~ Rereading WIND ON THE "DANGERS OF CULTURE."
~ EPISODE THREE: THE CULT OF FRAGMENT ~
Back for the third time on a book by Edgar Wind, Art and Anarchy (Adelphi), to read between the lines a more menacing image of the culture to what is normally led to believe. It is not in this case the old complaints about companies 'bad' that violates the culture of charity, even this virtuous capitalist commodification of spiritual activity, short alarm often run by intellectuals on the culture in danger, but - in the wake of Plato - Hazards that culture brings with it not being quite harmless and helpless. If it is true that currently the "holy fear" is not the most enveloping, this stems from the fact that art, literature and music are now playing an ornamental, watered-down to the ancient world where the central place occupied. Displaced by science, the humanities seem to draw the character 'sacred' only to preserve two old privileges: freedom to speak the unspeakable (but no longer in the truth game, what can not be said is essentially the ' obscene, etymologically the slime), the gains out of all reason in the market. In this episode we will see other ways in which they are filed were the claws of traditional culture.
forerunner of today's comic that makes a witty parody of the television art dealer, William Hogarth at the threshold of the modern farce had already put in the smoky talk to curators and critics who fed the voluminous catalogs. On a daily time, the artist told the satirical way to cheat the gullible public, "Lord, I see that you're not a connoisseur , this picture, I can assure you, is a Alesso Baldminetto second way, that is the best; boldly painted, and absolutely sublime .... " Of course, the mangled name of an Italian artist sull'assonanza play with the truth, historically true, Alesso Baldovinetti is ear scholarship, and the ways one another to confuse the buyer (maybe there's deception in the way ), even before the TV hucksters Hogarth's character says the same lines of our batsmen and our e-champions of Contemporary Art, through the same ridiculous excuses aesthetic. "Then, after spitting in a dark corner of the picture - continues the long quotation given by Hogarth's Wind - [the charlatan] rubs it with a dirty handkerchief, jump in the opposite corner of the room and cries out in ecstasy:" And look a little 'this particular, if it is not surprising! A collector could keep it at home per un anno, prima di incominciare a scoprire la metà delle bellezze che vi si nascondono!”». I papi erano mecenati esigenti, sapevano quel che volevano dai massimi artisti del Rinascimento, l’acquirente piccolo-borghese si nutre di sentito dire e si lascia intimidire facilmente dai paroloni. Il Pappagone della Transavanguardia ha fatto la sua fortuna con un linguaggio colorito quanto approssimativo, come l’indimenticabile ‘servitore’ del commendator Peppino De Filippo. Per evitare gli inganni, ecco allora una lungo serie di studiosi che mettono a segno dei metodi onde accertare l’arte autentica e distinguerla dai falsi , proprio mentre tutta l’arte rischia di diventare falsa . Giovanni Morelli, with moves Lombroso, found the key to the problem in detail, others make use of the technology, the eye being wise now very widespread. Indeed, since the art became a commodity in which to invest, rather than an object of delight, we need guarantees to reassure the uneducated buyer. The precious details that ensure the authenticity and attribution also determine "what it's worth." But beyond the question sociologically, that Wind is not even touching, this focus on detail by Morelli becomes the "track of the 'lost original'." That is, the cult of the fragment, "which has become a true artist's signature is a well-known romantic heresy. " Wind has found another side of this long domestication of culture: its break.
morellato The method led to privilege the pictorial drawing on the work carried out after him more and more will search the preliminary sketch, the initial sketch, the sketch. In this way, but not for 'guilt' of Morelli, "the immediacy, fetish romantic - Praz wrote - which is the sub-impressionism and automatic writing, once taken as the supreme criterion for judging, has meant that not only be condemned entire artistic periods as neo-classicism, but the great neo-classical artists, si salvino solo gli schizzi, gli abbozzi, gli spunti come quelli che conservano qualche scintilla di quel fuoco divino che poi la rielaborazione smorzerebbe».( Gusto neoclassico ). Canova patì infatti le conseguenze di tale romanticismo, i suoi bozzetti furono preferiti alle statue. Il «culto romantico dello spasimo» isolava il particolare e portava le arti verso un permanente «stato di crisi». E siccome anche «la poesia è il linguaggio di uno stato di crisi» (Mallarmé) e le crisi sono brevi, «il poema lungo – sosteneva il critico britannico A. C. Bradley – è un’offesa all’arte». Stefan George nella sua traduzione della Commedia dantesca procedeva, opposed to Borchardt, breaking the work into a series of short poems, so, he believed, to capture the poetic and set aside "the immense building in the world-church-state '(awesome assonance with the distinctions between Croce lyrical intuition el'impoetica structure). The romance of historical genre painting, with its large canvases equivalent to the long poem and especially the opera, seems an exception, but as melodrama, is still poorly refined art now, more suited to popular taste. 'Unfinished' and sketch are needed in the art of the last two centuries even to re-read the masters of the past. Vasari unnecessarily testifies that Michelangelo advised at death to burn sketches and cartoons, "not to appear if not perfect," the perfection being now a virtue unknown to the modern past. And the fragmentary is accompanied by the whim - Cubism is a huge fad, says Wind - echoes the triumphant nonsense.
Reverend William Gilpin, the founder of the formula of the "picturesque", believed to restore vitality to a monument of Palladian architecture, it was necessary to use the "stick rather than the chisel, we must tear down half of the building, ruin ' other half, and then scatter around the pile and mutilated limbs. " Mutilate the human figure and then later maim tutto il visibile sembra essere la parola d’ordine degli ultimi due secoli, l’iconoclastia attuale ne ha fatto un cliché. Perfino la fotografia, anzi soprattutto la fotografia, per cancellare il suo peccato originale di essere mimetica, deve frantumarsi, cancellare la sua rappresentazione, automutilarsi.
Quel gusto della spontaneità che distruggeva le superfici pittoriche per cercarvi dietro i pentimenti dell’artista, il primo abbozzo, l’istante dell’ispirazione, andava poi a fare a pezzi le statue affinché ne restassero evocativi frammenti, particolari che si prestavano pure alla allegoria di medioevale tradizione, e infine devastava il giardino all’italiana dove regnava il Logos per imporre quello all’inglese, natura ideata in modo selvaggio e ruderi artefatti. Wordsworth sintetizza: «una sete degradante di stimoli violenti». Gusto del frammento e gusto del barbarismo del resto vanno d’accordo. Non è un caso che la Kabbalah ebraica uscirà dai suoi millenari segreti per diventare breviario estetico della cultura contemporanea: una guida per muoversi in un mondo in frantumi.
«Vollard scherzosamente asseriva di aver visto Rodin che faceva a pezzi delle statue per ricavarne frammenti», racconta Wind, mentre Rilke, assistente spirituale dello scultore in gioventù, sognava una Eleonora Duse che recitasse senza braccia. Aveva cominciato C. D. Friedrich a cancellare il volto, i filosofi francesi alla fashion ended with the preaching in the latter part of the twentieth century the total abolition of the human being, as a figure on the sand. In between the screaming Expressionists, the rediscovery of the fragments of the incomplete Woyzeck, the German playwrights who conceived of a theater of expression of one or two syllables break into the music Schoenberg these moments of pain. A vast repertoire of pieces today's culture, as though we were the day after the great catastrophe. The Apocalypse know yet tell in a compound form, in a long and articulated, firmly anchored in pictures, the art of our time is to already beyond the end of the world, post-eschatological, post everything.
Arts chamber music, chamber music, chamber literature, most intimate, private: the culture of the fragments is marginalizing itself, never the frescoes, statues, monuments, complete works, he concluded. Is defined as "light" some music (as opposed to 'strong' as you call it disdain the weaknesses Quirino Principe aesthetic), well now there is also an art light, light a culture that dominate the West.
(3. - Continued )
~ EPISODE THREE: THE CULT OF FRAGMENT ~
Back for the third time on a book by Edgar Wind, Art and Anarchy (Adelphi), to read between the lines a more menacing image of the culture to what is normally led to believe. It is not in this case the old complaints about companies 'bad' that violates the culture of charity, even this virtuous capitalist commodification of spiritual activity, short alarm often run by intellectuals on the culture in danger, but - in the wake of Plato - Hazards that culture brings with it not being quite harmless and helpless. If it is true that currently the "holy fear" is not the most enveloping, this stems from the fact that art, literature and music are now playing an ornamental, watered-down to the ancient world where the central place occupied. Displaced by science, the humanities seem to draw the character 'sacred' only to preserve two old privileges: freedom to speak the unspeakable (but no longer in the truth game, what can not be said is essentially the ' obscene, etymologically the slime), the gains out of all reason in the market. In this episode we will see other ways in which they are filed were the claws of traditional culture.
forerunner of today's comic that makes a witty parody of the television art dealer, William Hogarth at the threshold of the modern farce had already put in the smoky talk to curators and critics who fed the voluminous catalogs. On a daily time, the artist told the satirical way to cheat the gullible public, "Lord, I see that you're not a connoisseur , this picture, I can assure you, is a Alesso Baldminetto second way, that is the best; boldly painted, and absolutely sublime .... " Of course, the mangled name of an Italian artist sull'assonanza play with the truth, historically true, Alesso Baldovinetti is ear scholarship, and the ways one another to confuse the buyer (maybe there's deception in the way ), even before the TV hucksters Hogarth's character says the same lines of our batsmen and our e-champions of Contemporary Art, through the same ridiculous excuses aesthetic. "Then, after spitting in a dark corner of the picture - continues the long quotation given by Hogarth's Wind - [the charlatan] rubs it with a dirty handkerchief, jump in the opposite corner of the room and cries out in ecstasy:" And look a little 'this particular, if it is not surprising! A collector could keep it at home per un anno, prima di incominciare a scoprire la metà delle bellezze che vi si nascondono!”». I papi erano mecenati esigenti, sapevano quel che volevano dai massimi artisti del Rinascimento, l’acquirente piccolo-borghese si nutre di sentito dire e si lascia intimidire facilmente dai paroloni. Il Pappagone della Transavanguardia ha fatto la sua fortuna con un linguaggio colorito quanto approssimativo, come l’indimenticabile ‘servitore’ del commendator Peppino De Filippo. Per evitare gli inganni, ecco allora una lungo serie di studiosi che mettono a segno dei metodi onde accertare l’arte autentica e distinguerla dai falsi , proprio mentre tutta l’arte rischia di diventare falsa . Giovanni Morelli, with moves Lombroso, found the key to the problem in detail, others make use of the technology, the eye being wise now very widespread. Indeed, since the art became a commodity in which to invest, rather than an object of delight, we need guarantees to reassure the uneducated buyer. The precious details that ensure the authenticity and attribution also determine "what it's worth." But beyond the question sociologically, that Wind is not even touching, this focus on detail by Morelli becomes the "track of the 'lost original'." That is, the cult of the fragment, "which has become a true artist's signature is a well-known romantic heresy. " Wind has found another side of this long domestication of culture: its break.
morellato The method led to privilege the pictorial drawing on the work carried out after him more and more will search the preliminary sketch, the initial sketch, the sketch. In this way, but not for 'guilt' of Morelli, "the immediacy, fetish romantic - Praz wrote - which is the sub-impressionism and automatic writing, once taken as the supreme criterion for judging, has meant that not only be condemned entire artistic periods as neo-classicism, but the great neo-classical artists, si salvino solo gli schizzi, gli abbozzi, gli spunti come quelli che conservano qualche scintilla di quel fuoco divino che poi la rielaborazione smorzerebbe».( Gusto neoclassico ). Canova patì infatti le conseguenze di tale romanticismo, i suoi bozzetti furono preferiti alle statue. Il «culto romantico dello spasimo» isolava il particolare e portava le arti verso un permanente «stato di crisi». E siccome anche «la poesia è il linguaggio di uno stato di crisi» (Mallarmé) e le crisi sono brevi, «il poema lungo – sosteneva il critico britannico A. C. Bradley – è un’offesa all’arte». Stefan George nella sua traduzione della Commedia dantesca procedeva, opposed to Borchardt, breaking the work into a series of short poems, so, he believed, to capture the poetic and set aside "the immense building in the world-church-state '(awesome assonance with the distinctions between Croce lyrical intuition el'impoetica structure). The romance of historical genre painting, with its large canvases equivalent to the long poem and especially the opera, seems an exception, but as melodrama, is still poorly refined art now, more suited to popular taste. 'Unfinished' and sketch are needed in the art of the last two centuries even to re-read the masters of the past. Vasari unnecessarily testifies that Michelangelo advised at death to burn sketches and cartoons, "not to appear if not perfect," the perfection being now a virtue unknown to the modern past. And the fragmentary is accompanied by the whim - Cubism is a huge fad, says Wind - echoes the triumphant nonsense.
Reverend William Gilpin, the founder of the formula of the "picturesque", believed to restore vitality to a monument of Palladian architecture, it was necessary to use the "stick rather than the chisel, we must tear down half of the building, ruin ' other half, and then scatter around the pile and mutilated limbs. " Mutilate the human figure and then later maim tutto il visibile sembra essere la parola d’ordine degli ultimi due secoli, l’iconoclastia attuale ne ha fatto un cliché. Perfino la fotografia, anzi soprattutto la fotografia, per cancellare il suo peccato originale di essere mimetica, deve frantumarsi, cancellare la sua rappresentazione, automutilarsi.
Quel gusto della spontaneità che distruggeva le superfici pittoriche per cercarvi dietro i pentimenti dell’artista, il primo abbozzo, l’istante dell’ispirazione, andava poi a fare a pezzi le statue affinché ne restassero evocativi frammenti, particolari che si prestavano pure alla allegoria di medioevale tradizione, e infine devastava il giardino all’italiana dove regnava il Logos per imporre quello all’inglese, natura ideata in modo selvaggio e ruderi artefatti. Wordsworth sintetizza: «una sete degradante di stimoli violenti». Gusto del frammento e gusto del barbarismo del resto vanno d’accordo. Non è un caso che la Kabbalah ebraica uscirà dai suoi millenari segreti per diventare breviario estetico della cultura contemporanea: una guida per muoversi in un mondo in frantumi.
«Vollard scherzosamente asseriva di aver visto Rodin che faceva a pezzi delle statue per ricavarne frammenti», racconta Wind, mentre Rilke, assistente spirituale dello scultore in gioventù, sognava una Eleonora Duse che recitasse senza braccia. Aveva cominciato C. D. Friedrich a cancellare il volto, i filosofi francesi alla fashion ended with the preaching in the latter part of the twentieth century the total abolition of the human being, as a figure on the sand. In between the screaming Expressionists, the rediscovery of the fragments of the incomplete Woyzeck, the German playwrights who conceived of a theater of expression of one or two syllables break into the music Schoenberg these moments of pain. A vast repertoire of pieces today's culture, as though we were the day after the great catastrophe. The Apocalypse know yet tell in a compound form, in a long and articulated, firmly anchored in pictures, the art of our time is to already beyond the end of the world, post-eschatological, post everything.
Arts chamber music, chamber music, chamber literature, most intimate, private: the culture of the fragments is marginalizing itself, never the frescoes, statues, monuments, complete works, he concluded. Is defined as "light" some music (as opposed to 'strong' as you call it disdain the weaknesses Quirino Principe aesthetic), well now there is also an art light, light a culture that dominate the West.
(3. - Continued )
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