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Christmas

"Instead of believing in God, believe in nothing provisionally ', intoxicated destiny and work, sometimes about politics. Karl Löwith in his combat with Nietzsche, came to these conclusions. The nothing can be even Christmas, a very colorful distraction dell'acromia daily hell. A place where to focus for a few weeks time thoughts, in exchange sdolcinature and nostalgia that should mitigate the swift violence of the time (for the subject, please refer to "Roman Christmas," a post from this blog in 2009). Another matter is the announcement "Puer natus est": for Catholics gives meaning to life and history, also rescues those who are already dead. Refers to the Incarnation of the Word, the God who takes human form and that in turn confirms humanity "in his image and likeness" in a sublime game of mirrors around the medium of the body, so despised by the wisdom extracristiana. In this incarnation he testified Western art. It remains to trace in the representation of the crib. That i pochi lettori dell’«Almanacco» provino la gioia – è il nostro migliore augurio – di ascoltare l’introito della messa di Natale nella melodia gregoriana, naturalmente in latino: «Puer natus est nobis,/ et filius datus est nobis:/ cuius imperium super humerum eius/ et vocabitur nomen eius,/ magni consilii Angelus./ Cantate Domino canticum novum: quia mirabilia fecit». (Se nei pressi non troveranno una chiesa dove, secondo i dettami di Benedetto, si celebri in rito romano antico, che lo rinvengano almeno riprodotto questo «canticum novum» che gli angeli intonarono nella notte santa. Le canzoncine natalizie, anche le più commoventi, impallidiscono di fronte a un tale strabiliante proclama.)

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MAGIC ......

Today I discovered the magic of a blog. There 's a section where you read the comments and so' I discovered that I have left their comments even from America and Brazil, and I apologize to them if I did not answer, I'm not rude. I'm just a real IMBRANATAAAAA !!!!! SIGH Sobh ARGHHHHHH. sorry, excusez-moi, perdonooooo!
If one day, following another divine illumination, I'll be able 'to understand how to send a comment to someone .... ANSWER' at all.
MERRY CHRISTMAS :-)

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Immagini dal Cesena Comics

The photos of the meeting Riccado Crosa Davide Fabbri and during the meeting with Denis Medri "authors" of Romagna held at the Cesena Comics.

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A Sunday without Messiaen

~ LA DECADENZA DELLE BUONE MANIERE CATTOLICHE ~

Messa dell’Avvento in una parrocchia romana a pochi passi da San Pietro. Sotto l’altarino dove si celebra il sacrificio, le luci intermittenti di un presepio improvvisato danno il ritmo isterico delle discoteche, distraggono i fedeli e offendono il sacro rito. A un lato dell’altare, un alberello secco dove sono appesi foglietti con i desideri auguranti dei parrocchiani, come è d’uso ormai nelle grandi stazioni ferroviarie: lo spirito natalizio che scivola nelle mode adolescenziali dei lucchetti a Ponte Milvio, tradizioni inventate per ragazzi senza liturgia. All’altro lato dell’altare hanno trasportato addirittura un pianoforte, dove una volenterosa giovinetta e dei suoi amici con chitarre elettriche e acustiche strimpellano nenie che non sarebbero consentite neppure nel più paesano dei palchi rock. Questa dunque la modernità della Chiesa di Roma? Una sottospecie di una sottocultura? Modi luterani senza la serietà della forma tedesca? Veniva allora da pensare, anche per l’organo che stava lì accanto imponente e muto, a Olivier Messiaen, uno dei massimi musicisti del XX secolo, che per sessant’anni fu organista in the Parisian church of the Trinity. In the late thirties he composed for the Christmas cycle du Seigneur The Nativity: the traditional time, preconciliar, in which the Church does not give in to modern, Messiaen accompanied the liturgy with the other world sounds (listen to the song Dieu nous seems to me, the most famous of the cycle, disturbances of air, amazing rhythms), the Catholica could hold the reins of modern quell'impetuoso had invented, but now you have to humiliate the community of the faithful with a piece of music and picture with have nothing to do with the great culture. Rather, a poor substitute for the television more affordable. The decline of good manners Catholic saddened even ardent days of Advent.

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Studying the experience of e-book

On Sunday of Sole-24 ore last week, in a section dedicated to e-books, Roberto Casati apre un articolo: "Non mi risultano dati scientifici che comparino l'esperienza di leggere un e-book a quella di leggere un libro su carta" (a p. 22). I dati, però, ci sono e possono essere considerati ormai assestati.

Naturalmente, il modo in cui Casati parla della lettura è molto generico. Che cosa si intende per "comparino l'esperienza"? Per esempio, potremmo intendere una descrizione delle diversità di comportamento. E qui le cose cambiano molto da un tipo di testo all'altro. I romanzi - beh, si leggono su Kindle e iPad esattamente come su carta: una pagina alla volta, dall'inizio alla fine.

Diversa è la situazione per i libri di studio. Per esempio, Jenny Lau ha sintetizzato in questo modo la bibliografia recente in un articolo intitolato Students’ experience of using electronic textbooks in different levels of education ( Scroll , 1, 1, 2008):

Learning behaviour changes when one accesses text in electronic format. Students are accustomed to scan through the text to get an overview of the material. This, however, becomes difficult while using an electronic version (Waycott & Kukulska-Hulme, 2003). Instead of scanning through the text, students may skim it. When reading electronic text, students prefer to start from the table of contents to determine which chapters seem relevant (Hernoon, Hopper, Leach, Saunders, & Zhang, 2007). Highlighting, underlining, and taking notes, Activities That Are Considered to support active reading, are not Equally represented in digital form. For instance, medical students taking notes Found That Was not in electronic format as natural as with paper (Morton, Foreman, Goede, Bezzant, & Albertine, 2007) (p. 5).

Or, we may decide to answer Casati on this point not so much trying to figure out if the experiences are different, as if the rating is different. Lau found greater acceptance in the bibliography (obvious) of electronic texts by younger generations. If the preference goes to those absolute, however, things change, as shown by an original study by William Douglas Woody, David B. Daniel and Crystal A. Baker, E-books or textbooks: Students prefer textbooks, published Computers & Education, 55, 2010, pp. 945-948 (unfortunately, only available for a fee or subscribe to networks). The abstract says it all:

Previous research has demonstrated That the experience of reading e-books is not equivalent to reading textbooks. This study examines factors influencing preference for e-books as well as Reported use of e-book content. Although the present student cohort is The Most technologically savvy to ever enter universities, students do not prefer e-books over textbooks Their regardless of gender, computer use or comfort with computers. No Significant correlations Existed Between the number of e-books previously used and overall preference of e-books: Participants who HAD previously used an e-book still preferred print texts for learning. Despi Easily the ability to access books through supplemental content via hyperlinks and other features, Were students more Likely to use special features books in print Than in e-books.

In essence, given a choice, students prefer to study books on paper. And, since they react in this way, even students who have already used e-book, the probable cause of this preference is not the habit, but the simple usability. The experts know this, but it will take a while ' of time before these findings become common knowledge ...

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Flames of Rome

~ squads

OF CULTURE AND THE WISDOM OF Ceronetti ~

Yesterday those who fight against cuts to the "culture" and the school received the baptism of fire during a decisive battle supreme in the palace while the conspirators were acting against the legitimately elected government, with the pampered students studied synchrony raged alma city of Rome, he burned his most beautiful squares, it tamper with the delicate baroque heart. The culture, the most fragile, disfigured by something else that the issues of funding, became a cause of riots, like the bread to the hungry populace than once. In the same hour, Guido Ceronetti, a figure in front of which all the dolls disappear idolized by young destroyers (gazzettieri of culturame, television pro death, installers bloom ...) sent the "Print" an article in which, with the wisdom of some old , said his amen faced with shortage of money for cultural enterprises. Indeed, reversing the cliché of the small conservative who can not conceive of the knowledge and beauty if not in the ways they have learned in school by teachers without imagination, Ceronetti tried to imagine an Italy free of Scala, evitando le nostalgie delle soubrette in pensione. Quest’«Almanacco», che ricorda spesso come l’arte pittorica languisca da molti decenni, non si commuove per un museo che deve risparmiare o che chiude, anzi nei mesi scorsi ha ripetuto che ben vengano i tagli, ovvero i progetti per sottrarre i soldi pubblici ai party e alle inaugurazioni. Oggi perciò è lietissimo che anche Ceronetti scriva: «non chiamiamo ‘cultura’ un evento turistico estivo, costosamente mondano»; ed è lietissimo che il Maestro delle marionette, evitando di cadere nei trabocchetti feticisti, possa addirittura proporre delle scelte, discutibili come tutte le scelte, certo, ma ancorate al dato assai prosaico che i fondi dello Was not a well of St. Patrick: "If a budget eater della Scala wisdom of the state (there never was) could restore dignity Pompeii, I would not hesitate a moment to give everything to the excavations and protect them from neglect and dirt. [...] The opera, like film, vixit. His languid progressive is inevitable. " To end on a sentence of bigots scandalosissima ear: "If the scale closes, what's wrong?".

Years ago, the writer had mentioned in his column, the sentence read on a placard hoisted by a young man who had been forcibly removed by a procession of the left: "I am a happy precarious. Idolatry of the place fisso è voglia di schiavitù». Un altro dogma della protesta attuale veniva così destrutturato. Nemico giurato del Luogo Comune, recentemente aveva bollato il nome che si erano dati i congiurati neofuturisti: «futuro è un tarocco che porta sgarro, mai adottare una parola così vacua, così flagellata dai venti del Nulla. Il futuro non lo puoi conoscere, non sai dove siano le sue stive, non esiste: la politica lavora (se è un lavorare) sul presente; se è saggia, il prossimo giro di presente ne ricaverà mirabilia, (forse)...».

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Kamkwamba, The Boy Who Harnessed the Wind

Question: You can learn just by reading? Yes, of course, but how far?

The Boy Who Harnessed the Wind , told directly by the boy of the title (William Kamkwamba, in collaboration with Bryan Mealer), is also an answer to this question. The book, in fact, is the story of how a few years ago a boy from Malawi has been in the lead, in a village almost entirely devoid of electricity, to build a wind generator to bring light into the house. Without encouragement or to have teachers, but only a library with some shelf di libri in inglese arrivati per donazione.

Un libro in particolare, Explaining physics (sembrerebbe questo ), gioca un ruolo fondamentale, perché fornisce le indicazioni necessarie: a capire i principi alla base della dinamo, o la differenza tra corrente continua e corrente alternata, o il modo per cambiare la tensione. Non che il protagonista non abbia già qualche base, dall'inglese all'algebra (imparati in scuole con i buchi nel pavimento, senza libri né attrezzature); però in un contesto in cui nessuno, dalla famiglia ai pochi proprietari di biciclette e luci elettriche, ha la minima idea di come funzioni la corrente.

Il libro, insomma, è la storia di un successo. With a history that takes shape, however, only half of the text, because the first sections recount the life of William Kamkwamba, the story of his family, and especially the famine of 2001, which (along with the sale, made shortly before, reserves national grain, and the disappearance of profits resulting ...) leading to starvation of the whole village and the rest of the country. Then, in a few years, dropped out of school, the main character is almost by chance to create his windmill. After the success of the radio and local newspapers notice it, and from there to a TED conference up - well, it's short, but it quickly:



Il racconto è avvincente. Soprattutto, però, fa ricordare che i libri permettono a volte di fare cose sorprendenti, quando incontrano un lettore preparato a prenderli sul serio.

African American Hfmd

~ L’ARTE DI UN MONDO IRREDENTO ~

L’arte today - not the tricks of charlatans - one that nevertheless exists and resists, but enters the one-way street, leading us through the maze of anxiety - images that refuse to face, that wonderful verse in the rhythmic construction waive punctuation, and breaks that dampen the obsessions, music afraid that eschew any mention melodic - the art dell'asperità pursued now by hermits rather noble, far from high society and fashion, striking resemblance to the Protestant religion. Contrary to the easy consolations, it ends up a little discipline 'with the devil ignore any consolation. The artist as universal priest luterano deve incaponirsi ad avvelenare la dolcezza del mondo per mostrare soltanto l’aspetto tragico. Nessun cibo per i sensi, nutrimento amaro invece per l’intelletto affinché demistifichi ogni illusione, testimoni con mistica scabra della vuotaggine del reale, anche se la mistica un tempo provava a dire la contentezza traboccante per ogni alba che si ripete. Quel forzare i confini del dicibile per eccesso di amore, da parte della creatura che prova a intonare un Magnificat straripante, era la sua gloria e talvolta la sostanza del linguaggio speciale dell’arte. Oggi, festa di santa Lucia, protettrice della vista, gli artisti che si denominano ‘visivi’ dovrebbero meditare sullo sguardo cattolico placed on the redeemed world and beautiful. In the darkness of what was, until the Gregorian calendar reform, the darkest days of the year, the Church celebrates the holy light that draws in the name: the "valley of tears" on earth, the eye must be able to see the splendor.

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Presentation by Eisner, December 9


Will Eisner (1917-2005) è stato uno dei più importanti autori di fumetti del Novecento. Oggi è celebrato soprattutto per il suo stile personale e per i suoi personaggi di grande successo, a cominciare da Spirit , oltre che per essere stato il creatore della graphic novel moderna. In aggiunta alla sua attività di soggettista e disegnatore, però, Eisner è stato anche un insegnante e un importante teorico del fumetto. A partire dagli anni Ottanta therefore conducted manual are both reflections of the artist on this means of communication and, thanks to a huge amount of graphs and tables showing examples of great writers, true image galleries.

As already told this blog, Fabio Gadducci and myself have translated the most famous of the two manuals Eisner (Comics and Sequential Art and Graphic Storytelling and Visual Narrative ), published this year by Rizzoli in a single volume with Title The Art of Comics . Thursday, December 9 will present the work at the Museum of Graphic of Pisa (Palazzo Lanfranchi) 17.30.

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Smolderen, Naissances de la bande dessinée


In the debate on the birth of comics, the recent Naissances de la bande dessinée Smolderen Thierry (Les impressions nouvelles, sl, 2009) is a contribution not perfect but very important.

Why, "not perfect"? Simply because Smolderen devotes much attention to definitions and things marginal, or wrong. The book has the subtitle "de William Hogarth à Winsor McCay, and, of course, being the starting point, the work of Hogarth is one of the things Smolderen focus more. However, his argument is strange: Hogarth is important not because his recordings are comics (are not), but because the sue opere sono costruite per essere decifrate (sono "diagrammatiques") e combinano elementi di tradizioni grafiche diverse in un modo che ricorda la polifonia bachtiniana del romanzo dell'epoca. Entrambi questi aspetti diventeranno importanti nel secolo successivo, e saranno alla base del protofumetto dell'Ottocento. In Hogarth convivono, secondo Smolderen, in questo modo:

"Cherchez le diagramme!" est le mot d'ordre, la règle du jeu. Quel que soit son parcours dans l'image, l'oeil découvre à chaque lecture de noveaux rapports, de nouvelles articulations ironiques. Car c'est là que réside toute la modernité d'Hogarth: sa vision polémique de la société anglaise s'exprime par diagramme interposed, by playing all layers of the graphic language of his time. The implementation of this "Polyphonic" graphic is what brings the inventors of the modern novel as Henry Fielding and Laurence Sterne, who similarly confronted in their work all the veins, all records of spoken and written at the time ( p. 15).

Gli Aspetti che in questa Tornano Ricostruzione sound obvious. Innanzitutto the "decifrabilità delle opere è una costante delle arte grafiche, di non un'invenzione Hogarth! E is the "Polifonia", sarà davvero da passata ad Hogarth authorized e Grandville Dore come? Può anche darsi, in my darker side mid Realta Hogarth non molto "Polifonico"; in some cases is clearly imitated by later artists, but to show that he is at the root of everything ... Well, it would take at least another book!

objectionable comments are then in other parts of the book. Indeed, it is curious, at least for me, see how often oscillates between Smolderen convincing analysis (for example, when showing the sharp opposition between the formal and Little Jack McCay's Little Nemo ) and other ... less. But the feeling is not the end of a book that does not work. Beyond the (many) points that are not convincing, the author has certainly hit the main problem. In response to a historical cartoon that in the graphic production of the nineteenth seek only embryos of modern comics, Smolderen reconstructs a complex environment. Identifies a wider range of "ancestors" of the graphic narrative to which few have thought about before: from the repertoires of facial expressions of the actors in the service until the early photographic sequences designed to reconstruct the phases of the fast movements. On these points also

Smolderen, rather than tell, show: the illustrations of the book is just amazing, and it all seems the result of research at first hand. The cover does not do justice to this amazing gallery, never seen around, and often very beautiful.

From my point of view, then, one of the most interesting (even if marginal in this discussion) is the way many nineteenth century authors link the work on the stylized image of a theoretical reflection. In search, of course, a "grammar" of gestures and expressions. The examples taken from Cruikshank and Grandville, at pp. 36 and 37, are the most fascinating, but not the only ones, and go along with the many attempts to codify the time and "write" so many things that, unlike the language, then have proved very refractory to schematization. However, even if you try that much can not go, see how some brilliant personalities try to address the problem is indeed very informative!

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Splinters of pain in the doorway of the museum

~ REFLECTIONS OF A POET around the Arctic. ~

Paul Valery speaks of "SUPERSTITION OF THE NEW AND UNDER EMBEZZLES MEN 'BORN TO CREATE' patrons' Incorruptible ' THE ARTISTS' intentions but do not provide miracle." ~

«L’art délicat de la durée…»
PAUL VALÉRY

«Ai miei occhi, l’arte appare come un combattimento contro quello che non è. […] Tutte le potenze umane devono impegnarsi per sostenere e mantenere in vita ciò che nasce e tende a ricadere nel nulla». Paladino dell’aspirazione all’eterno si presenta dunque, nella citazione riportata, l’ingegnosissimo Paul Valéry che meditò a lungo, e in modo elaborato, su quella singolare attività umana, la creazione, alla vigilia del suo totale stravolgimento a opera degli ultimi moderni. Il poeta ligure-francese, si sa, non era un tipo ingenuo, diffidente anzi verso conceptions of the good-natured beauty, art procedures gave very articulate intellectuals, like philosophy, which is also considered "a matter of form" (a bit 'like the Italian Renaissance did not distinguish art from science): artists thought, therefore, his followers - and the writing of the sprawling French philosophers of the twentieth century is perhaps a bit 'from this lesson, and much of the unbridled subjectivity of existentialism, so mingled with writers, sometimes lyrical affair with Hermeticism . The author of Cimitière marin urged them with a rhetorical question: "Perhaps the philosopher thinks Ethics monadology or are things more serious than a suite in D minor? ". Even so, it would have been satisfied by the "conceptual" of our contemporaries who performs with excessive severity thoughts trails, primitive captions-cards: he seeks to understand painting. The fan of Leonardo also knew that the art of his time was developing next to the 'industry profits, "an economic system of the useless, with its own press, its own market, its own stock and also" large banks of storage, where they are earning the enormous capital 'products over the centuries: the museums. The rest was the ancient hatred of the museum by del poeta che lavorava al ministero della Guerra, nulla a che vedere con il disprezzo avanguardistico per gli archivi, ben più elegante idiosincrasia lo muoveva, infastidito dal gesto del custode che gli sottrae all’ingresso il bastone da passeggio e dal cartello che gli vieta di fumare. Luogo senza voluttà, lo definì, dove ci si sente come a scuola.

Di fronte alla produzione estetica contemporanea, quel che appare più irritante è senz’altro la facilità delle sue trovate, di quelle che si ha l’impudenza di chiamare ‘opere’; mancanza di metodo, avrebbe sentenziato Valéry. L’inventore di Monsieur Teste , modello di lucidità asperissima (ispirato, sembra, severe as the grumpy Degas, the master of penalty), is the most cruel scourge of nonsense that could be seen already in his time. But do not fight the charges social perspicacity shine while dark theories circulating. Unwittingly provides little interested in the future, understands immediately what is happening in the field of art. Leafing through his many writings on the subject we extracted small quotes to mention the misadventures of Beauty in the West that claims to post-Christian. Paris, in the first half of the twentieth century, was still a great observatory.

T .. myth .. 's . or riginalit à

"I do not see themselves as the products arising from the desire for 'perfection'. We observe in passing that this desire was outdated before fading down the idea and the insatiable thirst for originality . Why you need to search for perfection 'the legacy , imitation or tradition, ascension to the object in degrees absolute, "while the frantic hunt for originality rejects the past and its degree of perfection, while residing' the differ in its essence "(Letter to Leo Ferrero, 1928).

T .. n ews

"The new one is exciting of these poisons that end up be more required of any food, once we have mastered, you always increase the dose and make it deadly. It is strange that you attack in this way to the most perishable of things, which is their quality of being new. You do not know then that the most innovative ideas must be given a certain air of nobility, no hurry, quite mature, and these ideas must seem unusual but not around for centuries, and are not made and this morning, but only forgotten and rediscovered. The unique taste of the novelty indicates a degeneration of the critical spirit, since Nothing is easier than judging the novelty of a work ( Choses tues). "Nothing is easier," is why the 'critical' now we fill the eyes with the adjective new anodyne in their pages. But because they need "a certain air of nobility" still use the word 'art' and evokes all that is traditional.

T .. reality .. outer

The strange taste of mystical Gnostic who wins the artists of the twentieth century is judged harshly by Valéry. "According to popular opinion and out of time there is an 'internal street' where the externals are excluded because the are harmful, and therefore the scents, colors, images and ideas are perhaps out of trouble and confusion to its perfection, therefore we claim that beings who are consumed with the desire, in joy or trade secret of their perceptions incommunicable them feel more alive and derive more alive than the fruits are more advanced in their depth and in their contempt, more detached from the outside, from what they see as the outside. Life that makes use of those terms are defined and who is satisfied of their ghosts, opposes easily a certain 'life of the mind', or soul, or a life of the pure, one and the other removed from surface agitation that makes what you touch and see. In many essays is the formal warning to consider the meaning of the adversary as accomplices, and deal with essential organs such as pimps. 'Preventative cogitationem odoratus', says among other things, Saint Bernard. I'm not so sure that meditation and the sealed inner deviation are always innocent, or that those who are isolated in itself is pure perfection. [...] Why you want the fund, the fund demanded of ourselves, the appearance of the fund that are in us, for some strange accident, or for an indefinite aspettativa, sia più importante da osservare […] che la figura di questo mondo? […] Una vita dedita ai colori e alle forme non è a priori meno profonda né meno ammirevole di una vita trascorsa tra le ombre ‘interiori’» ( Berthe Morisot ). Questa conclusione è la base morale della storia dell’arte in Occidente. Il Beato Angelico guida in Paradiso la schiera dei cantori della beltà terrena.

L a .. r e s i s t e n z a .. d e l .. m o n d o

Secondo lui, i successori degli Impressionisti avevano definitivamente eliminato l’Avversario, l’oggetto esterno, per impotenza o perché seduced by short-cuts that were less representation. So masterful play those famous lines of Monsieur Teste well say that the resistance that the author, artist, lies in forging the works: "It's not live live without objection, that living without resistance, the prey, the 'attacking another person, identified the rest of the world, obstacle and shadow of the ego - other self - rival intelligence, irrepressible - the enemy's best friend, hostility divine fatal - intimate. "

T .. similarity

allow a certain importance to the similarity and representation. It could take several similarities: the natural, social and intellectual. "The problem of the portrait is one of the more subtle art. It is in fact performing work which, by definition, is subject to a condition not only 'art', the likeness, which is satisfied by comparing an image with a template, or recall the memory of this unequivocal through that. The finding necessary and sufficient, no relation that imposes itself with the pleasure of the eye [...] I realize that the era that saw the decline of taste and attention to be scrupulously neglecting sees the face of the living as much, if not to abandon of all, the age-old practice of copying works of the masters in museums' (De la rassemblance et de l'art).

D escription

"a purely descriptive (as if there are many) is no more truth in that part of the work . [...] In addition, each description is reduced to the enumeration of parts or aspects of a thing seen, and this inventory can be done in any order, that introduces a kind of randomness in the execution. ( Autour de Corot ).

R ealismo

Yes, realism is guilty of naivety, the will to betrays the realistic portrayal of reality. Very ahead of Italian neo-realism does not seem to have been much cited in debates fumosissimi intelligentsia of coffee in Piazza del Popolo. "The arts of 'imitation' move between the well-defined idea of \u200b\u200brepresenting 'exactly' the 'reality', to try to match what you get from a good photograph or fingerprint, and the effects of intervention 'living organism that must make such a representation. But this living organism is far from being similar to any other of his kind. It is made of links "(De la ressemblance et de l'art ).

L '. inflation .. of .. comments

"Modern artists are made of systems to resist a bit 'of time only with the aid of appropriate literature. But neither Titian or Veronese, Tintoretto or Strong said they needed someone who will 'present'. It was enough to prevail. Of the sonnets are dedicated to them, they are not explained. They did not offer the intentions, but of miracles [...]. What's more certain in its intentions and more certain in its effect to a portrait of pure Raphael? "(Article italien ). The art of the last century, it's like a cryptogram, a puzzle that needs butts words. Jean Clair wrote: "A few times we have known as such a divorce between poverty and inflation produced the works of the comments that even the most insignificant of them manages to provoke." Of course, rely on word since the image is aborted.

E clock .. of .. slow

really scandalous years in future post: "Whether it's letters or the arts, the rush to publish or to showcase what you have done looks overall. There is the pressure of the demands of life, but it is not the only power in the game. Our age is very hard with all the virtues that make use of the term. It encourages, threatens, stuns, does not allow you to pass more than two decades to try to live for centuries. The work of mere exercise without hope of immediate fruits of the long preparation of himself to the difference in the world, the will to submission to the constraints that seem unnecessary or are bothersome: we have become impossible or unbearable. At a time when time does not cost anything, there could be an ideal of perfection [...]. more I know, I'm more here is what we're saying through all their great works all the masters. These works bore a prolonged examination. They were worth enough to be copied. Not yet felt that the design or the art of writing were, for a special privilege, exempted from requiring all of our actions directed to some domain of our natural resources. The piano, the mystique itself, requiring years of training, the length of the shooting, boredom and resentment of apprenticeship "(De la ressemblance et de l'art).

I n .. name .. 's . art .. Italian

Rarely was so critical of the "superstition of modernity 'as in the article on the exhibition of Italian Renaissance art in 1935, where thinking of our great painters of centuries exclaimed: "Blessed are those artists, you'd think, that nothing prevented him from becoming consumed in large." At that time, running toward the war, wrote: "The days that we live in are no less difficult or less disturbing circumstances, nor the future less uncertain than in the order of the creations of the mind than it is in the political and that of material needs. We can in front of this dazzling collection of paintings and sculptures do not reflect incomparable very bitterly on the current state of our art? [...] We see attorno, negli uomini e nelle loro opere, come anche in noi stessi, gli effetti di confusione e di dissipazione che ci infligge il movimento disordinato del mondo moderno. Le arti non si accordano con la fretta. ( L’art italien ).

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