"Art and Love" at the Met

Last week I finally made my way over to the Met to see an exhibit I’d been eager to see since it was first announced: "Art and Love in Renaissance Italy." Featuring over 150 works, from paintings to sculptures to pieces of jewelry created to celebrate love and marriage during the period from about 1400 to the mid-16th century, the exhibit is not only a tribute to the romantic, but an exploration of the role of love, marriage, and family during the Italian Renaissance.

Upon entering the Special Exhibition Galleries on the 2nd floor, I was immediately struck by the deep red color the exhibit’s entrance had been painted, a color that immediately evokes images of love and romance. I made my way into the first gallery and was pleased to discover that the layout of “Art and Love” had been well-planned, in typical Met fashion. Each gallery focuses on one aspect of Renaissance love, then moves the visitor along fluidly to the next segment of the exhibit.

The first set of galleries deals with the Renaissance wedding, showcasing items used during a ceremony or given as a gift to commemorate a union. Full of pomp and ritual, Renaissance weddings were elaborate social affairs, especially when the bride and groom were members of wealthy merchant or ruling families, such as the de Medicis or the Bentivoglios. The variety of items associated with the Renaissance wedding are all beautifully crafted and highly symbolic, and it was fascinating to see so many on display. There are an assortment of plates, bowls, jugs, and other ceramic pieces, all hand-painted with intricate designs that include the fede motif, a pair of clasped hands representing faith; garlands of myrtle, a symbol of love; various representations of virtue and chastity; as well as images of the couple to be wed, along with their families’ coats of arms. Beautiful gold rings, brooches, and other pieces of jewelry also carry these symbols, as do delicate hand-blown glassware and unique items like an inkstand featuring busts of the couple alongside the fede motif. Particularly interesting is an ornate Jewish betrothal ring, to be worn only on the wedding day, featuring a gabled top that opens to reveal the words “good luck.”

After the wedding comes the start of married life, and this is the focus of the next segment of the exhibit, with a particular emphasis on childbearing. Couples typically had portraits painted after their marriage, featuring both husband and wife, often gazing at each other or seated together and staring out in the same direction. These portraits were meant to commemorate the union while also calling to mind the virtues that each individual brought to the marriage. An especially intriguing work is Fra Filippo Lippi’s “Portrait of a Woman at a Casement,” in which a woman who appears to be dressed in the extravagant garb of a newlywed stares out a window, past a man who is looking in at her from the other side. Because their gazes don’t meet, art history scholars have raised many questions about the nature of their relationship, as well as the purpose of the work.

Another trend involved the decoration of the couple’s bedchamber with a series of paintings in panel form depicting a variety of Biblical and allegorical tales. Marco del Bruno Giamberti’s “The Story of Esther,” featuring the Biblical tale of Queen Esther, evokes images of marriage, faith, and chastity meant to encourage the couple to embrace such virtues. Paintings depicting symbols of fertility were often hung over the couple’s bed, and the room typically contained at least one cassone, or marriage chest, a large, ornately-carved trunk painted with elaborate scenes in much the same style as the panels that adorned the walls. There are several of these on display, and their size, combined with the intricacy of their design, makes them quite impressive.

When a couple bore children, the occasion was commemorated with paintings, ceramic pieces, and other decorative items, the most common of which was the childbirth tray. Large and elaborate, these trays were meant to celebrate the birth of a child during a time in which childbearing could be extremely dangerous for both mother and infant. The selection of trays on display feature highly detailed scenes, some mythical, others depicting the act of birth itself and the very private confinement room. Also on display are several portraits of children and newborns. One particularly beautiful piece is an ornately carved walnut cradle from the 16th century. All of these serve to emphasize the importance of the family during the Renaissance era.

In a departure from the marriage and family theme, two small galleries focus on “erotic love.” The mood in these galleries differs significantly from the others, as much of the work is explicit and was considered pornographic during the time in which it was produced (and could still be classed as such today). While the same level of skill and attention to detail can be seen in these works as in the others, they lack the elevating, inspirational air of the rest of the exhibit, and they detract from the themes at the core of "Art and Love." Note that you’ll definitely want to skip this section if you’re visiting with small children.

The final gallery—and quite possibly my favorite—showcases a selection of paintings meant to represent the highest ideals of love and marriage. Lorenzo Lotto’s “Venus and Cupid” shows a playful Cupid and an idyllic Venus adorned with symbols of marriage and fertility. One particular highlight is a work by Titian featuring a male musician gazing at a reclining Venus, showing the interplay between love and music. Another Titian work, “Venus Blindfolding Cupid,” is also a stunning allegory. In this gallery, the themes that run throughout the rest of the exhibit—love, marriage, beauty, virtue, fertility, family—come together beautifully, providing the perfect ending to a lovely—and love-filled—exhibit.

“Art and Love in Renaissance Italy” is on display at the Met through February 16—which means there is just enough time for a Valentine’s Day visit.