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Does the world need another painting of the Duomo and the Ponte Vecchio?   That was the question I asked myself this week and then answered, “Sure, why not?”

The Duomo is the Cathedral of Florence known for its giant dome which dominates the skyline.  It is an architectural wonder created by Brunelleschi, and tourists from all parts of the world flock to view its grandeur and take selfies.  The other equally famous icon is the Ponte Vecchio, which is the oldest bridge in the city that spans the Arno River.  The Ponte Vecchio is lined with jewelry shops that jut out over the water in a haphazard arrangement that speaks of age.  The Vasari Corridor runs along the top of these shops.  This is where the ruling Medici could cross the bridge without mingling with the populace and it now houses a collection of artists’ self-portraits dating back through the Renaissance.  The shops and the corridor give the bridge a unique profile that is dominant when you travel across the river. The Duomo and Ponte Vecchio are the images that show up on post cards, refrigerator magnets, and placemats.   Every street artist in Florence has some version of these images which they produce over and over again to sell.   I never had an interest in painting them but this year that changed.

While navigating the city on my own, the Duomo and Ponte Vecchio were my points of reference.  If I got turned around, the location of these landmarks would set me straight.  Previously when I thought of painting them the task seemed overwhelming because they are so historically significant and highly detailed that it would be hard to do them justice.  This year they took on a more personal meaning. They represented welcoming landmarks that helped to guide me though the city.  This changed perspective was my inspiration for painting them.

Ponte Vecchio and Duomo magnets

I began with the Ponte Vecchio.  Over the years I have marveled at how this bridge shimmers in the light as it casts golden reflections onto the river below.  There are hundreds of widows and shutters begging to be painted but I ignored most of them and painted the shapes of the shadows as they spanned across the bridge.  Simplifying the detail on the bridge allowed me to focus the composition on the bounce of color between the gold of the bridge and the water. 

Underpainting of Ponte Vecchio: I did this to simplify the values and shapes so I could focus on color.

Yesterday I painted the Duomo and again I had to simplify and edit out the detail to tell the story.  I wanted to focus on the dome and how its towering presence always made me feel secure.  The cloud added atmosphere and movement to the solid structures.

Duomo 10x8 Pastel

Both of these paintings are small for their subject matter.  I wanted to get the images into pigment before my memory faded.  I hope to return to them again, but next time painting them larger and clarifying the story I want to tell.  So, does the world need another painting of the Duomo and Ponte Vecchio? Sure, why not?