Hisham Matar in conversation with Caroline Campbell about 'A Month in Siena' | National Gallery
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- Опубліковано 16 вер 2024
- From Duccio to Manet, paintings in the National Gallery Collection have played a significant part in Pulitzer Prize-winning writer Hisham Matar's story. Here he talks with Caroline Campbell, our Director of Collections and Research about some of them.
'A Month in Siena' by Matar is a moving memoir of his life with paintings. He was nineteen years old when his father was kidnapped. In the year following he found himself turning to art, particularly the great paintings of the Sienese School. They became a refuge and a way to think about the world outside the urgencies of the present.
A quarter of a century later, having found no trace of his father, Matar finally visits the birthplace of those paintings. A Month in Siena is the encounter between the writer and the city. It is an immersion in painting, a consideration of love, grief and a profoundly moving contemplation of the relationship between art and life.
Paintings mentioned in this talk include:
🎨 Duccio's 'The Annunciation': www.nationalga...
🎨 Manet's 'Execution of Maxmilian': www.nationalga...
🎨 Johannes Vermeer's 'A Young Woman standing at a Virginal': www.nationalga...
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The National Gallery houses the national collection of paintings in the Western European tradition from the 13th to the 19th centuries. The museum is free of charge and open 361 days per year, daily between 10.00 am - 6.00 pm and on Fridays between 10.00 am - 9.00 pm.
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I teach Hisham Matar's memoir, "The Return," to high school sophomores in World Literature. What an incredible work. Every year I teach it, Hisham's words and story ring more profoundly than the last time. It's easily one of my favorite books ever.
Amazing interview , thank you for uploading! ❤️
Such a great talk
Really interesting interview!
Very cool guy
👏👏👏👏👏👏💕
Look Vs See
Hear Vs Listen
Never heard of him.
It seems impossible for some people to look at a painting, make mention of the colours, proficiency of the rendering of figures, landscape and life-like quality of the water/waves, sense of depth et al; an overall opinion corralled into the words, 'that's lovely, just beautiful'.
Instead we constantly receive a vivisection of someone's emotions and how pieces of art relate to their personal life story.
These paintings obviously work in an emotional sense for Hisham Matar but will lack impact with regards to others.
I preferred the interview with Waldemar Januszczak and his very informative tribute to the works of Caravaggio; it had much more diversity and was devoid of any heavy introspection.
To be fair, Matar is a writer and novelist by trade. Introspection is bound to be par for the course in an interview such as this. But I supppose everyone comes to things like this for different reasons too. As a literature teacher, I came here for the reflection and introspection.