#peter rostovsky

Olga_K

Olga_K March 14, 2019

Jackson Pollock Works,

Elements of Art History and

Graphic Expressions

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JACKSON POLLOCK

The greatest exponent of action painting is undoubtedly

American Jackson Pollock, whose life crumbled, severed first hard by

a car accident, is linked to  the bohemian artists.

Pollock, one of the few artists of the last post-war period had one

fairly irregular training, reluctantly dragged between various academies and

American arts schools. From the beginning he is very much affected by the charm of the

Mexican popular painting. In 1937 Pollock is already severely affected

by alcoholism, thanks to the scientific theories of Carl Gustav Jung, together with Freud

one of the fathers of modern psychoanalysis, the young artist knows the latest

European cultural avant-gardes.

In 1947 POLLOCK developed the dripping technique which means

dripping.This technique consists in using the brush no longer to paint

but to drip in a more or less regular way pure synthetic colors on canvas or

cartons.

ENCHANTED FOREST  In Enchanted Forest, a dripping on canvas by

1947, the visionary and allusive subject merges with the new technique into a single one

spider web of colors that overlap the others in a chaotic plot of

splashes of drops and dripping.

In 1950 the German friend and photographer Hans Namuth

realizes some extraordinary photo shoots that portray Pollok at work while

he performed his drippings with almost dance-like movements often accompanied by a

background of jazz music. Some of these moments of creativity were then

rebuilt in a hit movie, starring in 2000 by the actor and Harris.

SILVER ON BLACK, WHITE, YELLOW AND RED The title suggests a

reading path relative to the times of realization. The dripping of the silver tint is

it was the last to be executed as it overlaps with all the other colors either

when the colorings thicken in Wide spots and when they melt in

1000 filaments that pervade and fill the entire space of the canvas.

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BLUE POLES  In the blue poles made by the artist in 1953 you have an even more idea

specify what dripping really is. Working around the canvas arranged for

earth, in the large chaotic New York studio on Long Island, Pollock prepares it

splashing it with cotton balls, with paint brushes and pieces of

wood. Using, Synthetic colors at different dilutions flow them onto the canvas creating

thin red, silver and yellow threads that thicken, creating greater areas

or less concentration. In this chaotic labyrinth It is permissible that each one

imagine what he wants: from the monstrous American megalopolis, where men and

skyscrapers concentrate in a foolish way, up to the deepest regions of the

our unconscious, where there are nightmares and mysteries that get tangled. The blue poles

correspond to the eight inclined segments that cover the entire painting. They

they represent the last geometric elements, around which the convulsion thickens

siege of colorful drips.

EASTER AND THE TOTEM Always in 1953 Also dates back to Easter and the totem, one

large canvas with which Pollock abandons the experience of dripping back to the

oil painting. Here the tormented American artist seems to refer to Matisse, with

the use of black contours, They assume strong expressive purposes. Pollock gets closer

also to the form, even if absolutely not figurative, recalled by the element

vertical to the extreme left margin of the painting, which refers to the totem of the title e

consequently to the native American culture.

FRANZ KLINE

The abstract expressionism of Franz Klein is mold-set. Born

in Pennsylvania On May 23, 1910, he studied at the University of Boston and attended

in London, the Heatherley art school. He then settles in New York with his wife Parsons.

In the 40s  the three in contact with Pollock and with abstract expressionism. He died on

May 13, 1962.

At the beginning

from the 50s Klein cancels all colors and dedicates himself to large-format works in

black and white. Klein traces titanic lines that cross to represent the

typical American cities with skyscrapers, regular blocks, structures, bridges and buildings in

construction.

NEW YORK   This is a large format from 1953 where three dark verticals and three

oblique directions suggest steel architectural structures, piles of bridges,

modernity.

DIAMOND This is an oil from 1960 that is based on white and blue

dominant with light touches of blue and sky blue. While not abandoning the duotone,

the whole chromatic range slowly emerges just like the psyche and the most intimate

thoughts and artist kept for a long time imprisoned and Hidden by the speaking speaker

of appearing black and white could not be more repressed. initially Kline

incorporates the color under white and black, giving a glimpse of it a bit, for

explore the possibilities of monochrome until you reach the colors.

NEW MEDIA ART  Starting from the last decade of the last century, numerous

labels have been coined to describe classifying a number of artistic practices

generated by the digital revolution: Multimedia Art, Interactive Art, Art

digital, computer art. Today all these different denominations tend to be

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gathered under the definition of New media art, which therefore embraces the whole

range of artistic forms based on the use of new media.

They are extremely different, being linked to different technologies

employed, constantly changing due to the continuous technological progress, which

starting from the computer with all software applications and the Web, go through i

video games and up to smartphones and tablets.

All the categories are not rigidly defined, because, as far as they can

combine or synchronize with one another on a planetary level, via network or Wirefire,

generating numerous other communication tools, such as dissemination and interaction

multimedia portals, blogs and social networks. While using more technology

advanced, the new media art is inscribed in the tradition in the art world in the way

more aware.

New artistic practices and are based on the concept of interaction with the

public, which can participate in various ways in the work thanks to the interface

technology. Also revolutionary are the methods of distribution of the work, which to

contrary to that achieved with traditional means, it is accessible in any

moment from anywhere.

PETER ROSTOVSKY  He was born in Lieningrad in 1970 but trained in the United States

by attending various design and applied arts schools. Great manipulator of

photographs, digital techniques and computer art the young artist  is part of the trend of

supereal, one of the latest neo-avant-garde. Going beyond hyper realism

he proposes to explore the super real, ie a mental dimension, that taking the subject

moved by a photographic representation, it re-elaborates it and enriches it according to the

intentions and sensitivity of the artist.

A this new dimension of research is approached with great technical mastery,

preferring fantastic magical or realistic macabre figurations.

EPIPHANY 2                                                                                 Is

a static installation of 2001 composed of a large circular canvas on which it is

painted a fiery sky of clouds at sunset with a front statuette of a

character looking ecstatic. This small sculpture is placed on a white pedestal.

This painting recalls the Wayfarer by the sea of ​​fog by Caspar David

Friedrich. Tthe reinterpretation of Rostovsky  is full of evocative charm

returning to the idea of ​​the sublime.

PIERRE HUYGHE Parisian born in 1962 deals with installation of video Art,

a form of artistic expression affirmed in the last decade of the last century e

based on the use of electronic means, creatively exploiting the infinite

possibilities offered by the digital technology of synthesized sound, reproducible by

medium of video projectors.

THE SPARKLING EXPEDITION Du made in 2002, and is a machine

capable of combining light effects and extraordinary sounds through computers

refinement. Two large parallelepiped containers are arranged one above the other

in a room with illuminated black walls. The inferior produces water vapor that

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slowly rises to the top. In the upper part there are light sources

halogens and LEDs. Four speakers speakers batteries are connected to the containers

repeating a piece of music. As the notes change, they change the

THE SUBLIME

THE FACE OF THE INFINITE. Interdisciplinary course by Gloria Pizzo State exam school year 2011/2012

Class 5F, Paolo Candiani Art School

THE SUBLIME

THE FACE OF THE INFINITE.

Thunderstorm clouds that gather among lightning and thunders, mountain ranges that stretch for miles, volcanoes and hurricanes that are unleashed in all their destructive power, oceans surrounded by sunsets or dominated by starlit pulsating stars ...

The indomitable spectacles of nature have always been the source of attraction and admiration of man, incapable of embracing its immeasurable magnitudes.

This feeling of displeasure becomes the starting point of the human imagination's capacity, of the expansion of the human mind in  the face of the infinite and above the ordinary mediocrity.

The fascination of the earthquake, of infinite and discordant sensations that run through the human soul, in contemplation of nature, was therefore the reason why I decided to investigate the feeling of the sublime, as a form of fulfillment of man in tension towards the infinite.

In the course addressed, I pursued and deepened the search for the sublime, starting from its definition and presenting it through the main exponents of philosophy, Edmund Burke and Immanuel Kant, of Italian literature, Giacomo Leopardi, English, William Wordsworth, and art, William J.M. Turner, Caspar Friedrich to the present day with Peter Rostovsky.

 Introduction

 With the advent of the Romanticism affirmed in Europe around 1830, the spheres of passion, irrationality and sentiment,which    had been set aside in the neoclassical period in favor of rationality were re-evaluated    thus also re-evaluating individual genius and inspiration.

The romantic poetics is based on the concept that nature does not produce the ideal beauty, but images that can inspire two fundamental feelings: the beautiful and the sublime.

The sublime, in fact, differs from the beautiful because, while this arouses in us feelings of calm and serenity when we we find ourselves in front of a harmonic form, the sublime  is born from the representation of the formless and provokes in our soul sensations of thrill and emotion.

In beautiful, the soul is simply attracted to the object; in the sublime, on the other hand, it is at the same time attracted and rejected by it, so much that the pleasure aroused by the sublime is not a positive joy, but rather a “negative feeling.”

Investigation into the Beauty and the Sublime of Edmund Burke

The work that summarizes the many components of the sublime and organizes them in an analytical system is “Investigation into the Beauty and the Sublime” of Edmund Burke (1757).    Burke definitively distinguishes beauty from the sublime and refers beauty to sociability, the sublime to the instinct of  conservation.

Asserting that the passions that concern self-preservation and that refer mainly to pain or danger “are the strongest of all passions” and that the sublime is the strongest emotion that soul is capable of feeling.

The concept of Sublime for Kant

  Even for Kant the feeling of the sublime arises from a threat, “a momentary impediment” followed by “a stronger outpouring of vital forces”, and since the soul is at the same time attracted and rejected by the object, the pleasure of the sublime is called a “negative pleasure”.

Among the scenarios suggested by Kant are “mountains that rise up to the sky”, “deep abysses in which the waters rush down furiously”, which arouse astonishment that borders on “fear” and “sad meditations”.

Therefore is caused  by the effects of what is in nature absolutely great, unlimited, infinite or by the spectacle of the power of phenomena.     Kant distinguishes in his analysis two types of sublime: a sublime that he defines as mathematical and a dynamic sublime.

According to the philosopher, the mathematical sublime  arises in the presence of something immeasurably large, for example the mountains, the starry sky or the galaxies. Faced with these realities, an ambivalent feeling is born in the human soul: on the one hand, in fact, we feel a sense of displeasure due to the fact that our imagination is not able to embrace its greatness, on the other hand, instead, we feel pleasure, because our reason brought to rise to the idea of the infinite, in relation to which the same immensities of creation itself appears small.

The sublime dynamic arises instead in the presence of natural forces, for example in the contemplation of large cloudy masses that pile up during a storm, storms of lightning and thunder, erupting volcanoes, hurricanes, stormy oceans and so on.

To witness these events in which nature shows all its power, being far from them, produces in us a sense of material smallness if we compare ourselves to the power of nature; later on, however, we feel an ideal coolness feeling due to the fact that we are thinking human beings.

Therefore, the emotion of the dynamic sublime becomes exaltation and anguish, changing from depressive that was in the beginning, into an enthusiasm.

Kant, consistent with his "Copernican" aesthetic evolution, believes that even the sublime, like beauty, is not an objective and ontological property of things, but the fruit of the encounter of our spirit with them.       The sublime, therefore, does not reside in the reality that is in front of us, that is to say in the events or objects in question, but in our own soul.

 The Sublime in art

 Romanticism

 In Romanticism, the artists represented the contemporary historical moment and the existential problems of man such as meditation on the passing of years. on death, so the elements that they characterized their art were:

The representation of a sublime spectacle capable of arousing strong emotions; Realistic details; The use of color to make the shape and the space; The use of contrasting pure color spots. Painting interpreted the condition of man and used the landscape as a metaphor to indicate his destiny.

The representation of nature was one of the favorite themes of romantic artists, Turner represented it in its terrifying and destructive aspects.

 William J.M. Turner

 Joseph Mallord William Turner (1775-1851), English painter, expressed in his works the disturbing relationship between man and nature, an immense and unknown nature, in front of which man can only meditate on his loneliness and his fragility .

Turner's art is fully ripe in the painting “The Snowstorm”, from 1842. Meanwhile he continues to travel and produce great artistic works they had aroused admiration, but also contempt for those, who did not understand his genius and its innovative scope.

Turner, in “The Snowstorm”, which represents a steam boat caught by a snowstorm, it goes beyond the realistic data to stage a vision on the canvas of overwhelming and highly poetic nature.The boat seems to want to fight with the titanic strength against the fury of the storm, but it is useless. It turns out every effort is made against the powerful majesty of nature; this is human progress and science against the immeasurable and sovereign force of the universe.

In watching the storm which with great force and vehemence rages against the boat, the spectator also feels himself in danger.

The painting completely exceeds the descriptive-realistic aspect to assume suggestive-evocative connotations.The vortices of water, air, light, color, like swirls in rapid movement, overwhelm the boat, involving the spectator who feels, witnessing such a grandiose spectacle, a sublime feeling.

Turner himself wanted to experiment and experience this feeling at the age of seventy-seven, letting himself to be tied to the tree master of a ship and literally crossing the eye of a cyclone during a storm.

The work appears as the perfect metamorphosis of the philosophical theme of the sublime of Immanuel Kant that in “The Critique of Pure Reason”, considers the sublime derived not from the relationship between sensibility and intellect, but from the conflicting tension between sensibility and reason.

The feeling of the sublime is felt both when we are dealing

with infinitely large which, in fact, temporal or spatial infinite, and when we are faced with the extraordinary spectacles of nature.

   Caspar David Friedrich

 Caspar David Friedrich (1774-1840), German painter, expressed in his paintings, with various situations the relationship of the immense and infinite nature with the finite man looking towards the infinite, vast and powerful, with a sensible fear but also with religiosity .

In the landscape, in fact, Friedrich represents his feelings, the man’s loneliness and his anguish in the face of the mystery of nature and in nature he captures the Sublime, one of the fundamental themes of Romanticism, as defined by the German philosopher, Immanuel Kant.

The landscape of Friedrich transmits melancholy and nature, caught in different aspects, expresses the change of time and seasons, in which the profound solitude of man is identified.

The nature is felt as a living reality, animated in an infinite development. “The Wanderer in a Sea of Fog” represents a sublime situation in which man contemplates in profound silence the infinite nature.

The fundamental theme of this painting is the landscape, in which the man, the protagonist plays the role of the spectator.

The traveler, turning his back, seems to ignore us, but at the same time we identify ourselves with him; together we become part of the picture and scrutinize the indistinct landscape, absorbed in our thoughts, alone, to better contemplate and reflect on what surrounds us.

The predominant colors are brown and gray-blue, which create the effect of light and space.

  PETER ROSTOVSKY

  Peter Rostovsky(1970), a young Russian artist is a member of the current of  Superrealism, one of the latest and most recent experiments of the Neo-Avant-Garde.This current proposes to explore the super real, a mental dimension, that is artistically reworked starting from a photographic representation.Peter Rostovsky, a leading exponent of this current, has a preference for magical-fantastic or realistic-macabre representations, two themes of great emotional impact.

Starting from the idea of the famous painting by Caspar David Friedrich, "The Wanderer on the Sea of Fog", he reinterprets the latter with the technique of Superrealism: an all round sculpture is placed against the background of a painting on canvas.

“Epiphany Model 2” is an installation of 2001 composed of a large circular canvas, on which the full sky of clouds at sunset is painted, and  a front carved statuette of a character, who looks entranced, placed on a white pedestal.

The sculpture is placed so precisely to visually coincide with the center of the painting. Rostovsky's reinterpretation, rich and full of evocative charm tends to give back the idea of the sublime, confirming how the dismay and wonder of man in the face of nature nevertheless still is a universal and timeless sentiment. As seen in the painting of Friedrich in fact, the vastness of the sky gives the scene an impression of desolation and underlines the contrast between the human finitude and the infinity of nature, recalling Leopardian expressions that lead us to think of the melancholy and loneliness.

 The Sublime in the poetry of Giacomo Leipardi

 The infinity, the sublime feelings and emotions conveyed by Friedrich were also expressed by poet Giacomo Leopardi in his “Infinite” with superhuman silences, interminated spaces and very deep stillness:

The poet represents man as a figure "lost in the incomprehensible vastness of existence" he feels the frightful expanse of the infinite. .

  If in reality infinite pleasure is unattainable, man can imagine infinite pleasures through imagination.

What stimulates the imagination to construct this parallel reality, in which man finds the illusory fulfillment of his need for infinity, is all that is "vague and indefinite", distant, is unknown.

"The imagination works and the fantastic subtracts the real".

Every feeling or poetic thought whatsoever is, in some way, sublime and produces "an elevation of the soul".

 The Leopardian individual is able to rise up and understand a whole universe, and his nobility lies in the fact that he is able to "embrace and contain this immensity with thought"

On the poetic level, infinity perfectly represents the dynamics of the sublime: the sight is limited by the hedge, the boundary between finite and infinite, but there is a "darkness beyond the hedge", forcing the imagination to pursue this beyond.

Then the poet " is holding on to this thought, and arrives at a point where the heart does not fracture for a little.

"The sublime is the ability of the mind to overcome the limit of the sensed reality, penetrating beyond limitations of nothingness and of the unknown which do not arouse fear in the pure state, but a mysterious tremor of the soul.

 William Wordsworth

Tinturn Abbey and the Sublime

   William Wordsworth was a revolutionary thinker in his time. Wordsworth believed that Man and Nature could not exist dependent on each other, we must combine our memories with our mature experiences.  If we are capable of synthesizing these, we can increase our felling intellect or sublime. The idea of the sublime being found in his works. In "Lines Composed A Few Miles Above Tinturn Abbey," Wordsworth speaks of a presence that "disturbs him with joy," which he defines as the sublime "whose dwelling is the light of the setting suns, / And the round ocean and the living air, / And the blue sky, and in the mind of man." In other words, he is explaining that the sublime is not unreachable. More importantly, the sublime also resides in the human consciousness. Wordsworth defines the sublime as the "passions that build up our human soul." Wordsworth's first visit to Tinturn Abbey did not occur when he was a child, there is still the sense of something lost when he returns five years later. He realizes that time has passed the delights of his first visit are over. Fortunately for him, he also understands that this is not the end of his joys, but merely the beginning. "For I have learned," he said, "To look on nature, not as the hour / This small quote represents what Wordsworth mean about synthesizing and combine our memories with the present. Wordsworth believes that he has found the answer to how to rise to the height of "feeling intellect." Imagination and intellectual Love are each in each. Imagination is representative of the child's mind. Intellectual Love is representative of the adult, or philosophic, mind. These two qualities of human mind, Imagination and Intellectual Love are, ideally, inseparable. A combination of these attributes will allow the individual to rise to the height of "feeling intellect" or the sublime.

  Bibliografia

Turner , I classici dellArte, edizion iSkira Inchiesta sul Bello e il

Sublime,Edmund Burke, edizioni

Aesthetica Intinerario nellarte,edizioni Zanichelli  

J. M.W Turner,The man who set painting on fire, edizioni Thames &

Hudson Sitografia

http://it.wikipedia.org/wiki/Sublime

http://www.peterrostovsky.com/

http://sauvage27.blogspot.it/2009/02/la-tempesta-di-neve-william-turner.html_

http://www.filosofico.net/Antologia_file/AntologiaK/KAN/DABELLo/ALSUBLIME

http://www.parodos.it/filosofia/ii_sublime_di_kant.htm_

http://www.marioe.it/al/Interazioni/SublimeArte_Elementi._htm

 http://www.marioe.it/al/Interazioni/SublimeArte_Constable.htm_

http://www.sparknotes.com/poetry/wordsworth/section1.html_

Monica28812 aprile 20185-7 minutes

Surrealismo in Spagna tra cinema e letteratura Il 30 Novembre 2017, in aula Shakeaspere, nella sede didattica G.Tucci, si è svolta una conferenza il cui tema principale è stato quello del Surrealismo in Spagna. A cominciare la conferenza, il Professor Gabriele Morelli che, inizialmente, espose i primi movimenti d’avanguardia spagnola. Il primo è quello del Futurismo, un movimento in cui troviamo un rifiuto del passato. Ma questo tema risalta anche nel Dadaismo che propone una nuova forma di linguaggio. In Spagna questo movimento è detto Ultraismo, poiché guarda soprattutto alla figura della macchina fotografica e dell’immagine che deforma la realtà. Dalla sua evoluzione si passa al Creazionismo dove troviamo un rifiuto dei maestri e della letteratura. Fa riferimento al poeta cileno Vicente Huidobro il quale afferma che: “come la natura crea l’albero, così il poeta deve inventare l’immagine.” Il sentimento dentro il nostro cuore è quadrato, l’unica forma di libertà è l’orizzonte. La capitale di questi movimenti è Parigi. Un altro movimento che precede il surrealismo è il Cubismo dove l’autore principale è Picasso. Il Surrealismo è un movimento che nasce in Francia nel 1924. Il maggiore esponente di questa corrente è Peter Rostovsky, artista contemporaneo russo, che predilige raffigurazioni di tipo magico-fantastiche o realistico-macabre, due temi di grande impatto emozionale. Il professor Morelli ha voluto dare una definizione a questo movimento con queste parole: “Automatismo psichico puro con il quale ci si propone di esprimere sia verbalmente che in ogni altro modo il funzionamento reale del pensiero in assenza di qualsiasi controllo esercitato dalla ragione al di fuori di ogni preoccupazione estetica o morale.” Infatti esce fuori un pensiero disordinato e libero.

Poi il professore ha fatto riferimento ad alcuni testi letterari del poeta e drammaturgo Federico Garcia Lorca, il quale scrive poesie tradizionali e poesie surrealiste. Un esempio di poesia tradizionale è “Poema del cante jondo” (1931) in cui si parla della morte. Oppone all’immagine della morte tutte immagini positive, ad esempio: (chitarra = canto della vita) (aranci = sapore, colore, profumo) (banderuola = immagine irrazionale/surreale = indica vita, movimento, gioco). In seguito abbiamo analizzato “Canciones” (1921-1924) in cui anche gli oggetti più insignificanti partecipano alla passione d’amore che fa soffrire. Poi il professore ci ha analizzato “Poeta en Nueva York” (1929-1930) in cui Federico Garcia Lorca sta ricordando quando alla sorella gli è stata regalata una rana e il gatto se l’ha mangiata. Queste immagini che sembrano surreali hanno poi una proiezione della vita. Successivamente abbiamo osservato la poesia “New York” (1929) in cui ci sono delle immagini irrazionali. Sta facendo una critica contro New York. Esempio: (Anatra = sacrificio di essere mangiata) (Marinaio = sacrificio di un lavoro pericoloso.) (Sangue tenero = sacrifico degli innocenti).

Per quanto riguarda il cinema surreale abbiamo assistito alla visione del film: “Un Chien Andalou” di Luis Bunuel, del 1929. In questo film troviamo l’annullamento di tutti i sentimenti e l’affermazione dei sensi. I principali nuclei tematici sono: il desiderio dell’uomo impedito dal peso che si trascina dietro, rappresentato dall’immagine del

pianoforte; la corruzione, rappresentata dall’immagine dell’asino putrefatto; la punizione dell’uomo che entra nella stanza, in questa immagine troviamo il riflesso della biografia di Dalì perché aveva un padre molto autorevole. La prima immagine dell’occhio tagliato con il rasoio è un’immagine violenta, dissacrante e crea un rapporto istintivo e non sentimentale. In questo film ci sono anche delle immagini surrealistiche, ad esempio, le formiche e la farfalla, che è tipico del mondo di Freud.

Successivamente il professore ha fatto riferimento a Ramon Gomez De La Serna il quale creò per la prima volta nel 1910 la “Gregueria” ovvero, accostare un oggetto con un altro. Ad esempio:

- Una macchina da scrivere silenziosa è una macchina in pantofole

- Dante andava tutti i sabati dal parrucchiere per farsi tagliare la corona d’alloro

- La forchetta è il pettine degli spaghetti

- L’ateo non dovrebbe avere osso sacro

- La A è la tenda dell’alfabeto

- Le spighe fanno il solletico al vento

Complessivamente ho trovato la conferenza tenuta dal Professor Gabriele Morelli molto interessante, anche se, personalmente, sono stata attratta dalla storia del surrealismo spagnolo. Essendo interessata molto di più al cinema e alla fotografia, sono stata molto colpita dalle immagini del cortometraggio di Luis Bunuel: la scena dell’occhio tagliato, quella dell’investimento, la mano invasa dalle formiche, l’asino putrefatto e il pianoforte. Queste, oltre ad aver scosso la mia vista per la loro crudeltà, accompagnate dal silenzio del film muto sono l’emblema di un malessere interiore che viene trasmesso pienamente dal regista.

Monica De Santis

Scienze Politiche, della comunicazione e delle relazioni internazionali

INDIRIZZO: Amministrativo-Gestionale

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Report surrealism in Spain between cinema and literature

Monica28812 April 2018

5-7 minutes

Surrealism in Spain between cinema and literature On November 30, 2017, in the Shakeaspere classroom, in the G.Tucci teaching site, a conference was held whose main theme was that of Surrealism in Spain. Beginning the conference, Professor Gabriele Morelli, who initially exhibited the first Spanish avant-garde movements. The first is that of Futurism, a movement in which we find a rejection of the past. But this theme also stands out in Dadaism which proposes a new form of language. In Spain this movement is called Ultraism, because it looks above all at the figure of the camera and the image that deforms reality. From its evolution we move on to Creationism where we find a rejection of masters and literature. He refers to the Chilean poet Vicente Huidobro who states that: "how nature creates the tree, so the poet must invent the image. "The feeling inside our heart is square, the only form of freedom is the horizon. The capital of these movements is Paris. Another movement that precedes surrealism is Cubism, where the main author is Picasso. Surrealism is a movement that was born in France in 1924. The greatest exponent of this current is Peter Rostovsky, a Russian contemporary artist, who prefers magical-fantastic or realistic-macabre-type representations, two themes of great emotional impact.   Professor Morelli wanted to give a definition to this movement with these words: "pure psychic automatism with which one proposes to express both verbally and in every other way the real functioning of the thought in the absence of any control Exercised by reason outside of any aesthetic or moral preoccupation. " In fact it comes out a messy and free thought.  Then the professor referred to some literary texts of the poet and dramatist Federico Garcia Lorca, who wrote traditional poems and surrealist poems. An example of traditional poetry is "Poema del cante jondo" (1931), which speaks of death. Opposes the image of death all positive images, for example: (guitar = song of life) (orange = taste, color, scent) (vane = irrational / surreal image = indicates life, movement, game). Later we analyzed "Canciones" (1921-1924) in which even the most insignificant objects participate in the passion of love that makes us suffer. Then the professor analyzed "Poeta en Nueva York" (1929-1930) in which Federico Garcia Lorca is remembering when his sister was given a frog and the cat has eaten it. These images that seem surreal then have a projection of life. Later we observed the poem "New York" (1929) in which there are irrational images. He is criticizing New York. Example: (Duck = sacrifice of being eaten) (Sailor = sacrifice of a dangerous job.) (Soft blood = sacrifice of the innocents).

As for the surreal cinema we witnessed the vision of the film: "Un Chien Andalou" by Luis Bunuel, from 1929. In this film we find the annulment of all the feelings and the affirmation of the senses. The main thematic nuclei are: the human desire prevented by the weight that is dragged behind, represented by the image of the

piano; corruption, represented by the image of the rotten ass; the punishment of the man who enters the room, in this image we find the reflection of Dali's biography because he had a very authoritative father. The first image of the eye cut with a razor is a violent, irreverent image and creates an instinctive and non-sentimental relationship. In this film there are also surrealistic images, for example, the ants and the butterfly, which is typical of the world of Freud.

Subsequently, the professor referred to Ramon Gomez De La Serna who created the "Gregueria" for the first time in 1910, that is, approaching one object with another. Eg:

- A silent typewriter is a machine in slippers

- Dante went every Saturday to the hairdresser to get his laurel wreath cut

- The fork is the spaghetti comb

- The atheist should not have a sacred bone

- A is the tent of the alphabet

- The ears tickle the wind

Overall I found the conference held by Professor Gabriele Morelli very interesting, even though, personally, I was attracted by the history of Spanish surrealism. Being much more interested in cinema and photography, I was very impressed by the images of Luis Bunuel's short film: the scene of the cut eye, that of the investment, the hand invaded by the ants, the rotten ass and the piano. These, in addition to shaking my sight for their cruelty, accompanied by the silence of the silent film are the emblem of an inner malaise that is fully transmitted by the director.

Monica De Santis

Political Sciences, Communication and International Relations

TRANSCRIPT

IL SUBLIME

IL VOLTO DELL’INFINITO.

Percorso interdisciplinare di Gloria Pizzo

Esame di stato anno scolastico 2011/2012

Classe 5F, Liceo Artistico Paolo Candiani

IL SUBLIME

IL VOLTO DELLINFINITO.

Nuvole di temporale che si ammassano tra lampi e tuoni, catene montuose

che si estendono per chilometri, vulcani e uragani che si scatenano in

tutta la loro potenza distruttrice, oceani contornati da tramonti o

sovrastati da sciedi stelle pulsanti Gli indomabili spettacoli della

natura sono sempre stati fonte di attrazione e ammirazione delluomo,

incapace per di abbracciarne le grandezze incommensurabili.Tale

sensazione di dispiacere diventa il punto di avvio della capacit

diimmaginazione delluomo, dellespansione della mente umana di fronte

allinfinito e al di sopra della mediocrit ordinaria.Il fascino del

terremoto,di sensazioni infinite e discordanti che attraversano lanimo

umano, in contemplazione della natura, stato dunque il motivo per cui ho

deciso di indagare il sentimento del sublime, come forma di appagamento

delluomo in tensione verso linfinito.

Nel percorso affrontato hosvolto e approfondito la ricerca del sublime,

partendo dalla sua definizionee presentandolo attraverso i principali

esponenti della filosofia, Edmund Burke e Immanuel Kant, della

letteratura italiana, Giacomo Leopardi, inglese, William Wordsworth, e

dellarte, William J.M Turner, Caspar Friedrich fino ai giorni nostri con

Peter Rostovsky.

Introduzione

Con lavvento del romanticismo affermato in Europa intorno al

1830, si rivalutano le sfere della passione, dell'irrazionalit e del

sentimentoche erano state messe da parte in favore della razionalit nel

periodoneoclassico, rivalutando anche, in questo modo, il genio

individuale e l'ispirazione.Lapoeticaromanticasi basa sul concetto che

la natura nonproduce il bello ideale, ma immagini che possono ispirare

due sentimenti fondamentali: il bello e il sublime.Il sublime, infatti,

si differenzia dal bello perch, mentre questo suscita in noi sensazioni

di calma e serenit quando ci troviamo di fronte a una forma armonica,il

sublimenasce dalla rappresentazione dellinforme e provoca nel nostro

animo sensazioni di fremito e commozione. Nel bello, lanimo

semplicemente attratto dalloggetto; nel sublime, invece, esso risulta

allo stesso tempo attratto e respinto da esso, tanto vero che il piacere

suscitato dal sublime non una gioia positiva, ma piuttosto un piacere

negativo.

“Inchiesta sul Bello e il Sublime” di Edmund Burke

Lopera che sintetizza le numerose componenti del sublime e le organizza

in un sistema analitico Inchiesta sul bello e il sublime diEdmund

Burke(1757). Burke distingue definitivamente il bello dal sublime e

riferisce il bello alla socievolezza, il sublime allistinto di

conservazione. Affermando che le passioni che riguardano

lautoconservazione e che si riferiscono principalmente al dolore o al

pericolo sono le pi forti di tutte le passioni e che il sublime la pi

forte emozione che lanimo sia capace di sentire.

Il concetto di Sublime per Kant

Anche per Kant ilsentimento del sublime sorge da una minaccia,

un momentaneo impedimento seguito da una pi forte effusione delle forze

vitali, e poich lanimo al contempo attratto e respinto dalloggetto, il

piacere del sublime viene definito un piacere negativo. Tra gli scenari

suggeriti da Kant si trovano montagne che si elevanofino al cielo,

profondi abissi in cui le acque si precipitano furiose, che suscitano

uno stupore che confina con lo spavento e tristi meditazioni. Provocato

dunque dalleffettodi ci che in natura assolutamente grande, illimitato,

infinito o dallo spettacolo della potenza dei fenomeni.Kant distingue

nella sua analisi due tipi di sublime: un sublime che egli definisce

matematico e un sublime dinamico.Secondo il filosofo,il sublime

matematico sorge in presenza di qualcosa di smisuratamente grande, ad

esempio le montagne, il cielo stellato o le galassie. Di fronte a queste

realt, nasce nellanimo umano un sentimento ambivalente: da un lato,

infatti, proviamo un senso di dispiacere dovuto al fatto che la nostra

immaginazione non in grado di abbracciarne la grandezza, dallaltro,

invece, proviamo piacere, perch la nostra ragione portata ad elevarsi

allidea dellinfinito, in relazione al quale le stesse immensit del

creato appaiono piccole.Il sublime dinamico nasce invece in presenza

delle forze naturali, ad esempio nella contemplazione di grandi masse

nuvolose che si ammassano durante un temporale, tempeste di lampi e

tuoni, vulcani in eruzione, uragani, oceani in tempesta e cos via.

Assistere a questi eventi in cui la natura mostra tutta la sua potenza,

stando per lontani da essi, produce in noi un senso di piccolezza

materiale se ci paragoniamo alla potenza della natura; in seguito, per,

avvertiamo un sentimento digrandezza ideale dovuta al fatto di essere

esseri umani pensanti. Perci, lemozione del sublime dinamico diviene

esaltativa e langoscia, da depressiva che era in principio, si muta in

entusiasmo. Kant, coerente con la sua rivoluzione copernicana estetica,

ritiene che anche il sublime, come il bello, non sia una propriet

oggettiva e ontologica delle cose, bens il frutto dellincontro del

nostro spirito con esse.Il sublime, dunque, non risiede nella realt che

ci sta di fronte, vale a dire negli eventi o negli oggetti in questione,

bens nel nostro stesso animo.

Il Sublime nell’arte

Nel romanticismo, gli artisti, rappresentavano il momento storico

contemporaneo e i problemi esistenziali delluomo quali la meditazione

sul trascorrere degli annie sulla morte, per cui gli elementi che

caratterizzavano la loro arte erano:La rappresentazione di uno

spettacolo sublime capace di suscitare forti emozioni;Iparticolari

realistici;Lutilizzo del colore per rendere la forma e lo spazio;Luso di

macchie di colore puro contrapposte.La pittura interpret la condizione

delluomo e utilizz il paesaggio come una metafora per indicarne il destino

La rappresentazione della natura fu uno dei temi prediletti dagli

artisti romantici, Turner la rappresent nei suoi aspetti terrificanti e

distruttivi.

William J.M Turner

Joseph Mallord William Turner (1775-1851), pittore inglese, espresse

nelle sue opere il rapporto inquietante tra luomo e la natura, una

natura immensa e sconosciuta, di fronte alla quale luomo pu solo

meditare sulla sua solitudine e sulla sua fragilit.Larte di Turner

pienamente matura nel dipintoLa tempesta di neve, del 1842. Intanto

continua a viaggiare e a produrre grandi opere artistiche che avevano

suscitato ammirazione ma anche disprezzo in chi non comprese il suo

genio e la sua portata innovativa.Turner, nellaTempesta di neve, che

rappresenta un'imbarcazione a vapore sorpresa da una bufera di neve,

supera il dato realistico per inscenare sulla tela una visione

travolgentee altamente poetica della natura. Il battello sembra voler

lottare titanicamente contro la furia della tempesta, ma inutile,risulta

ogni sforzo contro la potente maestosit della natura; il progresso umano

e la scienza contro la forza smisurata e sovrana dell'universo. Nel

guardare la tempesta che con grande impeto e veemenza infierisce contro

il battello, lo spettatore si sente anch'egli in pericolo.Il quadro

supera,del tutto, l'aspetto descrittivo- realistico per assumere dei

connotati suggestivi-evocativi, i vortici di acqua, aria, luce, colore,

come turbini in movimento rapido, travolgono il battello, coinvolgendo

lo spettatore che prova, nell'assistere a tale spettacolo grandioso, un

sentimento sublime.Lo stesso Turner volle sperimentare sudi s tale

sentimento all' et di settantasette anni, facendosi legare all'albero

maestro di una nave e attraversando letteralmente l'occhio di un ciclone

durante una tempesta.L'opera appare come la perfetta metamorfosi della

tematica filosofica del sublime di Immanuel Kant che nellaCritica del

giudizio, considera il sublime derivato non dal rapporto tra sensibilit

e intelletto, ma dalla tensione conflittuale tra sensibilit e ragione.

Il sentimento del sublime si prova sia quando si di fronte

all'infinitamente grande quale, appunto, infinito temporale o spaziale,

sia quando si di fronte agli spettacoli straordinari della natura.

Caspar David Friedrich Caspar

David Friedrich (1774-1840), pittore tedesco, espresse nei suoi quadri,

con varie situazioni il rapporto della natura immensa e infinita con

luomo finito che guarda verso linfinito, immenso e possente, con un

sensodi paura ma anche di religiosit.Nel paesaggio infatti, Friedrich

rappresenta i suoi sentimenti, la solitudine delluomo e la sua angoscia

di fronte al mistero della natura e nella natura egli coglie ilSublime,

uno dei temi fondamentali delRomanticismo, cos definito dal filosofo

tedesco, Immanuel Kant.Il paesaggio di Friedrich trasmette malinconia e

la natura, colta in diversi aspetti, esprime il mutare del tempo e delle

stagioni, in cui si identifica la profonda solitudine delluomo. Lanatura

sentita come una realt viva, animata in uno sviluppo infinito.Viandante

in un mare di nebbiarappresenta una situazione sublime in cui luomo

contempla in un silenzio profondo la natura infinita. Il tema

fondamentale di questo dipinto il paesaggio, nel quale luomo svolge il

ruolo di spettatore e di protagonista. IlViaggiatore, volgendoci le

spalle sembra ignorarci, ma nello stesso tempo noi ci identifichiamo in

lui; insieme diventiamo parte del quadro e scrutiamo il paesaggio

indistinto,assorti nei nostri pensieri, soli, per meglio contemplare e

riflettere su ci che ci circonda. I colori predominanti sono il bruno e

il grigio-azzurro, che creano leffetto della luce e dello spazio.

Peter Rostovsky

Peter Rostovsky (1970) , giovane artista russo esponente della corrente

del Superrealismo,una delle ultime e pi recenti sperimentazioni della

Neoavanguardia.Questa corrente si propone di esplorare ilsuper

reale,ovvero una dimensione mentale che partendo da una rappresentazione

fotografica viene rielaborata artisticamente.Maggiore esponente di

questa corrente proprio Peter Rostovsky, che predilige raffigurazioni di

tipo magico-fantastiche o realistico-macabre, due temi di grande impatto

emozionale.Famose sono le sue installazioni. Partendo dall'idea del

celeberrimo quadro diCaspar David Friedrich, "Il Viandante Sul Mare Di

Nebbia", egli reinterpreta quest'ultimo con la tecnica del

Superrealismo: un elemento scolpito a tutto tondo si colloca sullo

sfondo di un dipinto su tela.Epiphany Model 2 un'installazione del 2001

composta da una grande tela circolare sulla quale dipinto un cielo pieno

di nubi al tramonto con un'antistante statuetta scolpita di un

personaggio che osserva estasiato, posta su un piedistallo bianco. La

scultura collocata cos proprio per coincidere visivamente col centro del

dipinto.La reinterpretazione di Rostovsky ricca di fascino evocativo e

tende a restituire lidea del sublime, a conferma di come lo sgomento e

la meraviglia delluomo di fronte alla natura siano comunque sentimenti

universali e senza tempo.Come visto nel quadro di Friedrich infatti,la

vastit del cielo conferisce alla scena unimpressione di desolazione e

sottolinea il contrasto tra la finitezza umana e linfinito della natura,

rievocando espressioni leopardiane che inducono a pensare alla

malinconia e alla solitudine.

Il Sublime nella poetica di Giacomo Leipardi

Linfinito di Friedrich

trasmette sentimenti ed emozioni sublimi, espressi da Leopardi nel

suoInfinitocon silenzi sovrumani, spazi interminati e quiete

profondissima:Il poeta rappresenta l'uomo come una figura "smarrita

nella vastit incomprensibile dell'esistenza" che avverte la distesa

paurosa dell'infinito.Se nella realt il piacere infinito

irraggiungibile, l'uomo pu figurarsi piaceri infiniti mediante

l'immaginazione. Ci che stimola l'immaginazione a costruire questa realt

parallela, in cui l'uomo trova l'illusorio appagamento al suo bisogno di

infinito, tutto ci che "vago e indefinito", lontano, ignoto."lavora

l'immaginazione e il fantastico sottentra il reale"Ogni sentimento o

pensiero poetico qualunque , in qualche modo, sublime e produce "un

innalzamento dell'anima".L'individuo leopardiano riesce ad innalzarsi e

a comprendere in s un intero universo, e la sua nobilt sta nel fatto che

egli in grado di "abbracciare e contenere col pensiero questa immensit"A

livello poetico, l'infinito rappresenta perfettamente la dinamica del

sublime:la vista limitata dalla siepe, il confine tra finito e infinito,

ma c un "buio oltre la siepe", costringe l'immaginazione a inseguire

questo al di l.Allora il poeta si "finge" questo senarionel pensiero, ed

arriva ad un punto ove per poco il cor non si spaura"Il sublime la

capacit della mente di superare il limite della realt sensibile,

addentrandosi oltre illimite del nulla e dell'ignoto i quali non

suscitano paura allo stato puro, bens un tremito misterioso dell'animo.

Tinturn Abbey and the Sublime

William Wordsworth was a revolutionary thinker in his time. His opinion

was that the sublime could be found in the ordinary, or nature.

Wordsworth believed that Man and Nature could not exist dependent from

each other, to fully comprehend life, we must combine our memories with

our mature experiences. If we are capable of synthesizing these, we can

increase our felling intellect or sublime.The idea of the sublime being

found in the ordinary is unusual, it is a recurring theme throughout his

works.In "Lines Composed A Few Miles Above Tinturn Abbey," Wordsworth

speaks of a presence that "disturbs him with joy," which he defines as

the sublime "whose dwelling is the light of the setting suns, / And the

round ocean and the living air, / And the blue sky, and in the mind of

man." In other words, he is explaining that the sublime is not

unreachable.More importantly, the sublime also resides in the human

consciousness. Wordsworth defines the sublime as the "passions that

build up in our human soul."Wordsworth's first visit to Tinturn Abbey

did not occur when he was a child, there is still the sense of something

lost when he returns five years later. He realizes that time has

passedand the delights of his first visit are over. Fortunately for him,

he also understands that this is not the end of his joys, but merely the

beginning. "For I have learned," he said, "To look on nature, not as in

the hour / Of thoughtless youth: but hearing oftentimes / The still, sad

music of humanity." This small quote represents what Wordsworth mean

about synthesizing and combine our memories with the present. Wordsworth

believes that he has found the answer to how to rise to the height of

"feeling intellect." Imagination and intellectual Love are each in each.

Imagination is representative of the child's mind. Intellectual Love is

representative of the adult, or philosophic, mind. These two qualities

of the human mind, Imagination and Intellectual Love are, ideally,

inseparable. A combination of these attributes will allow an individual

to rise to the height of "feeling intellect" or the sublime.

Bibliografia

Turner,I classici dellArte, edizion iSkira Inchiesta sul Bello e il

Sublime,Edmund Burke, edizioni

Aesthetica Intinerario nellarte,edizioni Zanichelli  

J. M.W Turner,The man who set painting on fire, edizioni Thames &

Hudson Sitografia

http://it.wikipedia.org/wiki/Sublime

http://www.peterrostovsky.com/

http://sauvage27.blogspot.it/2009/02/la-tempesta-di-neve-william-turner.html_

http://www.filosofico.net/Antologia_file/AntologiaK/KAN/DABELLo/ALSUBLIME

http://www.parodos.it/filosofia/ii_sublime_di_kant.htm_

http://www.marioe.it/al/Interazioni/SublimeArte_Elementi._htm

http://www.marioe.it/al/Interazioni/SublimeArte_Constable.htm_

http://www.sparknotes.com/poetry/wordsworth/section1.html_