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De Kus Bij Hayez En Visconti Diger Van De Vijand, Ook Al Wordt Snel Duidelijk Italiaanse Theatervernieuwer Van Na De Oorlog

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De Kus Bij Hayez En Visconti Diger Van De Vijand, Ook Al Wordt Snel Duidelijk Italiaanse Theatervernieuwer Van Na De Oorlog jongHolland 2006 - 2 4 Hayez en Visconti jongHolland 2006 - 2 5 Hayez en Visconti ficier Franz Mahler. Ze ruilt haar patriottisme dit Franz en haar neef, markies Ussoni ook. In (1963) en Morte a Venezia (Dood in Venetië, in voor een verhouding met een vertegenwoor- Senso imiteert het leven de kunst. 1971). Daarnaast werd hij de belangrijkste De Kus bij Hayez en Visconti diger van de vijand, ook al wordt snel duidelijk Italiaanse theatervernieuwer van na de oorlog. dat hij een opportunist is. Later zoekt hij haar Luchino Visconti en intermedialiteit Hij introduceerde de toneelstukken van Jean op in haar villa, in de hoop met haar geld te 2006 is niet alleen Rembrandt- en Mozart-jaar. Cocteau, Tennessee Williams en Arthur Miller Schilderkunst, film en intermedialiteit Ivo Blom kunnen deserteren. Na zich aanvankelijk te Het is dit jaar ook een eeuw geleden dat Luchino én hij was volgens de legende de man die Maria verzetten geeft Livia opnieuw toe aan Franz en Visconti werd geboren. Hij was een telg van de Callas leerde acteren. Veel is geschreven over Ectem euguer sum quamet adionullam nostrud tat. An essequis at prat. Ivo Blom is docent Algemene omhelst hem, in de pose van Il Bacio.[9] Het aristocratische familie Visconti di Modrone die de theatrale en melodramatische invloeden in Cultuurwetenschappen aan de Vrije bleek de ideale houding, die Visconti voor deze eind negentiende eeuw tot de beau monde van Visconti’s films, evenals over de literaire invloe- Rud tisit incip exer sent adit nullaor si ex elit eu facilla feugue te modolor perat. Universiteit. Hij schrijft momenteel een boek Suscill aortie magna alissi tatet prat praessis acin volorer sequi ex eum il exero eugait veli- over Luchino Visconti en visuele cultuur, en sleutelscène zocht. Visconti redeneerde dat Il Milaan behoorde, en een verre nazaat van de den. Over de picturale kant van zijn filmoeuvre is medeorganisator van het congres Luchino Bacio beroemd was in de kringen waarin Livia hertogen Visconti die ooit over heel Lombardije is echter veel minder bekend. Visconti eigent quatio consequi bla feum nonsenisis eugiamet, venim ip ero conulput am ip ex el del er Visconti e le arti visuali dat op 28 september zich begaf; zij zou het schilderij gekend kunnen heersten. Zijn moeder, Carla Erba, was de zich beeldende kunst toe en gebruikt daarbij op a.s. in Milaan plaatsvindt. sum irit la feu faccum doloborem illa augue magnis alit wisis nullum quisisisl et, quiscipis hebben.9 Visconti hanteerde hierbij het idee, dat niet-aristocratische erfgename van het grootste grandioze wijze verschillende filmische midde- adiat laor illamconum quat, quis autatum dolenit, sim alit atiscip issequat in men in die periode en in dit milieu weinig on- farmaceutische bedrijf van Italië. Zij stimu- len. De kijker krijgt daardoor het gevoel in één derscheid maakte tussen leven en theater. In het leerde hem om zelf de handen uit de mouwen te groot, bewegend schilderij rond te wandelen. Italië van het Risorgimento deden romantische steken. In 1942 regisseerde Visconti Ossessione, Intermedialiteit is binnen de academische we- en nationalistische gevoelens het leven heldhaf- de eerste van een reeks films die geschiedenis reld momenteel een veelbesproken onderwerp. Dankzij Romeo, Julia en het balkon geldt men noemde, een Vrijwilliger, die ten strijde modernere, negentiende-eeuwse kleding vormt tiger, grootser en idealer voorkomen dan het in zouden schrijven, zoals La terra trema (1948), Net als letterkundigen of kunsthistorici richten Verona als de stad van de romantiek. Op sou- trekt en zijn geliefde nog een laatste kus geeft. al decennialang het beeldmerk van de Baci- feite was. Aan het begin van de film verwijt Livia Rocco e i suoi fratelli (1960), Il Gattopardo filmwetenschappers zich al lang niet meer alleen venirs die in deze stad te koop zijn in uiteen- Een schimmige gedaante op de achtergrond chocolaatjes van Perugina.6 [6] Al in 1922, toen lopende vormen en maten – van aanstekers – een voorbode van de Dood? - lijkt de vrijwil- Hayez’ werk te zien was op een expositie in deze verwijzing, toen ik hem interviewde op 9 Interview met Piero Tosi, 21 september en ansichtkaarten tot puzzels en pennen – is liger al te komen halen. Decor en kostuums Venetië, werden Baci-dozen versierd met een 12 juli 2004. Hij was zelf regieassistent bij 1984. Tosi was Visconti’s vaste Ludwig geweest. kostuumontwerper vanaf begin jaren vijftig. William Shakespeares romantische paar te zijn middeleeuws – de officiële ondertitel was liefdespaar in de pose van Il Bacio. Het paar op zien.[1-3] Veel van die afbeeldingen zijn terug ‘Episodio della giovinezza. Costumi del XIV de chocoladedoos was dat jaar ontworpen door te voeren op een schilderij van de Milanese secolo’ (Episode van de jeugd. Kostuums van Federico Seneca (1891-1976), in de jaren twintig schilder Francesco Hayez, Il Bacio (1859). Zo de 14e eeuw) maar net als in de historische een vermaard afficheontwerper.7 Na de jaren Ansichtkaart van Il Bacio werd het een icoon voor de verbeelding van settings van de opera’s van Verdi kon het twintig veranderde zijn beeldmerk nauwelijks met gedicht, ca. 1900. Romeo en Julia. Il Bacio (de kus) is ook in films publiek gemakkelijk door die historiserende en het paartje bleef op de Baci-dozen staan. geciteerd, recentelijk nog door George Lucas in camouflage heenkijken. De sfeer doet denken Hoewel minder vaak geciteerd dan bijvoorbeeld Star Wars 3: The Revenge of the Sith (2005). aan Romeo and Juliet van Shakespeare, een Pollice verso van Gérôme of Mantegna’s Dode Maar de eerste die het schilderij citeerde, was dankbaar onderwerp voor de schilders van die Christus, heeft Hayez’ schilderij naast de boven- Luchino Visconti in Senso (1954), wanneer het dagen.1 Vanwege de onmiddellijke populariteit genoemde uitingen van populaire cultuur ook onmogelijke liefdespaar Livia Serpieri (Alida van zijn schilderij schilderde Hayez een aantal geleid tot filmische citaten. Het meest recente Valli) en Franz Mahler (Farley Granger) elkaar versies van Il Bacio: twee grote en verder wat is het citaat in Star Wars 3: The Revenge of the voor het eerst omhelst. Dit filmische citaat is de kleinere.2 De oudste en beroemdste uit 1859 Sith (2005) als Anakin (Hayden Christensen) uitkomst van een lange reeks van beeldmigra- hangt momenteel in de Pinacoteca di Brera in en Padmé (Natalie Portman) elkaar kussen.[7] tie. Welke verschuivingen zijn er intussen in de Milaan en is een legaat van graaf Alfonso Maria De Italiaanse filmer, theater- en operaregisseur betekenis opgetreden? Voor de verklaring van Visconti di Saliceto, de opdrachtgever van het Luchino Visconti (1906-1976) citeerde Il Bacio de iconiciteit van Il Bacio is de oorspronkelijke schilderij.3 [4] Hayez buitte de populariteit van in zijn film Ludwig (1972-74). Als de jonge betekenis of intentie van het schilderij alleen zijn schilderij echter minder uit dan collega’s als Beierse koning Ludwig de Tweede (Helmut niet afdoende. Waarom eigende Visconti zich Lourens Alma Tadema of Jean-Léon Gérôme.4 Berger) en de Oostenrijkse keizerin Elisabeth juist Il Bacio toe? Aandacht voor het Nachleben Van bijvoorbeeld een grote oplage etsen en gra- (Romy Schneider) tijdens een nachtelijke van een schilderij. vures naar het schilderij om de verkoopprijs op wandeling elkaar omhelzen, worden ze eerst te drijven, een tactiek die de Parijse kunsthan- in close-up gefilmd. Daarna neemt de camera The Making of a Legend delaar Goupil toepaste bij het werk van Gérôme, afstand en zien we het paar in de pose van Il In 1859 schilderde Francesco Hayez (1791– is niets bekend. Wel zijn er rond 1900 bijvoor- Bacio. Bovendien blijkt Ludwig een mantel te 1882) zijn beroemdste werk: Il Bacio, één van beeld toverlantaarnplaten en ansichtkaarten dragen die aan die van het schilderij doet den- de latere werken van de schilder. Dit schil- van Il Bacio gemaakt.[5] ken.8 [8] Maar het beroemdste citaat zit in een derij werd in de Milanese kunstacademie, de eerdere film van Visconti, Senso (1954). Accademia di Brera, geëxposeerd in 1859, een De toe-eigening In Senso reconstrueerde Visconti Il Bacio met paar maanden na de zegevierende intocht in Het veelvuldig citeren van de voorstelling de houding van Franz Mahler (Farley Granger) Milaan van koning Victor Emmanuel II en de van Il Bacio vormt een fraai voorbeeld van en Livia (Alida Valli) bij hun omhelzing in de Franse keizer Napoleon III. Het doek was een The Invention of Tradition of The Making of villa van Livia op het platteland. De film is ode aan het Italo-Franse verbond en aan de a Legend.5 Hayez’ oorspronkelijke, politieke gebaseerd op de laat negentiende-eeuwse no- bevrijding van Lombardije van de Oostenrijkse boodschap is inmiddels volledig verdrongen velle Senso van Camillo Boito. Ten tijde van de overheersing. Het was een metafoor voor de ne- en het schilderij geldt nu als de ultieme ver- Oostenrijkse bezettting van de Veneto – in bijna gentiende-eeuwse Italiaanse vrijheidsstrijd, het beelding van de romantische, maar onmoge- dezelfde tijd als het ontstaan van Il Bacio - krijgt Risorgimento, ondanks zijn historische setting. lijke liefde. Het silhouet van een verliefd stel de Italiaanse gravin Livia Serpieri in Venetië Het schilderij stelt het afscheid voor van, wat in exact dezelfde pose als op Il Bacio maar in een overspelige relatie met de Oostenrijkse of- 1 Zo had Hayez zelf in 1823 een schilderij Hayez’, in: Mazzocca 1998, p. 37-39. nog een paar woorden business.” wetenschappers gaat. Een voorbeeld is met de titel L’Ultimo bacio di Romeo e 3 Mazzocca 1994, op. cit. (n. 2), p. 307-309. Reproducties naar het werk van Alma Ernest Samuels, Bernard Berenson: The Giulietta gemaakt. 4 Robert Verhoogt , Kunst in reproductie. Tadema’, Jong Holland 12 (1996) 4, pp. 22- Making of a Legend, Cambridge, Mass.
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