It’s Friday, December 9th, 2016, day two of my five day trip to London and Belgium. This is the first international trip I’ve gone on since my dad got sick in 2010, much less since he passed away in 2012. For months now I have been itching to take off and get some stamps in my passport. I am definitely jetlagged, but so hopped up on vacation you wouldn’t know it. My friend Luca is at work and I’m blissfully roaming around a sunny and stately London by myself for the morning. At the recommendation of a friend, I’m headed to the National Gallery because, a) I haven’t been to the nearby Trafalgar Square yet, b) it seems a shame to come to London without taking in some culture, and c) admission to the gallery is free.
By the time I navigate my way to the National Gallery (via a paper map my dear friend Rachel fortuitously loaned to me as my phone had suddenly died on the way there), I only have got an hour to spend at the museum. However, as someone who is much better at appreciating aesthetics than art history, an hour seems like plenty of time for me. When I go to art museums, I typically engage in a brisk walk by strategy, letting art as a whole wash over me rather than intimately examining specific pieces. I don’t know the stories behind the painters, their techniques, or the significance of the work. Anything I do know about art I learned from patiently walking through famous museums in Italy with my dad when I was fifteen. My dad knew the best stories about paintings: whose mistress was in which paintings, who had secret boyfriends, what biblical and historical references were being made, why the baby Jesus depictions in many paintings are so weird and creepy, etc.
I loved my dad. He passed away four years ago. And I still miss him. Not acutely, not achingly, not crushingly, not anymore. Rather, there’s a constant baseline level of grief in the background of my mind these days, so subtle at this point I sometimes forget it is even there. Until something causes my focus to shift. In the space of a moment, that background can become the foreground and crush my heart to pieces all over again.
Arriving at the National Gallery, I stroll in and pick up a basic map of the museum. I see the word Michelangelo on the map and nonchalantly begin to make my way to the 16th century High Renaissance and Mannerism wing (my dad, as many of you know, was enthralled with Michelangelo). Room by room, I go by dozens of paintings, but no Michelangelo. Halfway through the wing I pick up my pace a bit, barely registering images because I’m so focused on placards. As I round the last room in the wing I begin to panic a bit; still no Michelangelo.
Thank goodness for free Wi-Fi and the National Gallery’s incredibly detailed website. With the help of these two things, I find out that two of their four Michelangelo works are currently on display. Somehow I missed them back in Room 8.
I fast-walk back to Room 8 and quickly zone in on the Michelangelo works. The two paintings, unfinished actually, are hanging side by side. They don’t astound me visually. I’m usually drawn to paintings with more contrast and darkness in their color. But they are Michelangelo pieces and finding them makes me feel connected to my dad. So I stop. I study them. I take (non-flash) pictures of them.
And then my background grief comes zooming up into the foreground.
Unfinished paintings.
By Michelangelo.
There has never been a better metaphor for my dad’s life and death.
Some parts of the paintings are fully fleshed out, arguably complete. Others are just sketched in. Some spaces are just entirely blank.
And then, I’m crying in Room 8 of the National Gallery in London.
Not just tearing up, mind you. Crying. Thankfully not quite sobbing. This visual of my dad’s life, the unfinished Michelangelo work, brings back the roaring, all-encompassing grief with incredible speed. I haven’t been sucker punched by my grief this badly in a long time. After the first couple of years[1] of Father’s Days Facebook posts and father-daughter wedding dances, I have gotten pretty good at anticipating my dead dad triggers. I know when they are coming, and I can either steel myself to face them or go out of my way to avoid them.
I knew walking through the museum would make me miss my dad and wish he was here to give me the grand tour. I knew a Michelangelo painting would evoke feelings and memories of my dad even more. But I hadn’t realized the impact a rather insignificant, unfinished Michelangelo painting would have on me, how painfully it would connect to my dad and my grief again. But in the end, I didn’t mind that ‘The Manchester Madonna’ caught me so off guard. Thanks to its powerful presence, I felt my dad again. My six-hour flight to London was worth it for just this moment alone.
I miss you, Dad. And to this day it is still terribly heart-wrenching to me that your painting will go unfinished. I still look forward to hanging your painting on my wall, though, simultaneously enjoying the beautiful figures you fully fleshed out and mourning the blank spaces that will never be filled in.

‘The Manchester Madonna’ – Michelangelo, approx. 1497
[1] Note that I said after the first couple years, not after the first couple months. Grief has a long timeline, folks.













