Qualcosa Mi Dice Che in Questo Quadro Ci Sono Alcuni Degli Elementi Per Me Più Importanti

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Qualcosa Mi Dice Che in Questo Quadro Ci Sono Alcuni Degli Elementi Per Me Più Importanti – Qualcosa mi dice che in questo quadro ci sono alcuni degli elementi per me più importanti. Dei significati che devo ancora scoprire. È per questo che lo tengo…– – Something is suggesting to me that in this painting there are some of the most important factors for me. Some meanings that I have yet to discover. That’s why I keep it...– Filippo Stivaletta – Penso che non sia solo un richiamo a Dante Gabriel Rossetti, ma proprio al sommo Dante. Il fiore velenoso sta a significare non l’amore che porta alla morte, ma l’esatto contrario. La morte che porta all’amore, quello metafisico. L’abbandono del mondo materiale per la scoperta e la conquista del vero spirituale. Vedi, rappresenta la Filosofia, la comprensione delle cose, del loro fine ultimo…– – I think it is not only a reference to Dante Gabriel Rossetti, but just to the supreme Dante. The poisonous flower symbolizes not love leading to death, but the exact opposite. The death leading to love, the metaphysical one. The abandonment of the material world for the discovery and conquest of the spiritual truth. As you can see, it represents the Philosophy, the understanding of things, of their ultimate goal...– Alessandro Obino Il ritorno dopo il lungo viaggio Filippo Stivaletta raccoglie l’eredità di un grande artista dell’epoca vittoriana, Frederic Leighton, e porta la sua enigmatica Flaming June sul Golfo d’oro della città di Vasto. Il suo omaggio si rivolge, allo stesso tempo, alla bellezza muliebre, forse mai celebrata con tanto splendore come dai preraffaeliti, ed al significato esoterico che la figura femminile in loro, misteriosamente, rappresenta. Il quadro, olio su tela, nasce dalla commissione di coniugare l’opera di un grande epigono di Dante Gabriel Rossetti con una veduta significativa della città natale della famiglia Rossetti, la Vasto che qui è rappresentata da uno dei suoi scorci più caratteristici, la balconata detta “Loggia Amblingh” che, insistendo sul percorso delle vecchie mura della lame, si proietta oggi come uno splendido palco sull’incomparabile scenario dell’Adriatico e delle prospicenti isole Tremiti. La ricerca di Stivaletta è filologicamente maniacale. Un’elaborazione attenta del colore, la lavorazione quotidiana dei suoi strati per ricreare gli effetti di sovrapposizione e trasparenza delle vesti di June, la lucidatura finale per conferire un effetto cromatico potente quale quello ricercato dai preraffaeliti e, particolarmente, da Leighton nel suo capolavoro. Allo stesso tempo, Stivaletta si prende la libertà di collocare June in un nuovo scenario, non più indefinito come quello del quadro originale, ma reale e pittorico allo stesso tempo. Curiosamente collocata in un punto geografico, chiamato a Vasto i Tre segni, dal quale sono state tratte alla metà del secolo scorso le cartoline che l’hanno fatta conoscere come località di villeggiatura, possiamo immaginare June all’ombra del grande pino marittimo che campeggia nelle vedute d’epoca. Sullo sfondo, da una parte uno scorcio del celebre golfo, dall’altra la veduta della loggia sulle vecchie mura, con in evidenza proprio la casa natale di Gabriele Rossetti. L’insieme della composizione sembra così più una risposta, un disvelamento dell’arcano celato nell’originale, piuttosto che una sua libera interpretazione. Se la June di Leighton, infatti, appare misteriosa e sensuale, tanto che molti critici si sono affannati a interpretare il significato del fiore mortale dell’Oleandro ben visibile alla sua destra, la June di Stivaletta appare più chiaramente come una figura idealizzata. Non è il rapporto fra eros e thanatos ad essere celebrato, ma quello 2 fra l’amor e l’a-mor, ovvero fra l’amore trascendente e la vita eterna, quella senza morte. Questo arcano, proprio dei Fedeli d’Amore del XIII secolo, era stato alla base dell’interpretazione fatta dal Rossetti padre della figura di Beatrice nell’opera di Dante Alighieri quale rappresentazione dell’Intelligenza trascendente, ovvero della Filosofia. Questo stesso significato profondo viene assorbito da suo figlio Dante Gabriel e dai suoi seguaci nella confraternita dei preraffaelliti e, da lì, viene riproposto per quasi un secolo nella loro straordinaria arte figurativa. L’omaggio di Filippo Stivaletta è a tutta questa tradizione ed al profondo significato della loro rappresentazione dell’eterno femminino. Non la semplice esaltazione della bellezza, ma l’abbandono del mondo materiale per la scoperta e la conquista del vero spirituale. Per questo l’opera assume il nome di “Il ritorno dopo il lungo viaggio”. La sua riproduzione su tela in 180 copie, tutte numerate, non vuole essere soltanto un invito a goderne la bellezza cromatica e l’equilibrio compositivo, ma, soprattutto, a condividerne il significato più profondo. The return after the long travel Filippo Stivaletta reflects the heritage of a great artist of Victorian age, Frederic Leighton, and brings his enigmatic Flaming June on the “Golfo d’oro” of Vasto city. His homage is referred to as the feminine beauty, perhaps never celebrated with such splendor as by Pre- Raphaelites artists, as well as to the esoteric significance that the female figure mysteriously represents for them. The painting, oil on canvas, is born by the commission to combine the work of a great epigone of Dante Gabriel Rossetti with a significant view of the hometown of Rossetti family. The city of Vasto it’s here represented by one of its most picturesque corner, the balcony called “Loggia Ambling” that, going through the path of the old walls named “Muro delle Lame”, is projected today as a beautiful stage in the incomparable scenery of the Adriatic sea and overlooking Tremiti islands. Stivaletta research is philologically maniacal. The careful processing of the color, the daily processing of its layers to create overlay and transparency effects of the garments of June, the final polishing to give powerful color effect such as that researched by Pre-Raphaelites, and in particular, by Leighton in his masterpiece. At the same time, Stivaletta feels free to place June in a new scenario, not indefinite as that of the original painting, but real and pictorial at the same time. Curiously located in a geographical point, named “Tre segni” in Vasto, on which are based, in the middle of the last century, the postcards that made it known as a holiday resort, we can imagine June at the shade of the great maritime pine emerging in the ancient view. In the background, on the one hand a glimpse of the famous bay, on the other hand the view of the lodge facing the old walls where just the birthplace of Gabriele Rossetti is highlighted. The entire composition seems, in this way, like an answer, a disclosure of the arcane concealed in the original, rather than its free interpretation. If the June of Leighton, in fact, appears mysterious and sensual, so much so that many critics have struggled to interpret the meaning of Oleander deadly flower clearly visible on his right, the June of Stivaletta appears more clearly as an idealized figure. It is not the relationship between Eros and Thanatos to be celebrated, but 3 the one between the love and “a-mor”, or rather between the transcendent love and eternal life, that without death. This mystery, just of the “Fedeli d’Amore” of the thirteenth century, had been the basis of the interpretation of Rossetti, the father of Beatrice figure in Dante Alighieri as a representation of the transcendent Intelligence represented, or rather the Philosophy. This same deep meaning is absorbed by his son Dante Gabriel and his followers in the Pre-Raphaelite brotherhood and, from there, is proposed for almost a century in their extraordinary figurative arts. The homage to Filippo Stivaletta is dedicated to all this tradition and the deep meaning of their representation of the eternal feminine. Not merely the exaltation of beauty, but the abandonment of the material world for the discovery and conquest of the spiritual truth. This is why the work takes on the name “The return after the long travel.” His reproduction on canvas, 180 copies all numbered, will not only be an invitation to enjoy the beauty and the color balance of the composition, but, above all, to share its deeper meaning. ExagogicArt L’Arte come percezione generativa della realtà L’Arte è sicuramente la parte più specifica, ha voluto iniziare un percorso di mecenatismo tenace e duratura della Cultura umana. È la per sostenere e valorizzare l’opera di artisti parte che rimane nei secoli, che attraversa le emergenti del proprio territorio d’origine, la diverse manifestazioni storiche dell’intelletto bellissima Italia. Allo stesso tempo, Exagogica umano, che sembra capace di parlare un vuole trasmettere, attraverso le opere linguaggio addirittura universale. Come mai? commissionate, il suo messaggio esistenziale, la missione per la quale è stata fondata ed opera Le componenti esclusivamente materiali della con le sue persone e per i propri clienti. nostra Cultura, infatti, con il passare del tempo e con il mutare delle epoche, perdono ogni senso Creare conoscenza, questa è la nostra missione. se vengono private del loro aspetto “artistico”. Creare conoscenza in quanto intellezione della Questo consiste nella capacità del loro artefice realtà e delle connessioni fra le sue parti. di connotare la percezione estetica dell’opera Creare conoscenza a partire dai dati e dalle con significati ulteriori e con messaggi unici informazioni che abbiamo sui dati… perché interiori ed individuali. Oggi, infatti, ricordiamo l’epoca romana o il rinascimento Informatica. Nel senso più puro del termine. 4 per le sue opere d’arte molto più che per le sue Apparentemente una missione molto lontana produzioni materiali solamente “tecniche”. da qualsiasi afflato artistico... Invece no, non solo informatica, ma scienza delle informazioni La stessa cosa accade per i lasciti immateriali. che diventa scienza della conoscenza, Quelli artistici sono universalmente noti e epistemologia.
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