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Beth, I didn't feel "slammed" in any way but did intend to redirect my focus from the bits and pieces of the painting to larger concerns. I will disagree with the importance of symbolism however. It is the ideas and beliefs represented by symbols that are more important. They provide an immediate connection and often-decorative devices for recall and give reminders but do not give full explanation. I was trying to suggest that an opportunity to know the Pope in a way that most of us want to believe cannot be better accomplished than through portraiture might have been missed.
It is quite common when doing critiques to find something not correct about the eyes, nose, or mouth and overlook the equally and usually more important things dealing with concept and composition. In the case of this painting it would be helpful to know what other approaches he considered before arriving at the final. Perhaps its eventual home among masters of old in a time honored place was enough to make him favor something less certain, reserved, and not as typical of his work as I know it. This is the same guy who could pull off "a Victorian finial coming out of her head"? He ties subjects and backgrounds together with boldness, strength, and daring not shown in this painting.
Now I must find time before the display in Philly ends this Sunday to see the painting up close and real and get a better chance to judge its effectiveness.
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