
It’s much too difficult to rank the three forms of artistry and talent I saw and heard on this trip, so I’ll cover them chronologically. The first stop was the Academia, home of some of Michelangelo’s unfinished sculptures, and, most importantly, his well-known David. After seeing the unfinished works, you gain a greater image of the work as a finished piece and the emotion that goes into extracting a figure from a block of marble. The power of David in the room is simply overwhelming. He is so big, well-polished, obviously toiled over, and utterly awe-inspiring. The musculature of his body is toned, the marble so smooth and flawless, and it seemed as if his blood was coursing through his veins as we looked up to his detailed hands, neck, head, and captivating face. To try and grasp the full impact and importance of this piece of artwork is close to impossible. I found it hard enough to think about the years, the frustrations, and the pressures of imagining, creating, and completing such a work. David was amazing, and difficult to effectively describe the genius of Michelangelo. I think that those who marvel at such a masterpiece can’t help but better imagine the love and individual attention God puts into creating each of us. Also, the fact that God would care so much to foster the artistic development in Michelangelo to give him the talent to sculpt such a beautiful piece is awesome too. I could have stared at David much longer than I did this weekend, and although the pictures of him in textbooks are clear and detailed, they fall far short to seeing in person this enormous, confident, calm, and beautiful sculpture in the Academia.

The Uffizi also had much to offer, but Botticelli’s detail in the foliage of La Primavera really was intricate and deliberate, making it the most memorable piece of art in the Uffizi to gaze at. It was amusing to walk through this huge museum, passing by hundreds of works of art, and finding myself doing double-takes when I came upon works that we had studied in our Western Civilization class. Not only do the pieces take on that much more importance for me, but they are many times more interesting when you know the background of the artist and the story and symbolism in the painting.
Finally, we attended the Michael Buble concert, and I was again (this was my second of his concerts) thoroughly impressed by the sheer musicianship of this charming modern-day crooner. It was his “Call Me Irresponsible” tour, and he also played and sang some old favorites too. We rushed up to the stage front for the encore songs, and listened to his a cappella piece of Song for You to finish it up. What a way to end a great performance! He’s just such a talented artist, with perfect pitch, and a real passion for his music. The band behind him was made up of just as accomplished musicians, and that too was a treat to hear. I loved how we grooved on stage with the beat and how several times throughout the concert I caught myself beaming ear to ear. I did have a gaping hole, though, in my experience, because my fellow Michael Buble diehard fan was not with me. Her squeals and utter excitement were missed; Jenica, I hope we can see Michael in concert together some time soon; it wasn’t the same without you!

Nevertheless, I managed to soak in the tunes and enjoy the concert in Florence. All in all, a cultural and artistic weekend, but I’m happy to be reporting from smaller, cleaner, more peaceful Lausanne.
Until next weekend (I’m headed to the Alps!),
JoAnne
Michael's version of I've Got the World On a String: