Carnival is underway in Venice. How could we possibly be blue?
I have always loved this image, though she is not one of Frank's favorites. Both because of the color palette and the emotional feel, I have named her, simply, "Blue." In a lovely turn of events, not only was she selected for a juried show at Sebastopol Center for the Arts with the theme, "Blue," but she was given the Coordinator's Award. What a delight.
I wonder if our lovely Blue is visiting La Serenissima this Carnival season?
It is nearly that time, again. That marvelously over-the-top, fabulously creative, artistic and playful time. That centuries-old time of delight and mystery: Carnival in Venice.
So here is something to whet your appetite. This is the group from Bonn that regularly attends Carnival and delights with marvelously creative costumes and masks. I wonder what they have thought of for this year? All will be revealed, soon.
On February 11th, 2012, the fun begins!
We work hard to make our Carnival portraits look as if they were captured in calm and controlled circumstances, but in reality, this is not the case. In the traditional early morning photography sessions that occur in front of the Doge's Palace, we are joined by a collection of fellow-photographers who are equally as intent on capturing just the right image as we are. And as the sun rises, we all are joined by lucky visitors who stumble upon this delightful scene and are trying to capture their own images, as well. The scene in the afternoon session in front of the Doge's Palace is even more chaotic, with the numbers of both photographers and visitors increased exponentially.
For the performers, it must be challenging, as well. They arrive in the dark of the predawn, having had to awaken early to don make-up, masks and costumes, and trying to keep warm in the damp cold. Costumes may be heavy, head-dresses even heavier, and wearing a mask is challenging as it leaves one with essentially no peripheral vision. And so performers glide into the chaos of it all, aware that they have multiple audiences, all of whom want the perfect picture of them. There is much that performers must gain from their efforts; to be sure, there is much that they give.
And so, in the middle of all this chaos, it is the moments of engagement, the seconds where our eyes meet, if but for a brief glance, that are pure magic. "Yes", we acknowledge silently, "Yes, we are here together on the marvelous stage that is Venice at Carnival." We are so lucky to share it.
A belated welcome to 2012. But what better way to start than with an image of the Jester. The world can be a dark and serious place. The Jester acknowledges this, yet reminds us about the importance of humor, of play, of irony, of foolishness. He has a twinkle in his eye and mischief up his sleeve. Here's to more mischief and play in the coming year.
This image was taken in front of the Doge's Palace, with the glorious colors of the sunrise and lagoon lights emerging in the background. I find myself drawn to this portrait both because of the strength and richness of the color, as well as the beauty of the masker. There is something quite alluring about the delicacy of a lace veil, whether covering the face or a mask.
In my fantasies, I wonder where this lovely lady is going so early in the morning. Is she leaving the city as it awakens from its quiet slumbers? Or is she returning to her home, still enveloped in the memory of a night of romance with a lover? This is Venice. Anything is possible.
Black and white is always a classic and elegant combination. But look at the effect of a shot of hot pink drama. Simply marvelous!
I am not sure why I am so drawn to this performer. I can't say that yellow is my favorite color. But there is something so delicate, soft and fresh in this presentation. The profile provides another lovely view:
Perhaps the lesson is that some things just can't (and perhaps shouldn't) be analyzed. Several years after taking these images, they still delight me. And that is good enough.
I love the elegant simplicity of this piece. The jewels are so tiny and yet their vibrant color and placement is quite beautiful, reminding me of patterns seen in both Indian and Native American art.
Wherever the mask-artist's inspiration came from, to my eye there is spirit in those jewels.
The Jester invites us to play. How could you possibly turn down that smile?
Today is Halloween and we are preparing for all the little "trick-or-treaters" in costumes who will arrive tonight looking for candy. And what might this have to do with Carnival in Venice? Well, during Carnival it is not that common to see children in costume. However, if they appear, it is most often on the very first day, at the opening of the festivities, in St. Mark's Square. Like children at Halloween in the United States, these little revelers are dressed in the sweetest costumes, like the little giraffe above.
Little girls are dressed up in princess finery, like this little lady in her lovely blue dress...
...or this little one, head to toe in red...
And little boys are not left out of the festivities, as this dapper young man shows...
But wait, there are not just little two-legged revelers at Carnival. There are four-legged ones, as well. Like this completely adorable canine gondolier...
Or this rather more straight-laced fellow, complete in hat and striped shirt...
And because there always is at least one jester in the crowd, here is a colorful canine version...
So as we answer the door tonight and hand out candy, we also will be thinking back to the first day of Carnival, and all the sweet little two-legged and four-legged revelers who joined us there.
The Mask, lying on the ground with its headdress, patiently waits...
...and then it is brought to life with a playful soul and those lovely blue-grey eyes.
Peeking from behind the mask and headdress, beautiful eyes highlighted with sparkling gems, this performer acknowledges us. The mask is particularly unusual, with the lovely relief work and the black cut-out mask upon a mask effect. This is the delight of Carnival. In the midst of the celebration madness, there still is time for a quiet moment of engagement.
We have shared many images of the performers who come to Carnival in Venice with ornate costumes and masks, who brave the early morning cold to share in the delight of performance and photography, many of whom return year after year. But there are other visitors to Carnival in Venice, too. And these are people who may come to join this marvelous event but once in their lives, who rent costumes and rent or buy masks, and take equal delight joining the crowds, parading and being photographed. Like this beautiful lady, above, so elegant and gracious, with her scarlet feathered mask.
...And this lovely lady, with her unusual mask and golden wringlets...
And speaking of hair, sometimes hair can become a vital part of the whole ensemble. Take this lady, with her mountain of amazing white curls (and we love her dimples, too)...
...And this gentleman (well, is he a gentleman? We are not sure?) - with his mass of luxuriant red hair...
Sometimes a fancy costume and mask really isn't necessary, as these two fresh-faced young ladies illustrate...
Sometimes costumes just leave you a bit puzzled, but still smiling...
...While at other times, they just leave you smiling, as is the case with this cute tiger couple...
So, as has always been the case, people come to Venice at Carnival to play, to engage in fantasy, to eat, to drink, to enjoy the company of other revelers, to laugh, to escape the reality of their lives.
And yet, of course, underneath the costumes, the masks, the fantasy, we all are still ourselves. We still bring who we are internally, behind the mask, with us. This last poignant image reminds us of that. This gentleman has the most vibrant costume, a rich head dress and mask and, well, his face is gold. And yet, he brings the weight of his life in his eyes...
We hope, for just a few moments, this elegant man was able to escape the sadness in his eyes. We hope he was able to stop and allow himself to share in some of the chaotic joy that surrounds all of us who have the good fortune to come to Carnival in Venice. For La Serenissima is a generous lady. Each February she holds out her hand to us and invites us to leave our lives behind, to lose ourselves in play with her, to simply be transported as honored visitors to another time and place.
Let us introduce you "Violet"
It is unusual for us to start a post with a full length view, but Violet is a very lovely, very petite and very skilled performer, and she looks particularly elegant in this pose in the portico of the Doge's Palace. Her costume and headdress are intricate and rich, and while her mask is relatively less ornate, it is gorgeous in the simplicity of the Indian jewels.
All of her accessories are beautifully designed and coordinated, from her charming mirror to her impressive rings and bracelet.....
right down to her lovely boots...
Yes, Violet is lovely from any perspective, even as reflected in her mirror...
Wait a minute.
That isn't the Violet we saw a minute ago? Is It?
Take another look.
Wow! Here she is again, our Violet, in the same headdress and costume as before, but this time she has a different mask and accessories. She has transformed from an elegant Indian maiden to a beautiful and dramatic Violet butterfly, her lovely mask framed by her rich and theatrical feather boa. What a delight.
Violet illustrates one of the lovely surprises at Carnival. We had noticed that some performers return from year to year in costumes that may be similar to a year prior, but different in some way, for example perhaps in terms of color. But until Violet, we had not noticed that some performers, within one season, wore the same costume and headdress, but utilized different masks.
I am ashamed to say that we only noticed that Violet had transformed herself in this way when we returned home and looked at the images on the screen. Rest assured, in the future we will be much more observant.
So we are delighted to share Violet's transformations with you. And we look forward to seeing how this lovely and creative performer will surprise us next time.
This performer glistens and shimmers in the warm morning sun, a vibrant blue peacock. We wonder what she is pondering as she gazes into the Venetian morning.
In the last post, the drama of the image came from the variety and richness of the jewels. For this Masker, the drama comes from simplicity: First, the mask is simple, adorned only with dramatic black lips, high cheekbones and mysteriously covered eyes. And then there are the jewels: Again, the simple elegance of one dramatic ring, layers of classic pearls, and the beauty of light on richly colored velvet. The final drama comes from the marvelous use of gesture.
Here is another view (isn't the light gorgeous)...
We have featured this masker in a prior post. And we have wondered if he or she is the same performer whose simple but striking mask has been paired with similarly dramatic yet simple costumes and evocative gestures in the past. We don't know. No matter - We still are captivated and delighted. Perhaps one day we will find out.
This is the most magnificent example of Carnival artistry. She sits quietly in the portico of the Doge's Palace. And yet in one breathtaking view, this masker transports us to India, showing us the beautiful jewels and textiles produced there. It is easy to fantasize that one has been invited to wish a beautiful bride congratulations on her wedding day, in a warm Indian afternoon ceremony. In reality, it is cold and misty, but the Venetian morning is brightened by this dazzling picture.
This lovely lady shows that you don't have to wear a very fancy mask and costume to make an impression at Carnival. Carnival in Venice on a budget? Yes, actually. A relatively restrained partial mask, a cloud of red netting and beautiful lipstick come together to make a simple and beautiful image.
So, it's August, the middle of summer. Why am I suddenly attracted to an image that reminds me of the cold? I don't know. But I do know that I love this Masker because she looks soft and cool, but still rich and dramatic. Our snow queen is elegant and lovely at any time of year, even in the middle of summer.
A simply beautiful view in a store window: The Art of the Mask.
In the end, so much of Carnival in Venice is about theater. Certainly, you are surrounded with artistry in the masks, costumes and head-dresses. They provide the beautiful details that are visually captivating. The image above shows the elegant simplicity of the mask complemented by the gorgeous richness of the costume. It is a lovely view.
But in terms of what makes a Masker memorable, there usually is something more. The beauty of what is worn is necessary, but not sufficient. What moves a lovely vision into a spectacular experience is the performer's capacity for theater.
And this lady has it!
Now we are talking! It is not enough for this lady to simply stand and look lovely. Ah, that is too easy. No, instead, draped in her silks and furs, she lounges in the Doge's Palace portico. She is dramatic, enticing...
Then, in a theatrical flourish, she reveals what you didn't see before, what is underneath the demure richness of her dress: Layers of scarlet silk. Wow.
The lady clearly is ready to play, to dance, to engage in any number of fantasies with you. Are you ready?
And that's why the Lady is a Vamp.
During Carnival, there are two hardy groups who gather in the early morning, before the sun rises, in front of the Doge's Palace: The Maskers and their photographers. Sometimes there are Maskers and photographers who are new to the experience. But more often than not, many of each group have experienced the joyous chaos of Carnival together before. For some, the relationship is clear and direct, after the day's events, they gather together, unmasked, for an evening's fun. For others, the relationship is more indirect - there are greetings or nodded acknowledgements, but no relationship further than that.
But there is an overall relationship of cooperation that develops between the two groups. It is not just that the Maskers show up and are photographed. The Maskers, particularly those who are experienced Carnival performers, can make the photographer's job easier with their knowledge about the best places to pose and the most beguiling positions to use. The photographers share their knowledge, as well, sometimes asking Maskers to move or pose in certain ways, to take maximum advantage of the location or the light.
But sometimes the assistance can be more "hands on." You have to remember that many Maskers are wearing large and heavy costumes, a rigid mask that renders one with limited forward vision and completely devoid of peripheral vision, and often a large hat or head-piece. A mask that is off-kilter can leave the performer's eyes partially covered, resulting is a strange look. A moving head-piece can risk the fall and collapse of the whole vision. Some Maskers carry a mirror, both for theatrical uses, but also to help with those minor checks and adjustments. But sometimes, you don't have a mirror available. And in that case, perhaps a kind photographer will help you out.
And so I love this image because it captures one of those little moments of cooperation, reminding me that we are all in this madly fun process together.
Will you help adjusting my wedding cake (the one that is on my head) ?
Of course.
And feel free to use my lens as a mirror.
Just when you think you've encountered the most creative costume ever, another one comes along. And if you are lucky, another two bring delight to the cold Carnival morning. So we take great pleasure in introducing to you the couple we can only call "The Ladies of the Cravat" or "The Tie Ladies." We are assuming they are ladies (remember, at Carnival you are never sure). But there is absolutely no doubt that the head-dress and costumes are made of ties.
So we will start with close views. You have already seen one Tie Lady. Here is her colleague:
If you have visited this site before, you know that we are partial to close portraits. But on this occasion, you really have to get the whole view to appreciate the creativeness of this homage to the cravat.
The view of the front: Amazing.
And the backs are no less spectacular:
The ties are not just on top of the costume. Oh no, they are layered underneath, as well:
What kinds of ties have been used? Ones that have to make us smile. First, homage to La Serenissima herself:
And then there are those ties that make you smile, but you can't really imagine anyone wearing...(Sorry Snoopy...)
And...
And...
OK, we have to go back to the head-dress, because it is pretty extraordinary. Yes, it is a basket full of ties...
And because this is Carnival and there is an exquisite attention to detail, here are the lovely accessories. Tie fans, anyone?
And, finally, because every Tie Lady must have jewels and a tie-handbag, here they are ...
So the conundrum faced by fathers and grandfathers everywhere - namely, what to do with all those ties that have been accumulated as birthday, Christmas and Father's Day gifts - has been solved. Bring them to Carnival and let the Ladies of the Cravat give them new life!
La Serenissima is known for her intimate relationship with the water, especially her canals. But her relationship with the sea also has been acknowledged in her title, "Queen of the Adriatic."
The gifts from the sea provide the heart of this delightful mask. But there is something more: The extraordinarily beautiful eyes of this masker. We have to wonder, has an Adriatic mermaid made her way to Carnival?
Venice is a magnificently beautiful city. But it is not just the city that is lovely. The reflections of La Serenissima in her canals provide an additional layer of visual delight.
So, too, with Carnival performers. Many utilize mirrors and reflection to enhance the mystery and beauty of their presentations. As is the case here, it is clear that the mask, itself, is gorgeously detailed. The mirror, decorated in such a rich and lovely fashion, coordinates perfectly. But it is the effect of the two together that provides a whole new layer of interest: A beautiful crimson reflection.
A friend has said that until a mask is worn in some way it remains dead. Only when the mask is inhabited by a human soul does it fully come to life.
We suppose that this image illustrates this. This lovely lady has two masks, the one she carries and the one she wears. Clearly, the masks are equally beautiful, equally detailed. And yet it is also clear that the one that she carries is a missing something. Yes, of course, it is missing the eyes of a wearer. But in doing so, it is missing something more: A soul, a capacity to engage. Perhaps it is intangible, but just as our friend says, it is missing the spark of life.
Perhaps this is metaphorically true in life. We may inhabit many masks over our lifetimes, but there is one constant: Our unique selves, our core. Our eyes provide a window to our soul, bringing our masks to life.
Some people come to Carnival to don the exquisite masks and costumes that you have seen in other posts on this blog. Others come with a less complex intent: To dress in a way that is historically interesting and compelling, no less beautiful, but rather less over-the-top.
This beautiful and elegant lady displays the latter intent. We are touched by this image of her for many reasons. Her costume, hat and jewelry are lovely, full of richness and detail, to be sure.
But there is something more.
In this image, we are struck by the power and beauty of the lines of history that she shows us. The first line of history: Around her neck, the beautiful accordion ruffle, elegant lines of silk and gold. The second line of history: Around her eyes, the graceful lines of laughter and joy, the acceptance of the beauty of experience, the elegant lines of a life well lived, of emotions well-felt.
In many parts of modern, western society, it seems that a message is conveyed, especially to women, that lines are something to be avoided, hidden, "plumped up" and removed. But where does that leave us? With faces that become devoid of individuality? With faces that bear no remaining memory of the joys and sorrows that are part of being human and living life fully? Who are we, then, if we have the face of a plastic doll?
This lovely lady "of a certain age" inspires us. In her elegance and self-acceptance, she teaches us that it is possible to proudly wear lines of history. She wears them well.
Two dear friends were married a week ago and we still are preoccupied with weddings.
And how might that relate to Carnival?
Not to worry, there are performers who bring the romance and beauty of a wedding to the winter celebrations in Venice. Of course, the costume is even more over-the-top than even the most extravagant "traditional" wedding gown. But it is lovely in the elegance of color and texture, and particularly striking in front of the architecture of Palazzo Ducale.
And what about the groom? He is not relegated to something as mundane as a suit or tuxedo. Oh no, he is resplendent in a matching garment, with a headdress that is even more complicated.
These performers wear their hearts on their heads (not their sleeves). But in love, all things are not so obvious. In his gesture this performer reminds us that falling in love is a mystery. There are secrets of the heart that can never be fully understood. So just be quiet, don't try to put words to it. Simply stop and appreciate the magic of finding love in this noisy world.
Perhaps that is a lesson most perfectly learned in Venice, this most mysterious and romantic of cities. The daytime maybe busy, filled with noisy visitors frantic to see as much as they can before their day trip ends. But in the quiet of the evening fog, if one stops and really listens, one feels surrounded by the secret whispers of centuries of lovers.
We have said that at Carnival, it's all about the eyes. But sometimes what is compelling is the fact that the eyes are a mystery, as well. Gliding out of the winter mist, this Masker is striking. Enveloped in lush, vibrant color and rich texture, the smooth white mask is dramatic in its simplicity.
The edgy drama is heightened with the details: The chiseled cheekbones, the sensuous black mouth and the black eye covering. The eyes, usually a glimpse of color and engagement that joins us with the performer, are now simply dark pools of mystery.
The effect is disconcerting but intriguing. Dangerous. Enticing.
Rather like Venice, herself.
There is a certain royal wedding that will be occurring at the end of this week, joining England's Prince William and his lovely fiance, Ms. Catherine Middleton. I suppose that is my excuse for thinking about weddings more than usual. One can only hope that the couple can retain some sense of the specialness of the event for themselves, in the context of the media frenzy that is brewing.
Frenzy is something well known in Venice, particularly during Carnival. Filled with Maskers in costumes, with photographers, with visitors, it is easy to forget that the city also is populated with real people going about their daily business. And sometimes, families are going about quite special businesses, even weddings.
We were delighted one morning when we saw this beautiful young lady and her family emerge from a house and make their way into the nearby campo. The bride was escorted by an elegant gentleman who could only be her father. There were well-dressed older ladies - her mother? Her aunts? And there were youthful members of the bridal party. Before entering the church, the happy group stopped, and the bride was assisted in her final preparations by her attendants. It was a lovely surprise. Amidst the admittedly beautiful fantasy and theater that is Carnival, we stumbled upon a real family on the way to celebrate a marriage.
I love this image because it captures the sweetness of this bride, looking so happy, as she waits for assistance with her glove. And I love the incongruity of the background. It still is Venice, after all, so the ubiquitous cart selling masks and postcards is behind her. And right at the back, a poor visitor, trying to find his place on a map. Perhaps he will learn that maps in Venice are useless. It is best to just let oneself let go and enjoy the pleasure of being lost.
I hope this bride was able to put aside the surrounding frenzy of the Carnival season. I hope she ignored us all, and simply allowed herself the pleasure of getting lost in the joy of the day of her marriage. I wish the same for Prince William and his Catherine.
This mask is quite elegant in its gold and red coloring, enhanced with the detail of the delightful smile. Since Carnival masks are created with a variety of expressions, I wonder about the process a Masker goes through to decide which expression fits his or her personality. What are the stories behind the development of the Masker's public presentation? But those are musings for another post. What I love about this image are, quite simply, the richness of the colors and how they highlight those lovely brown eyes.
This is probably one of the most extraordinary works of art that we have seen on the canvas of a Carnival mask. It takes us from one place that is steeped in romance and history (Venice) to another (the Taj Mahal in India).
Here is the other side:
What else can we possibly say?
This is not one of Frank's favorite images. But I love it.
I have wondered why I feel so drawn to this image and I think it is the beauty of her (or his) eyes. This Masker's eyes are the most lovely aquamarine color. But it's not just her eyes, it's the whole package. The delicate shading of her mask and the colors of her costume and hat are so complementary, it is as if it all was designed specifically to lead you into her gaze. Perhaps it was.
I find the effect to be quietly stunning. I look at her and I feel pulled into a lovely, mysterious sea of aquamarine.
As always, in the end, it's all about the eyes.
They say the devil is in the details, but I think that is often where the beauty is. This post will focus on the details related to the artistry of the hand of the Masker. The artistry includes both the dress of the hand (the glove, the jewelry), as well as the elegance of gesture.
Sometimes it all is quite simple - a white glove, an unobtrusive jewel and an elegant line:
Sometimes the ring becomes larger...
...or more detailed...with a lovely swirl of gems...
...or even a butterfly...
The beauty can come from the vibrant color of the gloves and coordinating jewels, the detail of which may range from relatively simple...
...to bold and ornate...
All Maskers wear gloves. Some might say that it is to protect the hands from the morning cold. It is more likely that it provides an extra level of anonymity for the Masker - there is no way to tell from the hands whether or not the performer is a man or a woman. Sometimes the gloves, themselves, are a focus of attention...
Still, wearing gloves poses a quandary for the jewelry-wearer - how does one ensure that the ring will fit properly? Sometimes, elastic will do...
And sometimes the jewel itself is crated by the costume couturier and sewn onto the glove..
And then, because this is Venice, sometimes the artistry of the hand becomes ornate in a marvelously over-the-top manner. Is that a peacock on your finger, along with that lovely ring?
And finally, there is the delight of baroque excess - a little bit of everything...
Baubles, bangles and beads, and lacy gloves, too. And, by the way, do you notice the brooch? Ah yes, how could you miss it? And that leads us to a whole new topic of interest: The artistry of other types of jewels. But that is for another post.
It is clear that Carnival Maskers and their costume couturiers leave nothing to chance. They pay close attention to every detail of the image they are creating. It is only right that we should do so, too, and relish every aspect of their artistry.
A Venetian Carnival Bride, elegant in gold and white. I love this image because of its delicacy, gorgeous detail, and the beauty of the artistic mask finish. There is something exotic and lovely about the Masker's dark eyes, still strong and beautiful behind the veil, as well.
I am thinking a lot about weddings, as a young couple who is very dear to us is marrying soon. So this is for K and B, in honor of their upcoming celebrations.
"Diamond Girl, You sure do shine..."
Seals and Crofts, 1973
What else could we call her but Diamond Girl? The mask could hardly be called a mask, really. It is delicate, open, sparkling in the afternoon sun. It is not intended to cover, but rather enhance the loveliness of the wearer. She is not shy, she is not hiding. In fact, her impressive hairstyle can be seen above the Carnival crowds...
Our Diamond Girl is lovely, delicate and sure of her beauty. Perhaps more from the time of Marie Antoinette than Seals and Crofts, but she speaks to the power of imagery to trigger memories of all sorts, including the words to songs from one's younger days...
"Diamond Girl, you sure do shine, glad I found you....Makes no difference where you are, day or night-time, you're like a shining star...."
Japan is on my mind, now. We all watch, fearfully, the terrible struggles of the Japanese people as they cope with the trauma wrought upon them by both nature and man.
Of course, these musings have nothing to do with Carnival, I thought. But then I remembered the Geisha. This masker appeared very early one morning, before most photographers. She was stunning in her lovely silk kimono. For a time she sat on the cold stone of the Doge's Palace portico. I remember worrying that she must have been very cold. She left as quietly and mysteriously as she arrived. We had never seen her before and we have not seen her since.
This image has been transformed into a painting. I wanted to honor the quiet elegance of this particular masker. But more than that, I wanted to honor the elegant strength and resilience of the Geisha and the culture and history that she represents.
We haven't posted for a little while. Carnival in Venice has just finished - another year of colorful and enthusiastic performances by Maskers and photographers alike.
We have featured this masker before, focusing on her beautiful and mysterious mask-upon-a-mask. But here is another view of this beautiful presentation, revealing the elegant lines of both her headdress as well as her earrings. In the midst of Carnival excess, she reminds us that simplicity in both color and form can be dramatic and lovely.
The prior post revealed the clean and graphic lines of the masks and costumes worn by the Maskers from Bonn, Germany. So it is only right that this post reflect the other end of the mask-and-costume-complexity-continuum.
As you can see, this is anything but simple. This masker stands proudly in the morning light, with no apology for the excess that engulfs her. "Look at all that I am," she says. Although this is Carnivale, so perhaps we shouldn't assume that the person behind the mask is a woman. Of course, it doesn't really matter (over the centuries, it never really has) because what is shown to us is so impressive and enticing. There is so much of everything - silk, fur, braiding, pearls, jeweled trim, chiffon. And then there is the hat - an incomparable basket of rich creativity. Even the mask itself is embellished with dramatic eye decoration, a mouth that is lush and sensuous (even in black) and - of course - there is the final touch of seductive excess: the beauty mark.
It would be hard to put a label on this golden fantasy. And yet, perhaps it fully symbolizes, in no uncertain terms, what Carnivale has always meant to Venice: A time of lovely, puzzling, beautiful and overwhelmingly enticing excess.
There is a marvelous group of performers who regularly attend Carnivale in Venice and other locations, who come from Bonn. Members of the group often dress similarly, with a single theme, usually with bright, clear colors and a graphic quality to the design, always very simply and elegantly executed. This is a group of the Bonn performers from 2010.
How dramatically clean and graphic it all is, starting with the simple black shirts, pants and shoes. But each performer becomes an individual with the vibrantly colored hat, collar, gloves and accessories. Even the socks and shoes are individualized.
Here is another view:
And because the detail is so lovely, lets look closer:
It is the clean, graphic quality of these masks and costumes that attracts me.
Of course, there is a bit of an issue with the hat. If you come from a British heritage, it does demonstrate a strong resemblance to...
a...
tea cosy.
No matter, the hats are beautiful, textured, colorful pieces of art, each of which speaks to the creativity and humor of the designers of the Bonn Group costumes.
For more information about the Bonn group, visit their website:
This Masker is striking because of the beauty of the fabric used for the costume and headdress - the vibrant color and rich texture is marvelous. By themselves, they would be lovely. But because this is Carnivale, there is more: An additional surprise is the beauty of the accessory - a richly decorative fan. Finally, to complete the picture, are the Masker's ability as a performer and the photographer's skill in capturing just the right moment.
Wow. What can you say?
This Masker displays is a completely novel approach to the Carnivale artistic world (an artistic world which, in and of itself, is already quite unique).
What is marvelous about this mask and headdress is the richness of the colors and textures. Even the mask itself has a sparkly, textural quality. And a little touch of urban chic amidst this natural wildness - the lovely rich lip color.
To paraphrase the 1960's band, The Troggs (and who would believe we would do that?!):
Wild thing, we think we love you.
We love this image because it is so clean and graphic. But just as is the case in real life, the clear black and while also is tempered with shades of grey.
But there is something else about this image that we love. It is this Masker's quietly direct gaze that we find so compelling. In that respect, there are no shades of grey, it is clear: We truly see her and she truly sees us and we have engaged. And that is just delightful.
So, this is what it is like at Carnivale. In the cool morning, you will see a Masker making his or her way through St. Mark's Square for the sunrise photography session. It always is exciting to see someone new.
On first glance, what initially is striking about this performer is the costume, the large amount of fabric, and the graphic black and white stripes and circles. You can't miss it. It's huge and a bit overwhelming, and it certainly grabs your attention.
Then the Masker comes closer, you are able to see more of the details. You get a better glimpse of the mask and the hat...
The mask is sweet and simple. It is a delicate contrast to the bold and very large costume.
And then there is the hat. It's very pink. Lots of flowers.
A pink bouquet of flowers?
Look closer...
Oh -
OK -
It's a wedding cake! A silk wedding cake with a pink lily cake-topper.
And that is another of the delights of Carnivale in Venice. The playful creativity that walks towards you each winter morning.
A wedding cake on your head? But of course!
There are a variety of shades of pink and many of them seem to appear on this lovely mask and hat. The color goes beautifully with this Masker's blue-grey eyes.
This mask is a stunning piece of art. It takes a moment to realize that the gold filigree is a separate piece - another mask - placed over the white base mask.
This image also shows some of the frankly over-the-top costume details that can only make you smile. Look at the bottom of the image, in each corner. Yes, those are gold Christmas tree ornament balls. And yes, they are attached to a stunning collar that would have made Elvis Presley proud. No matter that the fine line between elegant and theatrical clearly has been crossed: That is part of the artistic fun of contemporary Carnivale.
But lets go back to elegance and that lovely mask. Take a closer look:
This mask-upon-a-mask glitters and sparkles in the warm late afternoon sun, and in its three dimensional beauty, even the shadows provide a subtly artistic effect.
Golden filigree: An elegant piece of jewelry for the mask (and Masker), and a lovely and delicate surprise for the viewer.
We welcome 2011 with a golden Jester's mischievous smile and his invitation to play. As we accept his invitation, we wonder what the New Year will bring...
Another mask upon a mask, but this time the mystery is deepened with scarlet silk and seductive black lace.
The spirit of La Serenissima entices...
The masks of Venetian Carnivale represent many things: Art, craftsmanship, fantasy, delight, mystery, connections with history. Sometimes masks also reveal truisms about life. And that is the case here.
In their simple beauty, these masks speak of the grief and joys that are part and parcel of being human. Whether we like it or not, our lives are made whole and full with both experiences. In the end, perhaps that is one of the most complex issues we must grapple with in our lives: How do we live with and accept the reality of both sides of the human condition.
We call this performer "Faberge's Lady" because the elegant and rich details of the costume and hat remind us of the rich colors and detail found in the work of Peter Carl Faberge.
The hat is a masterpiece in and of itself: Somewhat egg-like in shape, it drips with fur, feathers, silk and jewels. The scarlet fur and pristine feathers move gently in the breeze and the whole effect is quite mesmerizing.
This performer conveys a sense that she knows she is stunningly beautiful. She is slender, graceful in her movements, and has quite a regal bearing. Then it occurred to me that this slow elegance and lovely posture might also stem from the work that it takes to support and maintain the position of such an amazing piece of millinery.
I still find myself captivated by Faberge's lady. I appreciate the extraordinary level of creative effort and practical work it must have taken to produce such an effect. She is richly lovely. Were he to see it, I suspect that Mr. Faberge would approve.
