PAINTING IN ITALY / PIEMONTE / LAGO D'ORTA / LAKE ORTA / ORTA SAN GIULIO / ISOLA SAN GIULIO

     Shadowed by the Matterhorn, the small, picturesque Lago D’Orta 
(Lake Orta) is surrounded by forests with a wild and melancholy beauty.  
Just eight miles long and less than two miles wide, Lake Orta is one of the smallest and least known of northern Italy's sub-Alpine lakes.  The German
 philosopher Friedrich Nietzsche, who visited the lake in 1882, believed the experience changed his life forever.  He inscribed the date "von Orta an" 
("from Orta onwards") as a preface to his masterpiece Thus Spake Zarathustra. I can’t guarantee that going to Lake Orta to paint will change your life forever, 
but I can promise you’ll come away with some of the most beautiful images 
you’ve every put down on canvas.  Other 19th-century writers enchanted by 
its quiet beauty include the French novelist Honoré de Balzac, who wrote rapturously of this "gray pearl in a green jewel-box", and Robert Browning whose 
poem "By the Fireside" contemplates the beauty of a setting where "Alp 
meets heaven in snow", describes the lakeside village of Pella as a luminous "speck of white... in the evening-glow".    
     With all this glowing praise, you might imagine Orta San Giulio, the main
 town of Lake Orta, to be swarming with tourists, but it’s not.  Many visitors ignore this little gem and flock eastwards to the nearby, much larger Lago Maggiore. Their loss is your gain, as it keeps the crowds to a minimum. 
    Parking in the town center can be a bit tricky, well okay, more than tricky: impossible, as it is traffic-free.  But there are a few small parking lots up on the main road and the walk down into town is an easy one.  Don’t try parking on the main 
road; there are blue lines on each side that indicate resident parking only.  
Parking tickets are common sites and the fines are steep and payable on site. 
     In town, you’ll find more than enough paint-worthy subjects: stone 
archways, flower-choked balconies, and courtyards tucked behind ornate iron gates.  Pastel-washed 16^th and 17^th-century buildings house small shops, and 
winding alleyways zigzag to a maze of narrow streets.  Piazza Motta is the 
perfect location to set up.  This broad, flagged square runs parallel to the waterfront and is partially shielded from the hustle and bustle of the jetty by an impressive row of chestnut trees.  Colorful cafés spread out across the piazza if you prefer to sketch while sipping a glass of the local wine. 
     Certainly, you must allow time to visit Isola San Giulio. From the jetty of 
Orta San Giulio, boats leave every ten minutes for the five-minute trip to the island in the middle of the lake.  Centuries-old legend says the island was home to dragons, but don’t be scared off, St Julius, the island's namesake and founder of its basilica, arrived at Lake Orta over 1,600 years ago and dispatched the dragons with his sword.  So if you were looking forward to painting dragons, I’m sorry to disappoint
 you.  But don’t worry, there’s plenty more to keep your artist’s eye excited.
     Even without dragons, the island has a magical “feel.”  Take the flagged alleyway, which flits in and out of the sunlight as it weaves around the island’s
 interior.  There are many quiet places to stop and sketch.  I emphasize “quiet,” as the alleyway is signed: “the way of silence,” in one direction and “the way of meditation” in the other.  You will also come across small signs in various 
languages that remind you this is a place for reflection such as: "If you can 
be yourself, you are everything."   And, “Listen to the water, the wind, 
your steps." 
     Lovely old palazzi, draped in wisteria and trumpet vines, ring the 
waterfront of Isola San Giulio, making it an ideal spot to sit and paint or 
sketch.  The views from the waterfront back to the mainland town of Orta San Giulio are luscious. 
     I recommend bringing along some bottled water if you plan to stay on the island for a few hours.  There is only one small gift shop where water is available. 
     Back on the mainland, Orta San Giulio’s pièce de résistance demands a 
bit of a climb (325ft above the lake if you’re counting) up to the Sacro Monte 
di San Francesco.  This hilltop plateau laid out with 20 chapels dedicated to 
the life of Saint Francis of Assisi is very cool.  All the chapels are unique in design, reflecting the fact that building took place over a 200-year period. 
     Sacro Monte was designated a National Park in 1980. The chapels are 
built like a village, amid meandering paths, woods, and a plethora of 
wildflowers, all this, plus incredible views of Lake Orta lying dreamily below 
on her mountain bed. 
     Do bring water, and I suggest a picnic.  There’s a lot to paint and you’ll 
really need at least half a day. Once you’re here, your only dilemma will be 
what to paint first.
      Since this is a National Park, be sure to follow the rules and stay on the designated paths so as not to trample nature’s balance.  If you do go off the paths, 
there are groundskeepers in the area who will quickly get you back on track.
      Buon Viaggio!

PAINTING IN ITALY / LIGURIA / RIVIERA DI PONENTE / SAN REMO

No artist worth his or her salt who visits Liguria should neglect the drive along the Riviera Di Ponente facing the rising sun across the Bay of Genoa. In the spring the walls of the gardens and villages in this area are draped with bougainvillea flowers in vivid hues ranging from deep pink to purple. This area on Italy’s “thigh” has long been a haven for poets and painters. It’s an eclectic mix of quaint fishing village and ancient seaports.
San Remo, my favorite town in this area, is known as the “City of Flowers.” With a name like that, no wonder it’s my favorite. In fact, San Remo is Italy’s most important flower market. So if you botanical painters can’t find something to paint in this region, I suppose you can blame it to having been blinded by beauty. In addition to the plethora of flowers, its luxuriant gardens and parks overflow with tropical plants.
If botanical painting is not you forte and you, like I, prefer painting architecture, don’t despair, the medieval center, the Pigna, climbs in concentric circles towards the Piazza Castello in a labyrinth of alleyways, flights of steps, covered passages, and little squares encircled by colorful shuttered buildings. All along this route you’ll find sufficient places to set up your easel or sit with a sketchpad. In the upper town, the Santuario della Madonna della Costa faces a terrace with a superior view, another great spot to set up. Another favorite for architectural painters is the Orthodox church of S. Basillio with its colorful onion domes. The church is in a little square by the sea, which makes for a lovely backdrop to this enchanting building.
As San Remo is a seaside resort, there is no shortage of seascapes to paint. Try a walk out onto the pier, another great place to set up, if you don’t mind curious tourists and fishermen breathing down your neck. If you’re an early riser or an insomniac don’t miss the spectacular opening of business in the flower market, at dawn, in the hall between Piazza Colombo and the Corso Garibaldi.
BUON VIAGGIO!!!

Monterosso In Riviera Di Levante

Monterosso On Riviera Di Levante

I designed the painting above from fond memories of Monterosso on the Riviera Di Levante in the Cinque Terre region of Italy. The warm tones of the village walls, rocks, and sand are the perfect neutral background for the colorful fishing boats.
The original 11"x14" acrylic in canvas can be purchased on my art website: http://www.Pamelaallegretto-franz.com
Giclee prints from greeting card size to poster size are avalable on: http://pamela-allegretto.fineartamerica.com

PAINTING IN ITALY / LIGURIA / CINQUE TERRE

PAINTING IN ITALY / LIGURIA / CINQUE TERRE


Although the Cinque Terre region is no longer considered “off the beaten path” it’s definitely a “must visit” for artists who hunger to capture cliff-hanging, whitewashed buildings set ablaze by ruby sunsets. This fantasy gratifying stretch of the Italian Riviera, or as the Italians call it the Riviera Di Levante, lies between Genoa and Pisa.
The Cinque Terre are five small villages at the ends of narrow valleys that cut through a steep coastal range and are backed by green-terraced slopes of ancient vineyards. Flights of steps occupy narrow alleyways and bougainvillea filled pots spill red, purple, and aubergine petals from mini balconies.
Only the outer villages of Monterosso and Riomaggiore are easily reached by car, but it is exactly this restriction that adds to the regions charm.
Each village has its own flavor. To sample them all, you can follow the fragrant trail through sunny vistas from Riomaggiore to Monterosso.
For decades, Riomaggiore has seduced artists into becoming residents. The tunnel next to the train tracks takes you to a fascinating tangle of multicolored homes. Riomaggiore's beach is a small cove that is a two-minute walk from town. The swimming isn’t the best, but on a hot day, a refreshing dip will rejuvenate your creative juices. From Riomaggiore, the Via Dell'Amore (walkway of love) leads to Manarola where rustic stairways lead to remote rocks where you can set up an easel or sit with a sketchpad. If you’re a figure artist you may be in luck, as nude sunbathing is tolerated. Picturesque Manarola ends in a rocky promontory with a harbor so tiny the boats need to be hoisted out of the water and onto a jetty.
Corniglia is the only Cinque Terre village not on the water. The town center sits on a hill atop 377 stairs (the “Ladarina”) that zigzag up to the town where the view will knock your socks right off the cliff and into the aquamarine sea below. The vista includes not only the coastline and seascape, but also all the other four villages of the Cinque Terre.

The 90-minute hike on to Vernazza is rugged but you will be rewarded with outstanding views of sun-soaked terraced vineyards that blanket the region. Secluded coves and invigorating waterfalls are tucked away along the coast between Vernazza and Monterosso al Mare and beg to have their images preserved on your canvas.
Monterosso al Mare is the most important center and the only one with a broad, sandy beach. Translation: the most tourists. However, Monterosso deserves a visit to sketch its vestiges of old walls, towers, and bastions.
When you arrive at the Cinque Terre, take time to study the footpath maps that are available in all five villages. The Cinque Terre are crossed by a dense network of coastal and interior footpaths. The "Sentiero Azzurro", Blue Path, is the coastal trail while the "Sentiero Rosso", Red Path, or High Path, climbs from Portovenere to Levanto. The "Via dei Santuari", Sanctuaries Path, is more challenging and leads to places of religious interest upon the five villages.
The panoramas from many points of the trails are amazing especially along the coast path. All the paths are of low or moderate difficulty, they say, but I never trust “they.” Who are “they” anyway? Have “they” ever hiked the trail with an easel on their back? My advice, pitch the flip-flops and tie into some sturdy shoes with healthy tread. A sudden rainstorm can make for some very slippery cliffs.
If time is not on your side, I recommend the "Sentiero Azzurro", “Blue Path” which is the most famous and evocative trail of the Cinque Terre. The course has been traced through the centuries, when it was the only way of communication for the inhabitants of the Cinque Terre. In some points, it is a real mule track that winds waterfront offering fabulous views.
As always, bring water and some snacks, an umbrella, and plenty of enthusiasm.
BUON VIAGGIO!

PAINTING IN ITALY/MARCHES/SIBILLINI MOUNTAINS/MARCERATA/POTENZA VALLEY/ MONTE SIBILLA/GRAN SASSO

For a full-on scenic drive and endless painting-ops, take the drive through the Sibillini Mountains from Macerata to Ascoli Piceno. Before you head out, be advised that the road will dip and dive and climb and drop, and unless carsickness is your nemesis, you’ll come away with one-of-a-kind sketches, paintings, or photos.
From Marcerata, the road leads to Passo di Trèia, but be sure to take a detour to the village of Trèia. This medieval town sits on a ridge in the central Potenza Valley, and it has walls and towers and gates that are all ripe for painting, on canvas of course. Don’t try to paint the walls and towers and gates themselves or you may encounter fierce opposition from the otherwise gentile town folk. The Piazza della Republica is an ideal location to set up and paint, as it opens toward the fertile valley below.
Another short diversion climbs to the abbey of Santa Maria di Rambona. (No, there is no correlation to Rambo) The views from the Abbey are spectacular and there are nice level sites to set up an easel and paint.
The next stop brings you to Tolentino, which sits on the banks of the Chienti River. This is another tranquil little gem that is unknown to most artists seeking river scenes to paint.
At San Severino Marche, (which I wrote about on my April 12th blog) this route turns into the Potenza Valley. It passes through rolling hills until you reach Castelraimondo, and then the road climbs the ridge between the Chienti and Potenza valleys. The views from this summit will set your heart thumping, or perhaps it’s the drive itself, in either case, take a breath and choose a spot to set up and paint the exquisite landscape below. Next, the road plunges to Sfercia on the floor of the valley. It crosses the Chienti and climbs to San Maroto and from here the undulating road leads up to Fiastra that sits on the Lago di Fiastra.
This lake is a great place to stop and regain your sea legs. It also offers a serene and lovely location to paint. When you’re ready to twist and turn instead of dive and climb, continue through this picturesque alpine landscape toward Bolognola, the highest community in the Marches. Certainly, you’ll be ready for another break to paint the 360 views; but hold the wine, you’re not out of the woods yet, and you’ll need all your faculties to maneuver the twisting, panoramic road to Sarnano: this is one very cool medieval town with steep, narrow streets that lead to the main piazza.
Depending on your time, there are certainly a multitude of scenic and historic side trips you may chose to take anywhere along this route; I only like to write about places I have personally visited. It’s possible to drive the panoramic road up to the summit of Monte Sibilla (7,135 feet), where you’ll find a famous cave you might like to explore. And if the drive didn’t already take your breath away, certainly the views over a majestic sweep of mountains to the Gran Sasso will finish you off. (But in a good way)
BUON VIAGGIO!

PAINTING IN ITALY / MARCHES / OSTRA VETERE / SAN GINESCO / SAN LEO / SAN SEVERINO MARCHE

For a great workout after a eating a bit too much pasta, (the local cuisine boasts this delicious four-vegetable rigatoncini) take a drive to Ostra Vetere. (No, the drive is not considered the workout.) Park in the center and take the pathways that link this picturesque medieval village with terraces and flights of steps. The views at each twist and turn are absolutely “paint-worthy.” Leave any bulky easel back at the hotel; a sketchpad, watercolor block, or small pochade box will be more appreciated, (don’t forget you’ll also have a full stomach). If you are interested in painting wine cellars and casks (and maybe having a taste or two while you’re at it) visit Fratelli Bucci cellars. If you are aching to paint a medieval village, then make a point to visit San Ginesio. It is surrounded by a defending wall with towers dating from the 14th – 15th centuries and holds a commanding position on the Fiastrella River. The Piazza Gentile is an ideal location to sit and paint the impressive Gothic campanile. The village is virtually tourist-free and thus, the local people will shower you with both curiosity and generosity. San Leo is another typical medieval town. It is positioned on an enormous rock mass above steep cliffs that over hang the lower reaches of the Marecchia. The Forte, with its majestic cylindrical towers, is set on the highest point of the rock and Machiavelli considered it to be the finest example of a military fortress. (Hey if it’s good enough for Machiavelli...) And I consider it an excellent location to paint. In town, climb the bell tower for exceptional views. San Severino Marche is another picturesque little town in the Potenza Valley. The old center (il Castello) dominates the town on the peak of Montenero. From this center you will find multiple vantage points to set up and paint the magnificent view of the surrounding hills. BUON VIAGGIO!!!

PAINTING IN ITALY /MARCHES/Conero/Fermo/Gradara/Grottamare

A large section of the “calf” of the Italian boot is taken up by the Marches Region, which stretches between the Abruzzo and the Emilia Romagna regions. Sandy beaches line the coastline while inland green hills and river valleys run down the eastern slope of the Apennine chain to the Adriatic Sea. This region is still not well known to visitors, and thus, an artist with even only a few basic words of Italian is treated as an honored guest. Although Ancona, the capital, which poses a theatrical setting above the sea, may be a great place to put down roots for the night, for painting I recommend driving to Cingoli. Its impressive hilltop position has earned the little town of Cingoli the title of “Balcony of the Marches.” Set up your easel at the belvedere, just behind the apse of San Francesco, for spectacular views over the hills and as far as the Adriatic. Surrounded by walls, the town is secluded and quiet. The Conero promontory has magnificent views and cliffs that drop to the sea. The flora is interesting and rare and the abundance of birds includes the peregrine falcon and sand martins. Drive up the road that climbs the mountain ridge to the church of Santa Maria di Portonovo. In this enchanting setting your plein air mojo will go into over-drive. Just be sure to bring water and snacks: it really sucks to cut a painting secession short due to lack of sustenance. Fermo is another well-placed hill town that commands wonderful views. In addition, the steep alleyways of this medieval town offer architectural artists and photographers a plethora of inspiration. Gradara is a scene-stealer when it comes to turreted walls and magnificent views. According to tradition, the Rocca at Gradara was the setting for the tragic tale of Francesca da Rimini, related in Dante’s “Inferno.” So how cool is that? To walk around the walls as far as the highest tower, get out you sketch pad, and capture the amazing view while imagining where Dante stood when he conjured up his “Inferno.” When you have had you fill of damnation, drive to the seaside resort of Grottamare. From the center, a narrow street climbs to the remains of a 14th Century castle with excellent views and no signs of hellfire and damnation. BUON VIAGGIO!!!

MATERA / PAINTING IN ITALY

MATERA / BASILICATA / SOUTHERN ITALY

I am running a "limited time /limited number" special price for a giclee canvas print of the above painting Matera at: http://fineartamerica.com/weeklypromotion.html?promotionid=59806
Please click on this link to check it out.
To go along with this special price, I decided to re-post below my Matera article that I wrote last March.

PAINTING IN ITALY/BASILICATA / MATERA

For those adventurous artists who have squeezed the last drop from your yellow ochre and burnt sienna while painting Tuscan sunrises and sunsets, head south. I’m not talking Rome or Naples or Salerno, I mean the Deep South that Carlo Levi wrote about in Christ Stopped At Eboli.
In 1935, The Fascists exiled Levi to this region as a political prisoner. For those unfamiliar with this book, it has nothing to do with religion or of Christ making a weekend get-away to the Basilicata region. It refers to the idea that if Christ was traveling south in Italy and doing his Godly thing along the way, then he stopped when he reached Eboli. Levi wrote: “upon my arrival, the peasants said, ‘we are not Christians, Christ stopped short of here, at Eboli.’ Christian, in their way of speaking meant human being.” This “God-forsaken" region remains today a land outside time.
So, what do I like about this earthy and primeval region? Just that. It’s earthy and primitive. And the architecture is fun and challenging to paint.
In addition to being an accomplished writer, Carlo Levi was also a doctor and a gifted painter. If you go, don’t miss the Carlo Levi Gallery in Matera, where on exhibit you’ll find some thirty or more of his oil paintings, all of them portraying scenes from Basilicata life.
I recommend traveling by car, as some of the smaller villages are without rail stations. There is a respectable bus service, but in some cases you have to transfer 3 or 4 times to get to one village. If you drive, give the right-of-way to the donkeys that are burdened with bushels of firewood and clip clop down the cobblestone streets.
Buon Viaggio!
The original of the painting above can be viewed at my website: http://www.PamelaAllegretto-Franz.com
Giclee prints from greeting card size to poster size can be purchased at: http://pamela-allegretto.fineartamerica.com

PAINTING IN ITALY / TUSCANY / FLORENCE / PIAZZALE MICHELANGELO / SAN MINIATO AL MONTE

When you’re ready to paint your personal interpretation of the Florentine view seen in many a Renaissance painting, travel up the Viale dei Colli to Piazzale Michelangelo, one of the best known and most popular of the vantage points offering a view over the city and its basin. The Viale dei Colli was specifically laid with the intention of offering Florentines and visitors an incomparable scenic route. The road curves along the slopes of the hills with some sections cloaked by lush vegetation. If you aren’t driving and aren’t up to the steep walk up from the city, you can reach Piazzale Michelangelo via bus #13.
The best time to visit the Piazzale Michelangelo is at dusk, when the purple-fringed Tuscan hills frame Giotto’s bell tower, Brunelleschi’s dome, and Palazzo Vecchio. Certainly, at various times of the day the Piazzale can be overcrowded with tour buses, usually midday during the summer months, but it’s rare that you can’t find a place to park your car, and there’s always space to set up an easel; and most importantly, the view of Florence will make you forget about any hubbub going on around you.
In the center of Piazzale Michelangelo is an impressive replica of the David. Speaking of the David, here’s a great little story regarding the nose of David. According to art historian Giorgio Vasari (1511-74), after Michelangelo had finished the David and was working on the scaffolding, the Gonfalonier, Pier Soderini, the highest authority of the Republic and therefore the patron of the sculpture, praised Michelangelo but added that ‘it seemed to him that the nose was too big.’ Michelangelo, who understood the patience necessary when working with a client, took a handful of marble dust and pretended to chisel away at the nose of David, allowing dust to trickle out of his hand. After the supposed finishing touch was complete, the Gonfalonier said ‘it pleases me more, you have given him life.’
From Piazzale Michelangelo you can continue on foot up to San Miniato al Monte. This clearly must be one of the best-loved churches in Italy: for it’s dramatically placed hilltop location overlooking Florence, for that same position as an eye-catcher up from the Florentine center, and for its brilliant black, green, and white marble façade. The church is dedicated to Saint Minias of whom legend has it that after martyrdom by decapitation the saint’s corpse was seen to carry his severed head over the river and up the hill (no, not to grandma’s house) to this spot. Look up the Church of San Miniato al Monte in your travel guide and take time to go inside. It is the oldest surviving church building in Florence after the Baptistery and it’s like no other church in the city. From the church grounds you’ll find many convenient vantage points for painting the Florentine vista.
Buon Viaggio!

PAINTING IN ITALY / TUSCANY / FLORENCE / FIRENZE / BOBOLI GARDENS

I lived in Florence for two years and believe that I still only scratched the surface of “paint-worthy” locations.
Certainly, before you even pick up a brush, you’ll want to visit the “heavy hitters”: Michelangelo’s David, Il Duomo, The Baptistery, The Uffizi, Palazzo Vecchio, Palazzo Pitti, The Ponte Vecchio, etc., etc. There are a whole host of guidebooks available that offer in depth information on these sites and the multitude of piazzas that are all worthy of your attention and your paint time. My purpose is to tell you about my favorite, lesser-known sites where you can set up your easel or sit with your sketch pad.
Florence’s city center is situated on the “Right Bank” of the Arno River. On the “Left Bank,” known as the Oltrarno, and behind the Palazzo Pitti, you’ll find the Giardini Boboli. It is said that the Marquis de Sade preferred the enchanting Boboli Gardens to Florence’s women whom he considered “arrogant, impertinent, ugly, dirty, and gluttonous.” Well, given his reputation, I suppose the Florentine women should have counted themselves fortunate to have been able to keep the Marquis at a safe distance.
The Boboli Gardens extend over eleven acres and occupy a hilltop position with awesome views over the city and its surroundings. The Boboli Gardens offer an overall impression of a refined integration of art and nature. Secluded paths lead to numerous resting places equipped with stone benches for sitting with a sketchpad or Pochade box. Surrounding these little tranquil pockets you’ll find grottos, fountains, and statues in close harmony with the emerald backdrop of cypresses, pines, laurel hedges, and lemon trees. Take time to visit the Grotta del Buontalenti where it’s fountains, frescos, and statues (Giambologna’s Venus in particular), are guaranteed to inspire you.
At the top of the gardens is the Giardino del Cavaliere with incredible views and more than enough convenient places to set up. You shouldn’t miss the fountain island, Isolotto, at the far end of the gardens. The most dramatic approach is along the central cypress avenue, Viottolone. Be aware that many of the statues along this path are Roman originals.
If you neglected to pack a picnic or drinks, don’t despair. There’s a charming little snack bar at the top of the gardens with lots of tables to sit and eat and drink and drink in the spectacular panorama. It’s also a great place to sketch or paint. But unlike other bars where you can get away with sitting and painting for hours for the price of one espresso, if you’re there on a busy day you’ll be encouraged to buy something more to eat or drink, or else pack up that Pochade Box and move on down the line. You can’t blame them. Given the plethora of artists who visit the city, the bar would quickly go belly up if every artist who sat at its tables only ordered one coffee and then proceeded to sit for four hours.
Buon Viaggio!

PAINTING IN ITALY / TUSCANY / FLORENCE / FIESOLE

About a 25-minute drive from Piazza San Marco in Florence will take you to the hill town of Fiesole. As you take this panoramic drive you’ll pass fountains, statuary, and lush gardens. If you prefer to not drive, you can take the #7. However, if you take the bus, you won’t be able to pull off along the way and sketch the amazing views, which I highly recommend. Piazza Mino da Fiesole, Fiesole’s main square, is a great place to sit and have an espresso or sip Campari while you sketch the ochre-colored buildings with their charming green shutters. Character studies abound as visitors from around the world gather in this little slice of heaven.
When you’re ready for a short but steep hike, take Via San Francesco, which parallels a terrace that offers a show-stopping view of Florence. At the end of the goat trail, you’ll reach the Convent of San Francesco and the church of Sant’Alessandro. From behind the churches there is an idea spot to set up and paint another grandstand view of Florence. Do take a break from painting to visit the two churches, where you’ll find works by Piero di Cosimo and some gorgeous marmorino cipollino (onion marble) columns. From the front of San Francesco go through the gate that opens into a charming, wooded public park that makes for an enjoyable descent back to Piazza Mino. If you’re a nature painter, you’ll want to set up for a while in this delightful locale.
Back in the main part of town beyond the Duomo, in Via Marini you’ll find the entrance to the Teatro Romano. Built in the first century BC, this amphitheater is equipped to seat three thousand spectators. It was excavated at the end of the last century and is in such a good state of repair that it’s used for various theatrical and musical performances. As you arrive at the theater, you are at the top looking down onto the stage. Also from these upper seats there are views that beg to be painted. It’s an ideal spot to easily set up and paint the theater stage and the panorama behind it. Can you imagine anything much more remarkable than sitting in the same seat as Roman spectators sat over 2,000 years ago and drawing or painting the same view they witnessed? Okay, so maybe the trees have grown a bit higher on the distant hills during these past 2,000 years, but let’s not allow trivial details to spoil the mood.
Take time for a picturesque stroll to the outskirts of Fiesole and wander down the narrow Via Vecchia Fiesolana to the hamlet of San Domenico. This is another “must stop to paint” location, not only for it’s charm and amazing views, but also the local folks love artists who venture outside Florence to paint its environs. You will no sooner open your sketchpad or set up your easel, than a mini crowd will form to see what has caught your fancy. No matter what you have decided upon, there will be at least four or five other opinions on what you should have chosen. It’s always all in good fun and offers of wine, soda, water, cheese, panini, and etc. will no doubt abound. You may not get much painted, but you will have a wonderfully memorable experience.
Buon Viaggio!

Siena

Siena

The painting above is a scene from a back street in Siena. The original watercolor painting can be purchased at my website: http://www.PamelaAllegretto-Franz.com. Giclee prints can be viewed and purchased at: http://pamela-allegretto.fineartamerica.com.

PAINTING IN ITALY / TUSCANY / SIENA

PAINTING IN ITALY/TUSCANY/SIENA/ CHIANTI COUNTRY

On three sienna-colored hills in the center of Tuscany lies the walled city of Siena (Sena Vetus). Planted solidly back in the Middle Ages, this show place of Italian Gothic preserves its original character perhaps more strikingly than any other city in Italy.
In the heart of Siena sits Piazza del Campo. This concave piazza makes for perfect viewing and sketching of the infamous Palio delle Contrade held each summer on July 2 and August 16. If you’re in Siena at this time, it’s impossible to not get caught up in the grip of Palio fever. For those unfamiliar with Il Palio: it’s a wild and thrilling horse race dating back to the Middle Ages and it maintains all the pageantry, costumes, and celebrations of that specific period. It’s a “no rules” event where even a horse with no rider can win the race. (Yes, riders do get knocked off their mounts. Try suggesting that scenario at the Kentucky Derby.) Personally, I find the race itself to be cruel to the horses, but the pre-race pomp and ritual with heralds, child drummers, flag-bearers, and Renaissance costumes make great quick-sketch muses for future paintings. Hang onto your hat, your sketchpad, and your wallet, as the rowdy crowd can swell to uncomfortable numbers.
Clearly, your guidebooks will lead you to all the big-hitter, must-see museums, galleries, and churches, so let me lead you off the beaten path, especially if you have survived intact a day at the Palio. If you’re a fan of painting architecture, Siena will fill your cup to over flowing. At each turn of the city’s undulating streets you will find a paint-worthy scene. And don’t forget the streets themselves, which are all brick-paved, and that imitate the dominant building material of brick at it’s very warmest and most subtly toned. Stairways lead to more stairways and arches frame spectacular views.
One of my favorite sites to sit and paint and drink wine (what else could one ask for?) is at the Enoteca Italica Permanente. Located at the Fortezza Medicea, Viale Maccari, this Italian government owned and operated establishment lies just outside the entrance to an old fortress. Here, you’ll find several sunny terraces for outdoor wine tasting. You can sit at a table, order a glass, and paint undisturbed for hours. The out-laying vistas will knock your socks off. Just don’t let that wine do it first.
Buon Viaggio!

PAINTING IN ITALY / TUSCANY / SAN MINIATO

If you’re driving from Florence to Pisa, plan to stop and set up your easel for a few hours at San Miniato, which is about midway between these two popular cities.
Climb the hill from the Prato Del Duomo, (wear sensible shoes, no flip-flops), the vistas are outstanding, and on clear days the view extends from the hills of Fiesole to the sea, and from the Apuan Alps to the cliffs of Volterra. You can set up next to the tower, which is a post-WW2 reconstruction of the last remnant of a fort Emperor Frederick II built in 1240. How’s that for “Painting on Location?”
Bread, cheese, prosciuto, fruit, water, and wine are available in town if you want to enjoy a Tuscan-style picnic while you paint. Try to catch either a sunrise or sunset; you will not be disappointed.
As usual, pack smart (translation = pack light).
San Miniato has an exciting and colorful Kite-flying festival the first Sunday after Easter. If you are in Tuscany during the Easter time, you should make a point to catch this event. At that time of the year he countryside is ablaze in spring colors which add to the vibrant colored kites.
Buon Viaggio!

PAINTING IN ITALY / TUSCANY / VERSILIA / CARRARA / VIAREGGIO

In addition to the Alpi Apuane, there are various other reasons to visit the Riviera Della Versilia. One reason is the beach resorts that run unbroken between Viareggio and Forte dei Marmi. Much of the sand is leased to various hotels and establishments who rent out chairs and umbrellas. But you needn’t be sucked in; there are numerous public access areas where you can sit and paint seascapes all day without paying rent on a lounge chair.
My favorite town for people watching and sketching is Viareggio. Passeggiata Margherita, the long, palm lined seafront promenade presents an air of elegance without being pretentious. Numerous bars and restaurants offer outdoor seating. For the price of an espresso or limonata, you can sit undisturbed for hours and sketch or paint.
I don’t often recommend restaurants, but here I will make an exception. Grab a bite in the pergola at Ristorante Michele. While you’re enjoying your meal, you can sketch or painting the vine-choked trellises that enclose the patio and hover overhead. If you have one too many glasses of their marvelous, and cheap, house wine, you may envision the broad twisted vines as tree snakes, threatening to drop into your minestrone. Now there’s a great idea for a painting.
Certainly, you can’t possibly be in the area without a trip to Carrara, the “Marble Capital.” Set in the hills, the town offers many prime locations to set up and paint, not only the excellent seascapes below, but also the town itself. Peeling pastel stucco houses and side streets lined with green shutters make excellent subjects.
And then of course there are the marble quarries. One of the more accessible is the site at Colonnata, the Cave di Colonnata. If you’re driving, follow the yellow signs from town up to the twisting road. Don’t worry; you can’t miss it. You’ll see a huge, blindingly white marble basin. It’s floor and sides are perfectly squared by the enormous wire saws used to cut the blocks that are scattered about.
Michelangelo spent eight months in Carrara. So while you’re setting up to paint in the village, on the convenient outlooks to the sea, or at the quarry, you’re likely to be standing in a spot where Michelangelo stood to contemplate his next sculpture or to chose his next block of marble. Does it get any better than that?
Buon Viaggio!

PAINTING IN ITALY/TUSCANY/VERSILIA/ALPI APUANE

On the northern coast of Tuscany, the Alpi Apuane Mountains dominate the Riviera della Versilia. Well-marked footpaths that offer huge rewards for plein air artists crisscross the mountains, a forty-kilometer span of indisputably alpine spectacle.
Due to their location and elevation, the Apuane are an ideal blend of assorted ecological habitats, from tundra through Alpine meadow to Mediterranean grassland. An extraordinary assortment of wildflowers makes this one of the country’s richest botanic enclaves. However, the most noticeable vegetation is the vast forest of chestnut and beech, which cover nearly all the lower slopes. These trees offer shelter to many of the mountains’ three hundred species of birds. (If you like to paint birds, you may never want to climb down from this mountain.)
The main approach to the northern group of peaks is from Levigliani. Detailed trail maps are available in town. Be sure to pick one up before you head out. The best-detailed and easiest to read is the Multigraphic-Wanderkarte. Trails #9 and #126 are the most popular and have well-situated clearings for setting up to sketch and paint.
Stazzema is the best access to the southern peaks and trail #5, which is a gentle climb (the best type of climb in my mind) through chestnut woods to the Procinto, a huge tabletop crag mention by Dante. Of all the walks, I prefer this Procinto walk; not only because it’s an easy walk, which is helpful when you’re toting art supplies and food and water, but it allows time to walk up Monte Nona, have a picnic lunch and paint some out-of-this-world scenery, and return to Stazzema in time to view the sunset from an outdoor café` in the town’s charming piazza.
Even though the Alpi Apuane are on the cusp of the Versilia Riviera, don’t think the temperature will be the same. At first, it may feel like a cool relief from the blazing beach, but it can cool down quickly, so never venture up into these mountains without a jacket on hand, ditto, water and snacks.
As always, carry out what you carry in. Your reward will be the opportunity to paint scenery that few artists have the chance to paint. And the icing on the cake: Michelangelo hiked some of these same trails while visiting Carrara to select marble for his David!
Buon Viaggio!

PAINTING IN ITALY / TUSCANY / PISA

Certainly if you’re an artist who enjoys painting architecture, Pisa should not be missed. The Campo dei Miracoli (Field of Miracles) is as spectacular today as it must have been to medieval visitors. The Duomo, Bell Tower, and Baptistery are set within a vast, meticulously manicured lawn that entices artists to set up and spend a few hours painting. If you’re a true-to-life, detailed artist, don’t get frustrated if what you see doesn’t jive in your over-analytical brain; don’t accuse your t-square of playing tricks on you; and don’t blame that second glass of wine you drank at lunch: not only does the Leaning Tower “lean,” but the Baptistery is inclined out of the vertical and the façade of the Duomo is also a few degrees out of true.
Before you leave the Campo dei Miracoli, you must take time to visit each of these magnificent buildings and definitely take time to visit Camposanto, which Ruskin described as one of the three most precious buildings in Italy, along with the Sistine Chapel and the Scuola di San Rocco in Venice. It wasn’t its tombs but rather its frescos that he praised. Unfortunately, in July of 1944, Allied planes dropped incendiary bombs that set the roof on fire and drenched the 2000 square meters of frescos in a river of molten lead. Fortunately, a few patches of the magnificent frescos remain, including works by Maestro del Trionfo della Morte (Master of the Triumph of Death); which have been detached from the wall and put on exhibit in a room opposite the entrance. Also at the entrance is a photographic display of the Camposanto before the bombing.
On the south side of the Campo, sandwiched between the tourist stalls, you’ll find the Museo delle Sinopie. I love this high-tech museum. After the Allies bombed the Camposanto, the building’s restorers removed its sinopie, the monochrome sketches for the frescos. These great plaster plates are now hung from the walls of the Museo delle Sinopie, where you have the opportunity to inspect up close the painter’s preliminary ideas.
Don’t leave Pisa until you’ve visited and sketched all “three” leaning towers. The 2nd leaning tower is at the end of Via Santa Maria. It’s the 13th century campanile of San Nicola. The base is cylindrical and changes into an octagon and then a hexagon. Inside, take a peek at the paintings by Nino and Giovanni Pisano. You can get to the 3rd leaning tower, the campanile of San Michele dei Scalzi, by walking along the riverbank upstream from Ponte di Mezzo. Everything in this building is severely out of kilter: the columns in the nave tilt this way and that, the windows in the apse are every which way but loose, and the walls set up a dizzy contrast to the tilt of the tower.
After your brain has maxed out on the crooked, tilted, and leaning don't despair, like Florence, Pisa has its Lungarno that boasts a splendid line of riverside palaces that will please every “t-square” enthusiast.
BUON VIAGGIO!