Opinion / Chiara Rimella
Real deal
Picture this. You’re in Rome for a weekend break and there are a few things you don’t want to miss out on: a glimpse of the Colosseum, a peek of the Fori Imperiali and a jaunt up the Spanish Steps. But what about the museums? The queues are long and the halls crowded – do you really need to see that Raffaello in real life? After all, you know what “The School of Athens” looks like.
Since the dawn of mechanical reproduction – from postcards to schoolbooks – the art world has had to emphasise the difference between admiring a replicated image and standing in the presence of great works. But losing yourself in reverie isn’t easy when you’re caught in a herd of tourists. Are you a better art connoisseur if you do go (and suffer those who are there to take their own snaps of the “Mona Lisa”) or if you don’t?
In the UK a new exhibition, Michelangelo’s Sistine Chapel: A Different View, is bringing high-resolution photographs of the Sistine Chapel to Winchester – chopped up, scaled down and stuck on the floor and walls of three venues – so that the curious can get a close look at the frescoes without schlepping to the Vatican. There are obvious advantages. Of course, there’s the access for those who would like to (but can’t) see the real thing for themselves. It’s also a great way of admiring details you’d never spot on a ceiling that’s 21-metres high. Yet forensic examination is not the reason we go to see masterpieces. We go because being there matters: to feel the weight of history and imagine the hand of those who made the work. Perhaps the viewpoint won’t be perfect but that doesn’t matter: you’re not here to take a photo, are you?