairdresser and homeopathic doctors. Their relationship was fiery and passionate — each one is inflaming the creativity of the other. Diego encouraged Frida’s penchant for wearing traditional Tehuana dresses they both viewed them as the most authentic part of Mexican heritage. They became a kind of uniform for her, which she would wear for the rest of his life.

Frida and Diego moved into the family home, the Casa Azul, as her father was no longer able to afford to live there due to his declining career. Diego was at this point, a wealthy and well-known painter and could easily afford to keep the home in the family. Before they moved into the house, the house was painted s a rather dull colour. Frida and Diego made it their mission to repaint the entirety of the house bright blue, making their mark on this space.

Love Affairs

Diego was a womanizer, and despite Frida’s acceptance to their open relationship, she found herself overcome with jealously when Diego had an affair with her sister, Cristina. The news of their affair devastated her. Frida suffered numerous miscarriages and eventually was told by doctors due to her injuries from the bus crash she would never bear children. Painting became everything to her, and it was like her artworks became her children. Frida explored more and more images from her Mexican heritage. She said that Mexico was her great mother who raised her. As she became a painter in her own right, she was less affected by Diego’s affairs. In fact, she began having her own set of relationships with men and women alike.

The longest of her affairs was with famed photographer Nickolas Muray, with whom Diego was furiously jealous. Although Frida ended up divorcing Diego in 1939, they got remarried only a year later. It seemed that no matter what happened between these two, they could not be without each other. While it certainly was an alternative lover story, I found that to be the real charm of their relationship. It’s not perfect, it’s not a fairytale, but it’s real and laid bare for us to witness in her artworks.

Frida’s Death

Despite her blossoming career, Frida’s health began to decline. Eventually, her old injuries only worsened to the point where she had to have her right leg amputated. Her pain was almost unbearable, and she attempted suicide multiple times to escape it. Diego built for her a second floor to the Casa Azul where she could paint and work without having to leave the house.

She eventually was bound to her bed along and passed away on July 13th, 1954, at the age of 47 in that very bed. Her body was brought to the Palacio de Belles Artes in the historic centre of Mexico City where hundreds of mourners came to pay their respects. During her lifetime she was known as the wife of famed painter Diego Rivera. But today it is HER who has become a part of popular culture and art history. Diego gave the Casa Azul over to the government of Mexico City and it was opened up as a museum in 1958.

Start of the Self-Guided Tour of the Casa Azul

Touring the Exterior

If you have to wait outside before heading into the centre courtyard, take a minute to observe the outer exterior architecture.

“The house, painted blue inside and out, seems to shelter a bit of sky.”

Diego and Frida painted the house this bright blue colour when they moved in. Colour was of the utmost importance to Frida in her life and in her art. This vibrant azure was a hue associated with the feeling of freedom and expansiveness, like looking out on the eternal sea. And for a woman who was often unable to leave her own four walls, a feeling of freedom was the difference between sanity and madness. The house, built-in 1904 by her father, was built in a typical Spanish style of the age with a central courtyard surrounded by various rooms all on one level. The original exterior had a bit of French flair, but Frida removed all these gaudy elements in exchange for the primitive and simplistic decorations inspired by the indigenous people of Mexico.

Entry

As you walk in the main gates, under the giant floral ofrenda to Frida, you’ll pass under various of Frida’s papier-mâché alebrijes. Alebrijes are brightly coloured Mexican folk art sculptures of fantastical creatures. They were originally created in 1930 by the artist Pedro Linares. Linares fell gravely ill and during his fever-induced hallucinations found himself dreaming of a strange forest full of wild and colourful creatures. He saw donkeys with butterfly wings, a rooster with horns and lions with the heads of eagles, all shouting the word, “Alebrijes“. When he recovered, he set to making the creatures out of wood to bring his visions into his reality. He was good friends with Diego and Frida, and she was inspired by his story and made some for herself. These somewhat terrifying creatures, now greet all guests who come through the doors.

Gardens

The first space you’ll enter is the lush gardens. Walking in here is literally a breath of fresh air! You can smell the blossoming flowers everywhere you walk, like a scented canopy. Frida made her gardens an almost sacred space. She took care of each and every plant very seriously, almost as if they were her children. She adored watching them bloom and grow. All the plants were harvested from all across Mexico, so it’s like a tiny snowglobe of Mexican horticulture in one place. You’ll find yuccas, bougainvilleas, cacti, jasmine and agave blooming throughout the year.

Across the walls of the courtyard are various pre-Columbian idols, as Diego loved collecting these treasures of Mexican heritage. He would go to the old ruins of Teotihuacan almost every weekend in his early life looking for artefacts he could bring home with him. The walls which supported the new second story, made by Diego and Frida, were created from lava rocks and embedded shells the couple found on the shores of the beaches of Mexico.

Frida’s Teaching Career

In this garden, Frida held classes for her students. She began teaching in 1943 at Las Esmeralda Art School, but she found it too hard on her disabled body to come to classes at the school in the centre of town. Her dedicated student, dubbed “Los Fridos” would come to La Caza Azul where she could mentor them under the shade of these great palm trees. Their time with the great artist in her intimate home was something that imprinted greatly on them.

The Pyramid

In the middle of the garden is a minature, red and yellow painted replica of an Aztec pyramid. This was built by Juan O’Gorman for Diego Rivera in 1946. The artist used materials like volcanic stones and basal to build the structure. Along the base of the pyramid are various replica ceremonial statues from places like Teotihuacan or Tulum.

Looks are Deceiving Exhibition

At the back of the courtyard is an exhibition room which contains some of the most personal items of Frida Kahlo. This exhibition is entitled, ‘Las apariencias engañan‘ or Looks are Deceiving. This exhibition features a treasure trove of Frida’s clothing, corsets, makeup and jewellery. All of these items were only discovered in 2004. When Diego handed the house over to the Mexican people for use as museum he asked that several bathrooms (which has been locked) were not to be opened until many years after his death. When they opened the doors, they were shocked to find all these iconic dresses which featured in many of the most famous portraits of the painter. 

Frida’s Dresses

Her Tehuana dresses have become the iconic image of the painter. And even I wished I could have taken a few copies of them for myself! Tehuana dresses come from the Tehuantepec Isthmus located in the southeastern part of Mexico in the region of Oaxaca. Oaxaca is known the world over as being the heart of the textile industry in Mexico. The woman of the area are seen as the dominant sex, and it is mainly a matriarchal society. As such, their dresses needed to reflect this power.

Frida wanted to be seen as Diego’s artistic equal and adopting these dresses, and their accessories made her feel closer to that powerful matriarch. The clothing also helped to cover up her legs which were affected dramatically by the polio and the right left which had to be eventually amputated. The white petticoats which peek out from underneath the dresses were not only beautiful but practical as they could be detached from the rest of the gown to be washed. Since these long dresses would drag on the ground, the ability to only wash this portion of the dress was very inventive.

The Corsets

The corsets are one of the rawest and most eye-opening portions of the exhibition. They show us just how much pain this beautiful artist must have been suffering through every day, even though she forced a smile. But Frida did not only hurt physically, she also suffered emotionally. Frida’s once said of her husband’s infidelity,

“I suffered two grave accidents in my life. One in which a streetcar knocked me down. The other accident is Diego.“

She used her clothing as a defence against feeling weak and small. Instead, these clothes were loud and powerful. And wearing them made her feel this way even if underneath she did not.

Frida not only had some of the most gorgeous dresses but she also adorned her body in lush jewellery, highly embroidered footwear, and expensive perfume. When she was recovering from her multiple surgeries her wounds would fester and to cover up the smell she relied on flower headpieces and perfume to mask the smell. Even in bed, she would always be seen wearing dozens of pieces of jewellery.

Sitting Room / Gallery

Entering into the house, you first pass through what was once the old sitting room, or living room as we call it today. Here Frida and Diego would entertain their famous guests such as Nelson Rockefeller, George Gershwin, caricaturist Miguel Covarrubias, and actresses Dolores del Río and María Félix. Today, this area is used as an introduction to Frida’s life through her work. Some people have been disappointed not to see more of her artwork in the house, but you just need to set your expectations. I came in not expecting to see any at all, so I was pleasantly surprised to be able to get up close to these pieces.

Portrait of My Father, 1951 

One of the paintings Frida made in 1952, just two years before her death, was a gorgeous dedication to her father. Her father also had his fair share of suffering throughout his life. He was an epileptic who had to leave behind his family fortune in his home country to escape the Nazis as he was a Hungarian-born Jew. 

Frida and the Cesarean, Unfinished 1931

This painting depicts Frida in the hospital in Detroit after her second miscarriage. In this vision, Frida is attempting to deal with the trauma of her second failed pregnancy. This is a dream which portrays what would have happened if she had been able to carry the baby to full term and deliver it by cesarean. The child lays beside her on the bed, the image of Diego looking down on her. She was never able to finish this painting. It was nothing but a lie and she prided herself on painting what she perceived as reality. Days later, she would go on to paint “Henry Ford Hospital” which depicted the real horror of the miscarriage as it truly was.

Still Life, 1942 

Frida was a woman who embraced her sexuality, and as such her paintings are full of sexual references and illusions. This still life was painted for the Mexican presidential residence but was returned to the artist most likely due to it being a little too vulgar for the upper class. The open papaya resembles the shape of a womb. To the left, we see coral fungus resembling the ovaries, and to the right, we have an open cherimoya fruit which resembles female genitalia. While some onlookers will see nothing but a bowl of fruit, Frida was tempting her audience to open their minds and their six senses.

My Family, Unfinished 1949

This painting feels like the most appropriate piece for the setting inside their family home. It’s a family tree with her grandparents at the very top. Underneath them are Frida’s parents and herself and her siblings on the bottom. A fetus is seen in the centre of the four children. This is her brother who died only a few days after his birth. But to Frida, he is still very much a part of their family even after all these years. Three figures are unfinished to the right of the frame. These are thought to be the children of her youngest sister Cristina with whom Frida had a tumultuous relationship with after Cristina’s affair with Diego. Perhaps the fraught relationship was the cause of Frida’s inability to complete their images on the family tree. Frida being too jealous of her sister’s ability to bear children when she could not.

Viva la Vida, 1954

This was the last painting which Frida would complete before she died. It is a still life of watermelon’s, which are a popular image in Mexican art. Watermelons are seen around Dia de los Muertos (Day of the Dead) when the fruits are eaten by the dead who return to the land of the living. Although the melons are bright and colourful, there is a thread of ominousness in their use as it feels Frida is predicting her own demise. Eights days before she died she wrote these words upon the watermelons “VIVA LA VIDA – Coyoacán 1954 Mexico” (Long Live Life!). In her diary a few days before she died she would write,

“I hope that the exit is joyful, and I hope never to return”

Retablos

One of my favourite parts of the exhibition of her artworks were her retablos. These tiny votive images were created when Frida was living in Detroit. While Diego worked on his large Detroit Industry Murals, Frida occupied herself with these creations. During the time huge, political murals were all the rage, and yet Frida was creating small, religious images. Each one of these were painted onto small metal sheets. When the society as a whole was all about grandeur, Frida was creating miniature worlds you had to get close up to really understand. In a way, you needed to become more intimate with them, unlike the murals which you could understand from afar.

Judas Figures

Inside the next room are two towering figures in papier-mâché. These are mujeres bonitos or Judas figures from Tlatilco, Mexico. These “Judas” figures would usually be made of papier-mâché and filled with firecrackers that would explode on the Saturday before Easter. This tradition was thought to cleanse ones sins by burning effigies of that which represented evil. For Frida, she collected these effigies unburnt, perhaps as a symbol of sin unburdened.

Frida’s Diary

In the last room are letters, newspaper clippings and selections of Frida’s diary, all found in the house when it was turned over to the city. Reading these lines from her journal is like sitting down with the woman herself. So often we lean on interpretations to understand what an artist was thinking or feeling, but here we have the words right from her own mouth. Her life was so fraught with sadness, and yet there is a hypnotic magic to her scribblings. Even if you can’t read Spanish, looking at the furious way in which she wrote is a way of understanding her emotional state at the time. Critiques wrote of her diary,

“The diary is the most important work Kahlo ever did…it contains energy, poetry, magic. They reveal a more universal Frida…In Kahlo’s paintings, you see only the mask. In the diary, you see her unmasked. She pulls you into her world. And it’s a mad universe.”

View this post on Instagram

A post shared by jenna n (@yourcatfishfriend)

Dining Room

From the large sitting room, you step into the part of the house which has been preserved with all the old furnishings and decor that Frida had collected. The first room you enter is the dining room. The floors are painted bright yellow, almost neon! Most of the tables and chairs are painted the same colour to match, making them looks as if they grew out of the floor. Despite yellow often being associated with joy and cheer, Frida had a much different interpretation. She wrote in her diary, “yellow is associated with madness, sickness and, fear. It is part of the sun and of happiness.” To see this yellow spread all over her house feels like she was attempting to invite others to share in her madness.

On the walls of the room are various, bright yellow shelves displaying Frida’s precious collections. In the 20th century, Mexican folk art was very under-appreciated in fine art collections. But Frida and Diego always saw its value and cherished collecting these items to preserve, even if just for themselves, elements of their Mexican heritage.

Guests in the Casa Azul

Around this dining table the couple entertained guests such as André Breton (French writer, poet and anti-fascist), Tina Modotti (Italian photographer, model, actress, and revolutionary political activist), Edward Weston (American photographer), Leon Trotsky (Russian revolutionary, Marxist theorist, and Soviet politician), Juan O’Gorman (Mexican painter and architect), Nickolas Muray (Hungarian-born American photographer and Frida’s lover), and many others.

On the shelves, in the dining room, we find two ceramic clocks. The hands of the clock do not move but are fixed on two different moments in time. The one on the left bears the date on which Frida decided to divorce Diego after discovering he was having an affair with her sister Christina. The other has the time when Frida and Diego decided to get remarried. By having this out in the open it proves how honest they both were about the problems inside their marriage. Their issues weren’t a secret and yet, in the end, their love for each other, especially inside these walls, feels eternal.

Diego’s Bedroom

On the other side of the dining room, is Diego’s bedroom. This small guest room was also used by Leon Trotsky when he stayed in Mexico City after fleeing the Soviet Union. After he and Frida had an affair, he was quickly removed from the house by Diego. On the walls of the room, hang Diego’s painting overalls along with his iconic hats he was always seen wearing.

On the antique chair near the window is a small embroidered pillow with the words “Despierta Corazon Dormido” (Wake Up, Sleeping Heart) sewn in with rainbow thread. Words I’m sure Frida would whisper to her husband every morning upon waking him up for breakfast. Sitting on the dresser along the wall are various ancient Aztec sculptures along with Diego’s death mask. Around the room are multiple paintings, most of a highly sexualized nature, to reflect Diego’s passionate character.

The Kitchen

The kitchen is one of the most elaborately decorated rooms in the house. The kitchen floor is painted the same bright yellow with Azul and yellow tiles trimming the walls. Along the walls are hung a variety of utensils, and tableware Frida used when she cooked. Frida learned how to cook from, of all people, Diego’s ex-wife. Lupe (his ex-wife) knew all of Diego’s favourite recipes and how important food was to him. Despite Lupe’s relationship not working out, she found deep affection for Frida and wanted the best for their marriage. Along the wall are dozens of miniature clay mugs which spell out “Frida + Diego” over the old stovetop. The old stove was never modernized from its original design and Frida still cooked using the woodfire while she lived there.

On either side of the window are these same clay pots used to form the shape of two doves, tying a lover’s knot. It seems everywhere you look here there are symbols of love. They often say, a way to a man’s heart is through his stomach. Often we see the kitchen as a more utilitarian space but Frida made it a room which bursts with romance and love.

On her kitchen table are several vegetable-shaped clay tureens and terra cotta painted plates and pots. Nothing Frida used in her kitchen was mass-produced or “out of the box”. Everything was handmade and embellished with images of animals or traditional Mexican designs.

Stairwell

Moving from the first floor into the newly built second storey you pass through a small stairwell with sitting areas at the bottom. This tiny courtyard-like space is bursting with folk art objects, large paintings which crawl up the walls, taxidermied animals and some charming hand-painted pieces of furniture.

Frida’s Studio

Frida’s studio was built here because of her ever-worsening illnesses and disability. After the surgery to remove her leg, she found leaving her house to be very difficult. As such, Diego built this extension for her so that she could continue to work. The steel-framed windows are wrapped around the rooms to allow for light to pour in from the outside freely. From here, Frida could also look down into the garden, almost as if she was standing right in the middle of it. The blue of the walls on the exterior are so bright they reflects right into these rooms.

Painting Studio

Along the window is where Frida would work. She had a writing desk and an area for her easel where she would paint in her wheelchairs towards the end of her life. Today, her paints, brushes and pigments are all still laid out, as if awaiting her return. A mirror sits beside her workspaces, as she would frequently need it to paint the self-portraits she was famous for. She once said,

“I paint self-portraits because I am the person I know best. I paint my own reality. The only thing I know is that I paint because I need to and I paint whatever passes through my head without any consideration.”

Sitting on the easel in front of her wheelchair is a painting she never finished, entitled “Still Life With Flag“. Towards the end of her life, she didn’t have the same control over the brush as she once used did. Her refined techniques were not quite there but her craving to paint was unabated. The easel was actually a gift to Frida from Nelson Rockefeller who came to visit them in Mexico City before asking Diego to paint a mural for him in New York.

Book Collection

Along the walls of her studio are her collection of books. As a bibliophile, I spent way too long peering against the glass, trying to make out every single book cover and title. Kahlo, as expected, was obsessed with collecting antique books about Mexican culture and old atlas detailing the topography of the country. Inside the cabinets are also several precious items and souvenirs. When she was unable to walk, her friends would all come to visit her in bed. She would always ask them to bring something with them to remind her of the outside world. It helped with her connection to the world despite being so removed from it.

Cabinets of Curiosity

Hidden away in a cabinet are boxes and boxes of all the medications she had to take to deal with the pain she suffered from. In the cabinet are also dozens of bandages and other medical equipment. Here in her own house, it seemed like she had a mobile hospital of sorts. It’s truly incredible that in all this pain she could make so many beautiful things. I know when I’m ill I find it impossible to do almost anything. Truthfully, Frida has always been an inspiration to me during some of my more serious illnesses.

Thinking of all she managed to accomplish while suffering like she did would give me the strength I needed. On her walls of the studio is also a sizeable anatomical print of the “intra-uterine life of a fetus”. After Frida’s multiple miscarriages, she became obsessed with these images. Perhaps it was a way of processing what had happened to her. Like she was desperate to find meaning for her loss and that she wasn’t simply damned.

On the floor of this space, you’ll see several large colour trunks. These were what Frida’s clothing had been stashed away inside in those locked bathrooms.

Day Bedroom

Frida actually had two different bedrooms built for her in this space. A daytime bed and a night time bed. As the names suggest, one was made for sleeping, the other, for her to lie in while she convalesced. Frida’s bedroom was left much as it was the day she died. Her tiny, four-poster bed was installed with a mirror on top so she could still paint her own self-portraits without needing even to lift her head. You can see this mirror for yourself and picture her lying there, looking up at herself, wishing to be anywhere be there. On the walls at the foot of the bed, are a series of portraits of Lenin, Stalin, and Mao Tsetung. In the corner of the room are a pair of her old crutches.

As this was the bedroom where she would do her painting, there is still a side table with various paints and brushes at hands for her if inspiration would strike. On the wall, there is a small bookshelf with some of the books she was reading before she died. Above them a grouping of photos, one of which is a picture of herself taken by her lover photographer Nickolas Muray. Above her bed is a painting of what we can only assume is a dead child with a garland of purple poppies around the frame. Photo of children who past away were popular in the Victorian era, as a means of memorializing them. We can only assume who this child was to Frida. Perhaps it was a protector or the image of what she imagined one of her children to be if she had grown up even a little.

Death Mask

Sitting on her little daybed, wrapped in one of her favourite shawls, is Frida’s death mask. They change the shawls out throughout the year depending on the season, just as Frida herself would have changed her outfits up based on the time of year.

Night Bedroom

Her night bedroom feels a little more whimsical and, appropriately, dreamlike. Above the bed, looking down at her, instead of her own visage was a frame full of butterfly specimens given to her by Japanese-American sculptor Isamu Noguchi. When asked about her disabilities Frida would often respond, “Feet, what do I need them for? If I have wings to fly.” Up with the butterflies were also a series of hanging dolls. Perhaps Frida saw herself in these dolls, flying above the world with the butterflies.

On her bed is a pillow, embroidered like the one in Diego’s room, with the words “Do not forget me, my love.”

Across from her bed, on a laced-topped table, is a headless pre-Columbian urn which contains her ashes. The urn is in the shape of a toad, which was her nickname for Diego. Even in death, she is literally inside of him.

In her night bedroom is a large green cabinet containing an extensive collection of her childhood toys. Green to Frida represented “good, warm light” and perhaps her childhood (before her polio) was one of the most cherished times of her life. Against the wall is a tiny bench with Frida’s name and the year 1910 written upon it. It is one of the only pieces of furniture from the previous household which remains.

In the corner of the room is a green and white coat rack, with little flowers dotting the surround. Upon it is one of Frida’s extra headscarves. You can imagine Frida standing here in the natural light of the morning, putting on layer up layer of clothing, jewellery and perfume, her mask to face the day.

Stairs down to the Garden

The stairs which lead back down to the garden are located opposite her daybed. The large doorway to the garden allowed for so much natural light to flood into Frida’s room so she could better see what she was painting. The stairs lead down to the reflecting pool where I imagine Frida would have come to sit and contemplate, the sound of nothing but the birds and the wind in the trees surrounding her. The truest peace she could find.

Visiting the Casa Azul, I genuinely think is as important as anything else you’ll do in Mexico City. Even if you don’t know of Frida or even perhaps aren’t interested in her artwork, this museum is so much more than a gallery. It’s a glimpse into the life of a woman who changed the future of females artists forever. She took it upon herself to preserve and share her love of Mexican indigenous cultures. And today, the image of Frida, in her traditional colourful dress and floral headpiece, is as iconic as the Mona Lisa.

Me and my Diego

The post The Ultimate Self-Guided Tour of Frida Kahlo’s Casa Azul Museum first appeared on The Creative Adventurer.

What is ‘Lisbon Under Stars’?

Lisbon Under Stars is called an “immersive and multidisciplinary spectacle” which aims to tell the story of Lisbon’s history through a mesmerizing visual performance. The entire show takes place inside the ruins of the Carmo Convent. But it doesn’t just happen inside the ruins, but the show is actually projected onto them! The multimedia projections are cast onto the remains of the convent walls and arches. Covering them like a painting, but one which moves bends and turns the space from a two-dimensional surface into a three dimensional trip back in time.

The 600 years of history steeped within the city of Lisbon is brought to life through these projections and told through the eyes of the convent itself. The convent is given a personality and embodied by a single female dancer. All the dancers were also filmed, and their performances have been woven into the multimedia projections. The dancer’s expressions and movements set against the powerful historical events help convey to the audience, wordlessly, the feelings and emotions the city was thrown into during those times. The visuals help us see through their eyes what it must have looked like during that time to be here in Lisbon. Parts of the show are narrated, and the spoken words are in both Portuguese and English, but the images are so compelling that words are almost unnecessary.

All the dancers featured in the show are from Clara Andermatt‘s Company and National Ballet. Despite the dancers not being there in real life, still interact with the space around you, even as the walls are transformed throughout the show. They react to this shifting world and truly bring another level of dynamism to the show.

Another critical aspect of making the viewer feel like they’re really embedded into the performance is the music. The entire show is set to a beautiful soundtrack performed by famous Portuguese names such as Rão Kyao, Teresa Salgueiro and accompanied by the Symphonic Chorus Lisboa Cantat, Symphonic Orchestra of GNR and Tocá Rufer. There are also a few iconic Fado songs performed by the Queen of Fado, Mariza.

Where to Find ‘Lisbon Under the Stars’

The Carmo Convent plays host to ‘Lisbon Under Stars‘. You can find the Carmo Convent in one of my favourite little town squares, aptly named ‘Carmo Square’. The Carmo Convent is located in the Chiado neighbourhood, just up the hill from Rossio station. Right outside the convent are one of those iconic drink kiosks, the perfect place to grab a ginja under the Jacaranda trees before or after the show.

About the Carmo Convent

Instead of a stage or a traditional venue, this show takes place inside the ruins of the Carmo Convent. The ruins were once the site of the Catholic Convent of ‘Our Lady of Mount Carmel’. The convent was built in 1389 in the traditional, yet restrained, Gothic style which was synonymous with religious orders of the time. The great rose window over the portal was one of the most awe-inspiring parts of the church before it’s destruction. The great earthquake, fire and flood of 1755 caused immense damage to the building, collapsing the entire roof, leaving the interior open to the sky above.

Due to a multitude of reasons (most of which you’ll discover throughout the show), the convent was left in disrepair. The rest of Lisbon was restored to its former glory or rebuilt in a newer style, so the stark ruins of Carmo were one of the only reminders, to this day, of that great earthquake. Eventually, the convent found a new life and was transformed into the Carmo Archaeological Museum. Despite its new modern role, the structure was left untouched, a living example of Gothic architecture. Some parts of the building were given some structural reinforcements, but for the most part, the building looks as it would have hundreds of years ago, albeit without a room. Inside you can see all different archaeological discoveries which tell the story of Portugal’s history.

View this post on Instagram

A post shared by Anne Hristov (@annehristov)

Times & Tickets

There are two shows per evening, at 9:30 pm and 10:45 pm. Tickets cost €15 for adults, children from 6 to 11 years, 65+ and students cost €12.50 and children under 5 are free! Tickets are available at the booth next to the Carmo Convent. We quickly were able to grab tickets right before the show and didn’t need to purchase them online or in advance. The space inside is so vast that there really isn’t a bad seat in the house, so no need to arrive super early either. There are stools available for senior or people with disabilities. Don’t be shy asking for one if needed but don’t take one if you don’t require it.

The best place to sit is right in the middle since you have the best view of the walls around you as well as the front portion of the church where some of the main scenes take place. During the show, you are free to move around the convent instead of having to stay in one place. In my experience at other immersive multimedia performances, I found that walking around actually translated into seeing the show in a new perspective. But here I found that sitting in once spot and turning your head was sufficient enough. I think that creating more spaces to explore would really enhance the experience, something they can focus on for next year!

My Experience at ‘Lisbon Under the Stars’

I have seen a few different examples of these types of projections throughout my travels, and I find that they’re always so inventive and astounding. They transform spaces and turn a dull wall into a work of art. Other multimedia shows I’ve seen were only projected onto a flat surface. At ‘Lisbon Under Stars’ the visuals interacted with the three-dimensional church making it an entirely more complex installation. It really brought the entire place to life. And being outdoors, literally under the stars, just made the show feel more raw and authentic.

While some parts of this show are a little cheesy (the cheap wigs were my biggest complaint), all-in-all the show is fun and wildly creative. If you don’t know anything about Lisbon’s history, it’s such a great introduction to the city’s past. And the cost, I think, is perfectly lined up with the experience you’ll get. It’s a fun little thing to do in the evening, and it would be awesome if you’re travelling with kids.

The show begins with the introduction of the women we will come to know represents the spirit of the Carmo Convent. She will be our guide throughout the show and is truly the best of the dancers. She manages to give a cold and unmoving building emotion and a fierce personality which we can relate to. We can see and feel the effects of history on her face, and by the end of the entire show, it feels like she is an old friend.

The first scene from history we see depicts the great Battle of Aljubarrota. The Battle of Aljubarrota is represented by two men dance-fighting to illustrate the great war between the Kingdom of Portugal and the Crown of Castile. This battle was so significant since it was the moment in which Portugal showed it’s dominance over the country and asserted itself as a force to be reckoned with across Europe. I will say, I wish they had skipped this part or at least re-did the choreography. I think authentic fighting from 1385 is a little strange to watch from a 21st-century perspective and it does seem to drag on a bit. It’s one of the cheesiest parts of the show which doesn’t make excellent use of the fantastic projections. So it kind of felt like instead of starting with a bang, they began with a dud.

After that initial introduction, I was a bit concerned about what the rest of the show would be like. The following scene depicts the construction of the Carmo Convent in 1389. Musicians playing medieval instrument pop up all around you, playing a rhythmic tune as the walls of the convent begin to manifest in front of your eyes. The darkened walls appear to be magically being restored, bricks stack one upon the other and suddenly the true glory of the entire convent, as it once would have appeared when it was first built, reveals itself to you. So many parts of this show really feel like getting into a time machine, and this is perhaps the most impressive one. From this point forward, I had no more doubt and was entirely enraptured.

The convent and the church played a hugely important role in the collection of books and spreading knowledge to the people. The first Portuguese writers and their manuscripts are shown across the walls and books fly around the space, opening their secrets up like doves wings as the scatter.

The walls begin to appear to bob and weave, and before you know it, you are stepping onto a huge ship, setting sail for the new world. This is the great maritime voyage of Vasco da Gama in 1497 which departed Lisbon in search of the sea route to India.

Vasco da Gama succeeded in his attempt to find it, and once there he brought back spices, textiles, animals and more home to Portugal. Trade is where a vast majority of Lisbon’s wealth came from, and the richness of that voyage comes to life here before you. We are transported through the projections, to the ports of India. We can hear and see all the brightly coloured fabrics and foods which would have stunned Portuguese importers at the time as they stepped off the boats into this strange and beautiful new land.

The years past and Portugal was thriving. It seemed like this city was unstoppable. And yet, on November 1st, 1755, an earthquake shook the town and brought destruction, unlike anything anyone has ever seen before. This scene throws us right into the action, the earthquake shakes the interior of the convent and beams, archways and bricks begin to fall. So lifelike you feel like you need to duck to avoid getting hit! The music booms and it feels like you’re right there! A fire breaks out and destroys what the earthquake left behind, the convent is in ruins with fires burning all around, but it’s not over yet…

The fires begin to burn away and just when you think the worst is behind you, a great rush of water swells over the convent walls. This was the tsunami which followed the earthquake and literally swallowed most of the city. The dancers are now submerged underwater and swim like fishes across the empty blue expanse. This part was so lifelike, you could almost feel the weight of the waves crashing down on you. It was like magic.

After the earthquake, there were many attempts to reconstructed the convent, but they all were in vain, for lack of funding, commitment or even just manpower. In 1835 Joaquim António de Aguiar, the prime minister of Portugal and minister of justice, was hell-bent on the extinction of religious orders. On May 39th, 1834 he created a law which extinguished “all convents, monasteries, colleges, hospices and any other houses of the regular religious orders”. This resulted in his famous nickname “O Mata-Frades” (the Friar-Killer). With the dissolution of the monks, the convent’s reconstruction was halted for good, and the church once more fell into ruins, left for the sands of time. The words of Joaquim António de Aguiar are spread across the walls of the convent like he was writing its death warrant.

Time goes one, and all-around Lisbon things were changing…all except for the convent itself. Carmo remained a ruined memory of the earthquake’s destruction. Everywhere you looked, there were new modern inventions and exquisite architecture being constructed, and yet the convent sat untouched. The iconic tiled walls which Lisbon is famous for begin to be plastered all across the convent walls, almost like they represented the modern era overshadowing the past.

In the 1820’s we saw the emergence of Fado music into the mainstream. Fado music played in the background as the walls were covered in the traditional floral, tasselled shawls which the singers usually wear during performances. Fado music can best be described as mournful music. The Portuguese word ‘saudade’ which means ‘longing’ perfectly encapsulates the feelings which Fado attempts to explain. The lyrics in Fado songs often revolve around the life of the poor. The songs are filled with resignation and melancholia, and yet they are so beautiful it’s hard to imagine they’re about something so dark.

In this portion of the show, we are entertained by the music of famed Fado singer, Mariza. She performs a stunning ballad, surrounded by stars projected against the walls of the convent. If you take this chance to look up, on a perfect night, you’ll also see the stars shining above you as well.

The sad Fado music seemed to be the ideal soundtrack for the soul of the convent at this time. She was alone, abandoned and lonely. She performs a last melancholic dance, her swan song, as a last attempt to have the world see her once more. Although things seem lost for her in 1864, something happens to pull her out of the darkness of the past. In 1864 convent was converted into the Archaeological Museum of Lisbon. In here, thousands of treasures from antiquity were collected and displayed for the viewing pleasure of the public. Now the convent is filled with people all the time, and the woman is no longer lonely anymore.

The modern era comes in with a bang! Contemporary art explodes all over the walls. The colours so bright and vibrant they come to life even without the animations. The most impressive works of art were from Amadeo de Souza Cardoso, one of the most famous Portuguese modern artists. Amadeo de Souza Cardoso was influenced both by cubism and by futurism. His colours are so vivid they seem almost aggressive, and yet there is always a nuanced balance to his paintings, which ensure they don’t feel chaotic or confused.

Images frame in the tiled archways around the church, and we see black and white pictures from the fall of the dictatorship of 25 April 1974. This event was called the ‘carnation revolution’. The coup was organized by the Armed Forces and military offers who opposed the regime. As they gathered, the civilians of the city joined them since they knew finally there was no army to resist them, and this was their moment to overthrow the autocratic regime.

What is surprising about this revolution is that not a single shot was fired. An unsuspecting hero in the revolution was a simple restaurant worker, Celeste Caeiro who came out to give red carnations to the soldiers to celebrate their freeing of the Portuguese people from the dictator. Other women followed her lead, placing carnation into the muzzles of guns and onto the soldier’s uniforms. Projected onto all the walls of the convent are falling carnations, stacking up as high as the walls themselves until everyone is buried under a bed of red flowers. The convent spirit is dressed in red in these scenes and performs a dance of freedom as the carnations fall around her. This was one of my favourite visuals of the entire performance.

To end the show, the projections featured urban artists, graffiti and street art were sprayed across the convent walls. The visuals featured images from artists such as Add Fuel, Daniel Eime, the Super Van by Vanessa Teodoro and Alexandre Farto aka Vhils. These aren’t like paintings you’ll always see hanging in fancy art galleries. Instead, these are examples of art which everyone in Lisbon can view every day on their walk to work or passing by on the streetcar. There is no cost of admission, only a sense of discovery which will help you find these beautiful works of art. There is something extraordinary about elevating this kind of artwork, giving it credence in the show featuring mostly “high” art, which I found refreshing and inspiring.

The show ends with one last beautiful Fado song. As the lights go down, all you’re left with is the most incredible view up to the stars, framed by those iconic Gothic columns and archways. The music continues to play as you exit, and we literally danced our way out the door!

If you happen to be in Lisbon while this show takes place next year, it is really worth checking out. I thought it was incredibly fun, funky and the perfect way to spend a warm, summer evening. If you don’t know anything about Lisbon’s past, it’s a fantastic history lesson! What you’ll learn will help contextualize so much of what you’ll see around Lisbon during the rest of your stay. Don’t miss it if you get the chance!

The post Review of Lisbon Under Stars, a Historical Spectacle first appeared on The Creative Adventurer.

History of Street Art in Barcelona

Graffiti in Barcelona will always be part of the city. The city became a center of fashion, design, art and creativity after the Olympics in 1992. The new art expression became popular in Barcelona. As a consequence, many Graffiti artists visited the city just to paint a part of the city.

Jordi and Miguel changed the urban art industry in 1994 when they created Montana Colors, the first store to sell spray cans. Barcelona and New York were the most popular cities for urban art until restrictions came along. New York carried out a project in 1990 that erased all Graffiti from the city and Barcelona, was next.

Restrictions for Urban Art in Barcelona 

When Barcelona became a touristic destination, people related Graffiti with vandalism and therefore, the “clean up” project was implemented. Barcelona’s Government banned Graffiti in 2006 and fines were charged up to 3,000€. Some artists started painting in private indoor spaces or decided to open art galleries. Others just left town due to these regulations. As a result, the old good days were over for Graffiti lovers in Barcelona. But that didn’t stop some of them from doing what they loved.

Graffiti in Barcelona Today

Even with the current Graffiti restrictions in Barcelona, you can still find amazing street art around the city. Artists continue to stand up and fight to express themselves through art as it’s only allowed in some authorized public spaces. You’ll certainly find Graffiti masterpieces in the following neighborhoods: el Raval, Gràcia, Poble Nou and Gothic Quarter.

Graffiti Tours

Graffiti Tours in Barcelona are now more popular within locals and tourists. The main objective is to promote urban art and provide their knowledge on this trendy topic. The good thing about Graffiti paintings is that you’ll always have something new to look at as it’s constantly changing!

Who is Barcelona Explorers?

Barcelona Explorers is the ultimate guide to the city with a local touch that everyone should know about! This up-to-date Barcelona Blog has travel tips, curiosities, attractions, off-the-beaten-paths, events, traditions and many more for you to explore.

Are you ready to explore?

The post The Best Outdoor Art Galleries in Spain, Discover the Incredible Street Art and Graffiti of Barcelona first appeared on The Creative Adventurer.