LETTER TO AN OLD ~ ~ Annibale Carracci
An email in 2007, report to a friend in Andalusia of a show without glory for a glorious artist, Annibale Carracci, remained in the computer memory, is picked out To console the unfortunate who went to a show far worse, "Palazzo Farnese" (sic , with the surname Frenchified nell'alma city of Rome), the related invention of Nicolas Sarkozy in his embassy to celebrate the 'douce France' well with Pope Paul III and his grandchildren. It is not in fact a normal visit to the Palace - except on weekends remain closed to the public even Fasti Farnese 'rooms - but rather, using the emphasis of the event, for a job in some areas of the cardinal's residence with huge and clumsy containers where blacks set up the usual cabinets of coins, copies of paintings, plaster casts of statues and pictures. Nothing worth a special trip, apart from the opportunity to see the Galleria Carracci (with the windows locked in broad daylight with artificial lighting) and a few other (unfortunately) works spread of Hannibal. The old letter can then be more appropriate for a review: the direct language of correspondence we speak of a family of artists such light and color to the Catholic Reformation.
25 gennaio 2007 -. Stasera son stato all’inaugurazione di una mostra onesta di Annibale Carracci in tournée a Roma proveniente da Bologna. Nel Chiostro del Bramante, disinfettato del sentore di plastica del polacco-americano pop precedente, ma con una diffusa puzza comunque nelle cellette che mal si prestano a spazio per esposizioni, dunque benché il naso offeso, l’occhio una volta tanto viene accarezzato. Nella prima sala, una sfilata di autoritratti. Quando la si fa lunga sull’introspezione dei protestanti nordici in generale e di Rembrandt in particolare, si dovrebbe esser subito smentiti da simili pregevoli opere. Ma certo, qui non si prova l’imbarazzo del racconto intimo, non si sentono i miasmi dell’interiorità, do not see the face of someone who wants to stage the soul. Just a fine young man trying Bologna reflects a seductive pose, basic psychology, the elaborate surface. Carracci was presented with a bold accent in Emilia confusing s and c why some transcribed Carrazzi Hannibal.
Up to premature death, even in his fifties, caused by a large depression, he painted, even tapping the natural forms of decomposition. In the following rooms, even greater care in taking over the bodies in the countryside, the masterful sense of balance that is found for example in Drinker thrown back. in Italian Despite all the mannerisms of his contemporaries and of course the realism 'fifteenth' of that Merisi much excited today. I make a parenthesis. With grim metaphors feeds on journalism, all the advisers to explain the repeated exposure, "the other half of the seventeenth century Roman sky," or using the phrase "ready made" not only Caravaggio was the seventeenth century ', in short to speak of Hannibal at the gates of our scordarella Rome, mentioning the name of fashion, the exciter coupling picturesque romantic art & crime, one who is dear to the public of the Third Millennium coward for a friend and have probably coupled ascended so the empyrean of 'offenders'. In this way, the purest heir of Raphael must receive light reflected by the painter specializing in the cliché of the shadows, who "never did go out of the sun some of his characters," as noted Giovan Pietro Bellori. Is invented to facilitate the reception, all dominated by a Seicento Lombardo, thinking as it pleased in the middle of last century to a handful of historians and critics. A similar reconstruction becomes so commonplace in his followers that the legendary designer has to be recalled to Bologna mirror Merisi, since the perfection of the compositions, the invention developed in the lofty halls triumphant Farnese, available to the educated and articulate, and the subsidiary from classical mythology in the tale wisdom seems to hold nothing more eye cataracts of my contemporaries.
Back to our history, our exhibition. The maximum of the Carracci arrived in Rome, Raphael was discovered, and began experimenting with his glory. He had seen the Venetians, was familiar with its neighbors, starting with the exquisite Correggio, he devoted himself to sum up the great art of the peninsula. Summarize Raphael Michelangelo and Titian, and re-launch: August draft. That is, the Italian school. Today, we have a united Italy from a little state but not a school of painting, maybe even music, while at the dawn of the seventeenth century the extraordinary excellence of Italian painting, well articulated in many sub- schole , was clear in the eyes of Hannibal and the world. Catholic
of Bologna, the Counter-Reformation, was faithful to the idea of \u200b\u200bBeauty. Few people at the show and distracted them under any particularly striking or picaresque anecdotes. The author was not a superman, just an artist in the service of a gentleman, an artist in livery as it was JS Bach and Hölderlin (genes that did not need freedom of small and licenses in which the half-drowned marks) was not even suspected of homosexuality.
Who goes looking for excitement, as if the cinema or stadium, Cesare Garboli docet "depose il fatto d’arte di qualsiasi referente psicologico e esistenziale». Oggi invece ci si sguazza in quest’aria calda emotiva. C’è una ragione precisa e importante nell’esaltazione moderna dell’emotività. Nella scomoda mostra si afferra comunque bene la nobile impresa di Annibale nel formare un linguaggio aulico che oltrepassasse soggettività ed emozioni, anche dipingendo ritratti e autoritratti. Pose eroiche, paesaggi eroici. In quelle sue lunette Aldobrandini (celeberrima la Fuga in Egitto della Galleria Doria Pamphili) mise a punto il paesaggio romano del Seicento, fu maestro diretto di Domenichino e indiretto di Poussin e Lorrain. Ovvero aprì la via del ritorno al classico come quella del barocco per which the students are also Pietro da Cortona, Rubens, Bernini and Borromini. For the feast that takes the landscape, Cesare Brandi talked about "eclogue that most epic of painting." So we can say that we were admiring paintings the Counter ...
The 'classics' had never been allowed too many excesses of experimentalism, southern art is not conceived as compositions of flowers and fruits which then took the name of fun little 'Still Life', daring invention of the Nordic countries, and we Caravaggio's note. But in the web dedicated to wonderful Venus and Satyr - Titian the grass and the burlesque of the small detail that pushes the language of Eros fuori per la libido di cotanto corpo che lo sovrasta – il semianimalesco personaggio agita una coppa con uva che, opportunamente isolata, sarebbe una perfetta ‘natura morta’, epperò il Bolognese non se la sente di liberarsi dal racconto, ne fa un elemento prezioso della fiaba. Così come mi capitò di vedere in una mostra viennese di Dürer delle tavolette del maestro tedesco nel cui retro erano dipinte delle vere e proprie composizioni astratte, più geniali di quelle dei seguaci del Blaue Reiter, che restavano tuttavia fatto privatissimo, esperimento da tenere nascosto, essendo la missione del pittore quella di narrare storie attraverso le immagini, anzi secondo i precetti della Riforma tridentina per il nostro Carracci, ‘letteratura for illiterate '. The Protestant party in that rappel à l'ordre century seemed to disappear in our country. But today we luteranizzati so as to be incapable of appreciating such a joyful art.
The Germans insist that Protestantism "killed the legend and the miracle involved in medieval Catholic," and really tried to take away the best aura, but then the witty naturalism is still not our business, just in Hannibal in the Palazzo Farnese freedom from a century of mannerisms, even those in adjoining rooms. And if you want to summarize in schematic game: Caravaggio tried to represent with a singular loyalty to the pain and the ugliness of men, but Hannibal He went on to a more difficult task: to make exactly on canvas on the walls and especially the joy and beauty, a foretaste of Paradise, a direct instruction, to be tested physically, according to the precepts of Trent. And without too much gossip and theories, such as that awarded to states that "the painters had to talk with your hands." Art is not a cryptogram, a puzzle that needs butts words. Began in the late eighteenth century, the first pages of 'Emilia Galotti when Lessing comes to support, even if in the forcing of a bar (and perhaps along the lines of a controversy by Michelangelo): "How is lost on the way that goes from' eye to the arm and then the brush of a painter! [...] Or do not you think, perhaps, Prince, that Raphael was the greatest living genius of painting if unfortunately he was born without hands? Do not believe me? ". The aesthetology Enlightenment merges with the successors in the romantic cult of interiority Alemannic. Now, all the artists with no hands. The dream is made of the Germans. Rare artisan work of the hands and even more rare to get that beauty that we sometimes get tired in the studio for re-enactment of the manual labor but without aiming at the result of aesthetic perfection, painstaking preparation unnecessary in the end in itself, narcissistic celebration Labour anachronistic.
With the Protestant Reformation gradually disappeared and ontological objective level, everything is a moral, emotional and sentimental (I was a sinner, now I'm saved), the reason and will remain outside the converted. Salvation was reduced to essentially an individual and emotional.
Around the process salvation as reasonable, supported by examples of the old, borrowed from the myths out of time, and made vivid that descended from painting by Raphael and other great, tried to set up an architecture Annibale Carracci painted with his chums in Farnese Gallery. Catholic Salvation summarizing the Platonic discourse on love, integrates with the Latin poetry of Ovid and then tradurvi the announcement of the resurrection of the body, the gospel of redemption of the physical world. Ceiling as a sky, which in turn opens up in the guise of rideau theater, where love sublime crosses the ground and saves it. Carnality of the Roman religion, carnality of Italian painting, against the eeriness of the wandering souls of Nordic flavor. Despite the presence platonic, they dare not give too much weight to those concerns of the greek philosopher camouflage art that pushes the sinful human imitation. It seems that expire in the hall of severe building a breeze to involve these erotic, seduced by those figures. It may be true, in quale altro luogo le visioni degli dèi e delle dee trascinano così direttamente lo spettatore in una corrente impetuosa che conduce a un trionfo d’Amore? Immagini dell’amore tridentino che la pubblicistica post-risorgimentale osò ridurre a una fosca caricatura: epoca funerea e puritana, sostenevano, ascetica e inquisitoria. L’epoca di Annibale Carracci e di Pierluigi da Palestrina.
Se mai ti capitasse di visitarla, nei prossimi giorni, al tuo ritorno, tieni in mente anche un incipit di rara bravura dell’Italo Calvino spesso celebrato a sproposito; sembra alludere a quei paesaggi barocchi, a quelle città celesti che incombono nei saloni romani sulle nostre teste: «Se allora mi avessero requested that the form has the world I would have said that is sloped, hilly irregular, with protrusions and indentations, so I'm always in some way as on a balcony overlooking a balustrade, I see what the world has the right and disporsi to the left at different distances, on balconies or other stages of the above or sottotanti theater, in a theater whose proscenium opening on empty ... "( OPAC).
An email in 2007, report to a friend in Andalusia of a show without glory for a glorious artist, Annibale Carracci, remained in the computer memory, is picked out To console the unfortunate who went to a show far worse, "Palazzo Farnese" (sic , with the surname Frenchified nell'alma city of Rome), the related invention of Nicolas Sarkozy in his embassy to celebrate the 'douce France' well with Pope Paul III and his grandchildren. It is not in fact a normal visit to the Palace - except on weekends remain closed to the public even Fasti Farnese 'rooms - but rather, using the emphasis of the event, for a job in some areas of the cardinal's residence with huge and clumsy containers where blacks set up the usual cabinets of coins, copies of paintings, plaster casts of statues and pictures. Nothing worth a special trip, apart from the opportunity to see the Galleria Carracci (with the windows locked in broad daylight with artificial lighting) and a few other (unfortunately) works spread of Hannibal. The old letter can then be more appropriate for a review: the direct language of correspondence we speak of a family of artists such light and color to the Catholic Reformation.
25 gennaio 2007 -. Stasera son stato all’inaugurazione di una mostra onesta di Annibale Carracci in tournée a Roma proveniente da Bologna. Nel Chiostro del Bramante, disinfettato del sentore di plastica del polacco-americano pop precedente, ma con una diffusa puzza comunque nelle cellette che mal si prestano a spazio per esposizioni, dunque benché il naso offeso, l’occhio una volta tanto viene accarezzato. Nella prima sala, una sfilata di autoritratti. Quando la si fa lunga sull’introspezione dei protestanti nordici in generale e di Rembrandt in particolare, si dovrebbe esser subito smentiti da simili pregevoli opere. Ma certo, qui non si prova l’imbarazzo del racconto intimo, non si sentono i miasmi dell’interiorità, do not see the face of someone who wants to stage the soul. Just a fine young man trying Bologna reflects a seductive pose, basic psychology, the elaborate surface. Carracci was presented with a bold accent in Emilia confusing s and c why some transcribed Carrazzi Hannibal.
Up to premature death, even in his fifties, caused by a large depression, he painted, even tapping the natural forms of decomposition. In the following rooms, even greater care in taking over the bodies in the countryside, the masterful sense of balance that is found for example in Drinker thrown back. in Italian Despite all the mannerisms of his contemporaries and of course the realism 'fifteenth' of that Merisi much excited today. I make a parenthesis. With grim metaphors feeds on journalism, all the advisers to explain the repeated exposure, "the other half of the seventeenth century Roman sky," or using the phrase "ready made" not only Caravaggio was the seventeenth century ', in short to speak of Hannibal at the gates of our scordarella Rome, mentioning the name of fashion, the exciter coupling picturesque romantic art & crime, one who is dear to the public of the Third Millennium coward for a friend and have probably coupled ascended so the empyrean of 'offenders'. In this way, the purest heir of Raphael must receive light reflected by the painter specializing in the cliché of the shadows, who "never did go out of the sun some of his characters," as noted Giovan Pietro Bellori. Is invented to facilitate the reception, all dominated by a Seicento Lombardo, thinking as it pleased in the middle of last century to a handful of historians and critics. A similar reconstruction becomes so commonplace in his followers that the legendary designer has to be recalled to Bologna mirror Merisi, since the perfection of the compositions, the invention developed in the lofty halls triumphant Farnese, available to the educated and articulate, and the subsidiary from classical mythology in the tale wisdom seems to hold nothing more eye cataracts of my contemporaries.
Back to our history, our exhibition. The maximum of the Carracci arrived in Rome, Raphael was discovered, and began experimenting with his glory. He had seen the Venetians, was familiar with its neighbors, starting with the exquisite Correggio, he devoted himself to sum up the great art of the peninsula. Summarize Raphael Michelangelo and Titian, and re-launch: August draft. That is, the Italian school. Today, we have a united Italy from a little state but not a school of painting, maybe even music, while at the dawn of the seventeenth century the extraordinary excellence of Italian painting, well articulated in many sub- schole , was clear in the eyes of Hannibal and the world. Catholic
of Bologna, the Counter-Reformation, was faithful to the idea of \u200b\u200bBeauty. Few people at the show and distracted them under any particularly striking or picaresque anecdotes. The author was not a superman, just an artist in the service of a gentleman, an artist in livery as it was JS Bach and Hölderlin (genes that did not need freedom of small and licenses in which the half-drowned marks) was not even suspected of homosexuality.
Who goes looking for excitement, as if the cinema or stadium, Cesare Garboli docet "depose il fatto d’arte di qualsiasi referente psicologico e esistenziale». Oggi invece ci si sguazza in quest’aria calda emotiva. C’è una ragione precisa e importante nell’esaltazione moderna dell’emotività. Nella scomoda mostra si afferra comunque bene la nobile impresa di Annibale nel formare un linguaggio aulico che oltrepassasse soggettività ed emozioni, anche dipingendo ritratti e autoritratti. Pose eroiche, paesaggi eroici. In quelle sue lunette Aldobrandini (celeberrima la Fuga in Egitto della Galleria Doria Pamphili) mise a punto il paesaggio romano del Seicento, fu maestro diretto di Domenichino e indiretto di Poussin e Lorrain. Ovvero aprì la via del ritorno al classico come quella del barocco per which the students are also Pietro da Cortona, Rubens, Bernini and Borromini. For the feast that takes the landscape, Cesare Brandi talked about "eclogue that most epic of painting." So we can say that we were admiring paintings the Counter ...
The 'classics' had never been allowed too many excesses of experimentalism, southern art is not conceived as compositions of flowers and fruits which then took the name of fun little 'Still Life', daring invention of the Nordic countries, and we Caravaggio's note. But in the web dedicated to wonderful Venus and Satyr - Titian the grass and the burlesque of the small detail that pushes the language of Eros fuori per la libido di cotanto corpo che lo sovrasta – il semianimalesco personaggio agita una coppa con uva che, opportunamente isolata, sarebbe una perfetta ‘natura morta’, epperò il Bolognese non se la sente di liberarsi dal racconto, ne fa un elemento prezioso della fiaba. Così come mi capitò di vedere in una mostra viennese di Dürer delle tavolette del maestro tedesco nel cui retro erano dipinte delle vere e proprie composizioni astratte, più geniali di quelle dei seguaci del Blaue Reiter, che restavano tuttavia fatto privatissimo, esperimento da tenere nascosto, essendo la missione del pittore quella di narrare storie attraverso le immagini, anzi secondo i precetti della Riforma tridentina per il nostro Carracci, ‘letteratura for illiterate '. The Protestant party in that rappel à l'ordre century seemed to disappear in our country. But today we luteranizzati so as to be incapable of appreciating such a joyful art.
The Germans insist that Protestantism "killed the legend and the miracle involved in medieval Catholic," and really tried to take away the best aura, but then the witty naturalism is still not our business, just in Hannibal in the Palazzo Farnese freedom from a century of mannerisms, even those in adjoining rooms. And if you want to summarize in schematic game: Caravaggio tried to represent with a singular loyalty to the pain and the ugliness of men, but Hannibal He went on to a more difficult task: to make exactly on canvas on the walls and especially the joy and beauty, a foretaste of Paradise, a direct instruction, to be tested physically, according to the precepts of Trent. And without too much gossip and theories, such as that awarded to states that "the painters had to talk with your hands." Art is not a cryptogram, a puzzle that needs butts words. Began in the late eighteenth century, the first pages of 'Emilia Galotti when Lessing comes to support, even if in the forcing of a bar (and perhaps along the lines of a controversy by Michelangelo): "How is lost on the way that goes from' eye to the arm and then the brush of a painter! [...] Or do not you think, perhaps, Prince, that Raphael was the greatest living genius of painting if unfortunately he was born without hands? Do not believe me? ". The aesthetology Enlightenment merges with the successors in the romantic cult of interiority Alemannic. Now, all the artists with no hands. The dream is made of the Germans. Rare artisan work of the hands and even more rare to get that beauty that we sometimes get tired in the studio for re-enactment of the manual labor but without aiming at the result of aesthetic perfection, painstaking preparation unnecessary in the end in itself, narcissistic celebration Labour anachronistic.
With the Protestant Reformation gradually disappeared and ontological objective level, everything is a moral, emotional and sentimental (I was a sinner, now I'm saved), the reason and will remain outside the converted. Salvation was reduced to essentially an individual and emotional.
Around the process salvation as reasonable, supported by examples of the old, borrowed from the myths out of time, and made vivid that descended from painting by Raphael and other great, tried to set up an architecture Annibale Carracci painted with his chums in Farnese Gallery. Catholic Salvation summarizing the Platonic discourse on love, integrates with the Latin poetry of Ovid and then tradurvi the announcement of the resurrection of the body, the gospel of redemption of the physical world. Ceiling as a sky, which in turn opens up in the guise of rideau theater, where love sublime crosses the ground and saves it. Carnality of the Roman religion, carnality of Italian painting, against the eeriness of the wandering souls of Nordic flavor. Despite the presence platonic, they dare not give too much weight to those concerns of the greek philosopher camouflage art that pushes the sinful human imitation. It seems that expire in the hall of severe building a breeze to involve these erotic, seduced by those figures. It may be true, in quale altro luogo le visioni degli dèi e delle dee trascinano così direttamente lo spettatore in una corrente impetuosa che conduce a un trionfo d’Amore? Immagini dell’amore tridentino che la pubblicistica post-risorgimentale osò ridurre a una fosca caricatura: epoca funerea e puritana, sostenevano, ascetica e inquisitoria. L’epoca di Annibale Carracci e di Pierluigi da Palestrina.
Se mai ti capitasse di visitarla, nei prossimi giorni, al tuo ritorno, tieni in mente anche un incipit di rara bravura dell’Italo Calvino spesso celebrato a sproposito; sembra alludere a quei paesaggi barocchi, a quelle città celesti che incombono nei saloni romani sulle nostre teste: «Se allora mi avessero requested that the form has the world I would have said that is sloped, hilly irregular, with protrusions and indentations, so I'm always in some way as on a balcony overlooking a balustrade, I see what the world has the right and disporsi to the left at different distances, on balconies or other stages of the above or sottotanti theater, in a theater whose proscenium opening on empty ... "( OPAC).
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