How oil works in the screen saver for motor animation

Sacred art in Rome: screensavers for the soul

“When the world was five centuries younger ...” - so begins a fairy tale that calls across our aged world from afar and tells from the Middle Ages: “Everything that was experienced still possessed the same degree of immediacy and absoluteness as joy and still cause suffering in the child's mind today. ”These reflections on the relentless cycle of cultures were not written by a fairytale uncle, but by one of the most powerful historians of all. Johan Huizinga's “Autumn of the Middle Ages” has so far not attracted attention as the anniversary book for the hundredth of the First World War. The author doesn't mention the Great War with a word of his masterpiece, but it definitely belongs in the world of trenches, poison gas attacks and the maimed.

Huizinga practically finished the book on 15th century painting and mentality in the peaceful university city of Leiden with the last bang of the grenade in 1918; What remained in the middle of Europe was a completely devastated landscape, which between Ypres and Verdun outlines the area of ​​the Burgundian dukes, in whose court life and art the author saw the red and gold dusk of an era. Huizinga's civilized world of old Europe had perished; and now a reminder of the medieval roots of Europe should help the unspeakable melancholy to put it into words: "Now, for us, the seriousness and deep peace of Van Eyck and Memling shines through that time."

Deep peace - it is exactly the mood that the rare exhibitions of old Dutch painting evoke in the public. That is why people make a pilgrimage to the most exquisite art exhibition of the winter, "Memling", especially on these Christmas days. The portraits and altars of the master from Bruges are currently being shown in Rome, of all places, where, from Michelangelo's metaphysical fitness center in the Sistine, to Raphael's optical blending of antiquity and Christianity, to Caravaggio's popular saints with dirty toenails and rotten teeth, the strokes of genius of the religious commissioned art can be seen on every corner finds.

Where does the fascination for these solemn and silent tables come from? Why do so many people seize the time to observe the rigid figures of saints and long rotten merchant faces, when today you can activate millions of more flexible images with their melodies and voices in your pocket? What can a piece of oiled dead wood do against the Internet? In Rome in particular, the suspicion arises that the fascination of ancient art is simply about religion, about a connection to the extraterrestrial and supernatural, which remains hidden in the shrill and hectic world of apps and films.

Of course, we can confidently rule out this theological interpretation, because in Bruges, after all, Memling did not paint meditative icons in dialogue with his Lord God, but provided the rich and powerful of this world with representational art. Johan Huizinga saw it too and warned against the misunderstanding of confusing all these green paradise gardens full of noble figures of saints and parrots with the dirty, unjust and bloody everyday world of the 15th century.

500 years of the Sistine Chapel