Wednesday, June 9, 2010
Caravaggio, the sacred and the profane. In a conference
Hermitage of St. Molise Professor Roberta Egidio Lapucci ...
Prof. Roberta Lapucci University of Florence, takes stock of the latest research on diagnostic canvases of the great painter, to mark the four hundredth of death.
Merisi The projected onto the canvas models in wax paper and resorted to the expedient use of mirrors, to faithfully reproduce the figure, with the help of light passing through a pinhole (camera obscura).
Sergio Andreatta (www.andreatta.it)
Frost, the Hermitage of St. Egidio, 05/06/2010) - Duecento chilometri mi separano dal convegno “Caravaggio, il sacro e il profano” che si svolge nel quarto centenario della morte in un piccolo eremo della montagna molisana. L’idea-progetto, sponsorizzata dal Liceo classico statale G.A. Colozza, oggi istituto onnicomprensivo, di Frosolone (IS), è dell’eremita padre Luciano Proietti. Un ossimoro questo, se volete, piuttosto singolare ma non per chi ne conosce la sua profonda cultura, come me che ho presentato a Latina il suo profondissimo libro (Elogio della vita solitaria, Effatà Editrice, Torino, 2008. Prefazione di Anna Maria Cànopi OSB, copertina e illustrazioni di Giorgia Eloisa Andreatta) e non si stupisce più di tanto sapendo che il suadente francescano non lascerebbe mai nulla di intentato nella sua missione pur di richiamare all’ovile le sue pecorelle. La giornata di fine primavera (5.06.2010) ai 1125 metri sul Monte Gonfalone, a 3,5 km. sopra l’abitato, è stupenda, ricca di vividi colori e intensi profumi. Nel magismo di luci e ombre già caro al grande pittore lombardo. “La Chiesa parla agli artisti”, padre Luciano Proietti è così abile svisceratore di tutte le “naturali parentele tra fede e arte” che ne richiama, introducendo, tutti i passi e i passaggi partendo dal Concilio Vaticano II per inoltrarci in una sapiente rassegna di pronunciamenti dei papi post-conciliari. Seduti negli scomodi banchi della Chiesetta di S. Egidio, misurato contrappasso per i nostri molti peccati, siamo catturati dalla teoria delle sue puntuali citazioni e da un pensiero imperniato sul “bisogno di bellezza… per non oscurarsi…” che ha il mondo in cui viviamo. Nell’arte, nell’immagine egli riscopre un forte principio cristologico, una parte integrante del culto quasi in opposizione al deserto dell’iconoclastia che pure non dovrebbe non affascinare poco un eremita votato alla meditazione e all’ascesi e per ciò stesso amante del vuoto ed elogiatore della vita solitaria. Un altro ossimoro. Ma, ecco, che senza sforzi particolari la “via veritatis” viene fatta coincidere con la “via pulchritudinis”, nella bellezza come forma superiore di conoscenza e close proximity to God in the necessary dialogue between aesthetics and ethics capable of discovering and capable to take full advantage of all the links that exist in the language of images and symbols. And so exhausted that this road would prove once again winning the News of a new ministry to say, the educational value of art, a concept already found in other respects the Council of Trent, and therefore well known to Caravaggio to its principals of the time. But with it, the painter cursed, almost as if to break free from a gag-law tried in every way to oppose, in the manner allowed and tolerated since, to appear heretical in some of its modes of expression. "The Church speaks to Artists "is the notebook I of the series" Faith and Art "that collects the thoughts of ... Now Tonino Proietti De Luca, professor emeritus of art history at the local high school, has the pictorial context of the '500 (mannerisms) which opposes the research that addresses the naturalism of Caravaggio and the Enlightenment, the principle engine of his religion that is inspired by a vision pauperism of the Church and the salvation of the soul sought even more existential thrust into transgression. And so, at this point, you can not miss even a hatch in the essentiality of his biography. The moderator, Prof. Marika Jordan, is trying to strike up conversations so much different. In a search for lightness and the art of a musical duo, violin and keyboard (Max Santomauro and forgive me if I do not remember the name of the pretty partner at the keyboard), proposed under the vault of the classroom only hermit by interludes of the church's Sonata No. 2 by JS Bach. But touch soon with Professor Roberta Lapucci, Professor of Conservation, artistic techniques and diagnostics in specialized courses for graduate students at the University of Florence in the departments of chemistry and art history and American Art History at the University Saci and restorer to account for a preview of his latest amazing research on the painting Caravaggio (www.robertalapucci.com ). Siamo al vero clou di questo Convegno, agli attesi apporti di una vera autorità in materia per le approfondite sue ricerche e la vasta bibliografia pubblicata sul tema, al motivo conoscitivo e artistico per cui ci siamo mossi in sei da Latina. Ormai è dimostrato come Michelangelo Merisi da Caravaggio usasse la camera ottica e la “multiproiezione “ delle figure. Dimostrato in modo inconfutabile e la studiosa porta ad esempio il “Bacco”, mancino perché speculare, e il “Ragazzo col ramarro”, eseguito in due pose diverse. Qualcosa di più della sola ipotesi suggestiva che, oltre che nel gabinetto romano anche nelle sue varie peregrinazioni per l’Italia, l’artista brought with it the need to reuse models in wax paper to be projected onto the canvas and resorted to the expedient use of mirrors, to faithfully reproduce the figure, with the help of light passing through a pinhole (camera obscura). According to this scholar, artist's interest in the reception of optical phenomena and perspective would be dated to the period of its formation, the environment Lombardy-Veneto, having then been able to develop during his stay in Rome with Cardinal Del Monte (which possessed a well-equipped toilet alchemy). It seems now certain that the Caravaggio entertain relations with the scientific circles of the time of Galileo. E rest of the phenomena of reproduction of shapes projected on the principle of the pinhole had already been tested even in Leonardo's anatomical studies and are reported in the writings of Girolamo Cardano and Monsignor Daniele Barbaro. Professor Roberta Lapucci returns to Bacchus in the Uffizi to say, left-handed, "holding the glass with his left hand." It says there is no precedent for this and it is clear that the image is the result of "copying from a projection obtained by putting into practice methods, however, at that time prevalent in the environment. "Just flip the image for a more natural picture." The boy bitten by lizard: "If we try to divide the face into two parts and move apart, it is obvious that the portrait is the result of a blend of two different moments of pose: one where the young is more frontal and more enlightened than the other - says scholar in front of the projections which follow caught the interest - plus the size and the features do not match at all. " Caravaggio, as in life, in search of the most sublime expression of art undergoes a fascinating attraction to light and darkness, the experience as a coach (1595-1605) in a study very similar to a camera lens: from a hole in the ceiling in the middle of the room, to penetrate light. He does, then use "science" of light. "... The light in the room, with the passing of hours, constantly changing - continues Roberta Lapucci - and the system of lenses and mirrors, of which he served was out of focus causing him to start a new installation." From the light comes in a continuous movement effect of shadows, a "fish-eye effect" with the need for the painter of a continuous re-focusing. So to paint, not only at the time, the painter was using in his research to boost the realism of the aid of optical instruments such as lenses and mirrors, and averred that by now. Circulated and aroused much interest among the artists of the time captured Magia naturalis III of the book where Giovan Battista Della Porta, a chapter (XVII) is dedicated to "anyone who does not know how depingere, could draw a portrait of a man will or some other thing. As long as you only know the colors look like. " This is the surprising discovery, the result of long and accurate historical research (started in 1986 by the study of its first two biographers Mancini (1617-21) and the Bellori (1672 -) and diagnostic tests and x-ray on "figures sbattimentate" which has come Lapucci starting from some assumptions and insights of Longhi Hockney (The secret revealed, 2000). But David Hockney has also written: "... the camera optical alone does not paint "and:" The fact that he used Merisi optical instruments - concluded between the share of the audience applauded Roberta Lapucci which has continued in recent years looking for evidence of use of these tools during the stay of ' artist in Naples, Sicily and Malta - does not alter the expressive power of his paintings, his creativity and his undoubted talent. " Another fundamental element useful in understanding, and without daring approximations, the great painter and his work since revealed the depth of compositional technique and stylistic interpretation. Next, in a conference that has become a long and tiring, Elio Di Michele, "The mud de Rome" (Palombi Editori, Rome, 2009), offers a bold, far-fetched, the parallels between route with a score of sonnets irreverent and Roman Roman poet Giuseppe Gioacchino Belli and paintings on the theme "Bible" by Caravaggio . The most cultural ends with the most relevant and meaningful action by the prof. Emanuele Troisi, professor of history and philosophy in high school that focuses on classic philosophical thought of the end of the sixteenth century and focuses in particular on the thesis of Giordano Bruno (De la cause, principle et a, 1584) appeared already saturated the circulating scientific thinking on independence of thought and his impatience with the observance of dogmas which was, inevitably, to clash with the contemporary theology official (including, on the eve of Corpus Christi which occurs tomorrow, I recall his rejection of transubstantiation). Reflecting the structure of the universe itself, the human mind, which in itself is not ideas, but the "Platonic" shadows of ideas (De umbris idearum), it can achieve true knowledge, that the ideas and the connection which everything connects with all others, beyond the multiplicity of particular elements and their change over time. It is ultimately to seek a cognitive method that captures the complexity of reality, to the ideal structure that supports the whole. Something, Research method, which combines painting by Caravaggio with the philosophy of Giordano Bruno. So the resulting charges of heresy and his condemnation to the stake in Campo de 'Fiori in Rome (17 February 1600) by the Inquisition. Another oxymoron, but there you speak of heresy and death sentence imposed by the Church in a church but God's ways, especially among the shepherds of the mountains of Molise, ... are always infinite. The artistic image and man, the human image and likeness of God, and perhaps as long creeping dangerously in my thinking, a penetration (including theological) God in some way in man's image. It concludes with the final words of sessantaseienne Franciscan who is hosting us this long and exhausting performance rich in diverse cultural contributions, some perhaps a bit 'disconnected from the main subject, but whose strengths are to be found not only in addresses pastoral father Luciano Proietti (whose path spiritual in recent years takes place between the meditative silence of these ancient walls of St Giles and the hermit cave above which was set up between the rocks of Morgia Quadra attracting like a beacon in the storms of life that many people in trouble here arrives from all directions, even from afar), mainly documented in the scientific report, now close to publication, the art historian and scholar elective Professor Roberta Lapucci of Caravaggio in Florence. When I left the Conference of the bleached rocks Morgia, tormented by the form to become part peculiar to this horizon, do not shine on the bright emerald of the meadows. And the colors almost extinct if they are already going into the night. © Sergio Andreatta - in: www.andreatta.it (12 photos are published on this event)
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