Letteratura E Pittura Dal Verismo Alla Scuola Metafisica
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1 Mi riferisco soprattutto a Gabriele d’Annunzio e al suo interesse per la figura di Leonardo da Vinci, così come ai Futuristi, e al loro progetto di “rinascita” delle arti. 2 La letteratura critica relativa al rapporto tra le arti e la letteratura italiana di fine Ottocento e dei primi del Novecento si concentra, per lo più, sulle singole coppie di scrittori e pittori qui presi complessivamente in considerazione. Cfr. Irene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aurizio Fagiolo dell’Arco, The Dioscuri: Giorgio de Chirico and Alberto Savinio in Paris, 1924-1931, Milano: A. Mondadori: Edizioni P. Daverio, 1987; \%.".#].0%#]%^%""?#A2"&-#3&/>&B)($<%4&32"&+"&C2(#(1/&D#/32"#8&E&32"&F/5(3(18&/> & 2
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!"#$%&'()=#B0(-)*$(,N#@&*O=#@&7P#@)00$N!-&0(&#D,&,)#B0(-)*$(,N#@*)$$=#QRRMS#Gerd Roos, Giorgio de Chirico e Alberto Savinio: ricordi e documenti: Monaco, Milano, Firenze 1906-1911, Bora/Bologna, 1999. 3 Il sistema di pensiero di Georg Wilhelm Friedrich Hegel, concentrato soprattutto, ma non esclusivamente, nell’insieme degli scritti pubblicati tra il 1806 e il 1830 (Fenomenolgia dello spirito, Scienza della logica, e Enciclopedia delle scienze filosofiche in compendio), ha profondamente influito sullo sviluppo delle arti dell'Ottocento. Per un inquadramento dell’influenza di Hegel sullo sviluppo dell’estetica dell’Ottocento cfr. almeno >01*)T#C"T()= #*$(+,$+'-(./&#.0123$-+'4'+5.6%").7/&+.+".8'$+9(-,$=#Q017#)17=# ;&0+<)$,)*P#;&0+<)$,)*#B0(-)*$(,N#@*)$$=#QRRKS#;"0*")#E7#C)&*1$!)N=#*$(+,$+'-(.6%"). :;/(('-/;.<%$$-$.+".+,$.=%$($&+>.U)T#V"*OP#A<)#;&+/(!!&0#E"/%&0NS#L"01"0P#E"!!()*W ;&+/(!!&0#L,17=#XYZZ7#Per un inquadramento storico della filosofia di Hegel cfr.#?*)1)*(+O# E7#C)($)*= #&#+.*(= #?,$.:/)2%'#@$.:")A/&'"&.+".B$@$;> .# E&/6*(13)P#E&/6*(13)# B0(-)*$(,N#@*)$$=#XYYKS#E<&*!)$#A&N!"*=#B$@$;>.E&/6*(13)P#E&/6*(13)#B0(-)*$(,N#@*)$$7## 4 Auguste Comte, Cours de philosophie positive, Paris: Paris: Hermann, 2 vols., 1975. Per 3
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5 Alberto Abruzzese, Giorgio Tinazzi, e Marina Zancan, a cura di, Cinema e letteratura 4
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#*%,&3'*'+&,-0##!##&'$1')!*""*'(*"'&#''"(()*+,$"!!",#%(),",$"!,$)-".*+3J'"0'-$7$+#0'(0'"&-&' del neorealismo, Venezia: Marsilio Editori, 1983; Gian Piero Brunetta, Storia del cinema italiano, Roma: Editori riuniti, 2001; E-012*+2&'P0""!55$3'%&+#-0'*'20#0"&.&'0'2!-0'($3'/!, 0)*"1#,$"),2)((+%)3,4",#%(),",)!,0)*"1#,)(#!)#*+,5678956:8; ,:0+#$."$&12*""&3':*1#-&',*-' "O0-#*'L$*.&'A0-#*""$'Q':0+#*""&'<0+)!$1$3'R!"S'FT#B'Q'U&7*%N*-'T#B'IKKJ3'A$"01&V'MW$-0' *($#&-*3'IKKJ9 6 Ettore Spalletti, Gli anni del Caffè Michelangelo (1848-1861), Firenze: De Luca Edizioni d’Arte; Roma: Leonardo Editore, 1989; Da Courbet a Fattori. I princìpi del vero, :0+#$."$&12*""&3':*1#-&',*-'"O0-#*'L$*.&'A0-#*""$'Q':0+#*""&'<0+)!$1$3'FD'"!."$&'Q'F' 1&7*%N-*'IKKH3'A$"01&V'MW$-0'X($#&-*3'IKKH9 7 Alberto Maria Fortuna, a cura di, Gazzettino delle arti del disegno, Firenze: L. Gonnelli & Figli Editore, 1968. 5
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8 Gabriele d’Annunzio, Lettere a Giselda Zucconi, a cura di Ivanos Ciani, Pescara: Centro nazionale di studi dannunziani, 1985, lettera del 4 settembre del 1881, p. 215. 8
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4"++,(0$+3%30$,(4$()$"&2%7E"' 10 Tra il 1872 e il 1891, il filosofo Friedrich Nietzsche pubblica dei testi che hanno avuto un profondo impatto sullo sviluppo dell’estetica di fine Ottocento e del Novecento. Tra i testi che, in modo diverso, hanno influito sullo sviluppo dell'arte degli artisti presi in considerazione nel corso di questa dissertazione vanno menzionati, almeno, La nascita della tragedia (1872), Al di là del bene e del male (1885), e Così Parlò Zarathustra (composto negli anni 1883-1885 ma pubblicato nel 1891). Per le traduzioni in italiano cfr. Friedrich Nietzsche, La nascita della tragedia, traduzione di Sossio Giametta, Milano: Adelphi Edizioni, 1977, Al di là del bene e del male, a cura di Giorgio Colli e Mazzino Montinari, Milano: Adelphi Edizioni, 1977, Così Parlò Zarathustra, a cura di Giorgio Colli e Mazzino Montinari, Milano: Adelphi Edizioni, 1976 [1968]. Per un introduzione di carattere storico sul filosofo cfr. Nicola Abbagnano, Storia della filosofia. La filosofia moderna e contemporanea: dal Romanticismo all’Esistenzialismo, op. cit., pp. 381-400. Per il contributo del filosofo allo sviluppo dell’estetica di fine Ottocento e del Novecento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cfr. almeno 6/1*&U$Q(U"&: $()*"+)"&,*'-./'!012),"&3&"4'5$#6'7-."'"#'8&)"9*,+):$!"+3V$ D(/*(&$L3$Q&,*1)'&W:$()*"+)"&,*'5$#6':;-**&,-;'<$)),)'"#'"+)'=$)*).">'!"+3 11 Gabriele d’Annunzio, Trionfo della morte, in Prose di romanzi, Vol. 2, Milano: Mondadori, 2005 [1988], p. 855. 12 Gabriele d’Annunzio, Trionfo della morte, cit., p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ra il 1889 e il 1907 Henry Bergson pubblica Saggio sui dati immediati della coscienza (1889), Materia e memoria (1896), il Riso (1900), e L’evoluzione creatrice (1907), testi che hanno avuto una decisiva influenza sullo sviluppo del Futurismo. Cfr. le traduzioni in inglese disponibili nelle seguenti edizioni: J%#(/+@%(<-"#*+3'1()%#$)!0(()4'..5)6#)7,,%8) "#)-9():11($'%-();%-%)"+)<"#,='"/,#(,,*+$()#-,)$%1+5K+B343+N"<-"#*+F"#$)#)O+P%--/#<%(+ N.5,/-=/#<+Q"&')#K*+R99S+T7879U* +>%/?9-(05)6#)7,,%8)"#)-9()*(%#'#?)"+)-9()<"1'=*+ $()#-,)$%1+5K+Q,".1-,%K+@(%(%$"#+)#1+B(%1+V"$=W%,,*+4"-+E#<%,%-O+X(%%#+Y#$%<%(*+7888*+ *%--(0)%#$)*(1"08*+$()#-,)$%1+5K+Z3F3+N).,+)#1+[3G3+N),&%(*+Z%W+\"(]O+^"#%+@""]-*+ 788_*+39()=0(%-'@()1'#$*+$()#-,)$%1+5K+F)5%,,%+43+E#1/-"#*+Z%W+\"(]O+X(%%#W""1+N(%--*+ 78`S+T78_`U3++ 12 !"##$%&'()'#"*#)'+$&!) '!"#$%&&'("#)'&'(%*&"+#,"-%).*&/#&.0-%0/ #,-.-/01'!& '1(.)"2%/-.#"3# 4"&"3/5/ # 6.33" # 7 # 8*$/*%2%/-. # 6% # 1%&&'(" # )'&'(%*&" #,-.-201 ' )! 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a citazione è tratta da 12".&$,32$24'(%&2+&56'.&'7"#8*"9&$20'.0##:"%*0'+$2*0,5$%"20";' KCDCDL3 'uno degli articoli di Savinio pubblicati su Valori Plastici, ed ora ristampato in Alberto Savinio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lberto Savinio, +,(-($#"..($/($0(&1#10("$/2&&2$",)($342,$56"7/1$.&($()"&("7($#($#","771 $ "8()6")($"$427#",29.*OEJPEQ.*$'*I,/)#3"*:+7$'$".*:"$7"#;()"$/($'272,2<$=;,())($#6&&>",)2.*!$35.* p. 99. 17 !"#!$%&'"#( $)*+,-./)*0)12343,)*./*5-6+,6*5-3,,4)*0)22/6*./*+04/,,)4/*6.*34,/+,/*3,,43764+)*86* 03,69)4/6*04/,/0:6*./*764/,;<*4638,;<*6*=/>?/)>6*2)4,3*3.*->3*4/>>)73,3*0)1246>+/)>6*.688)* +7/8-22)*.6886*8)4)*=)416*.688@34,6A*B3883*86,,-43*0)12343,3*./*5-6+,/*5-3,,4)*032/,)8/<*+/* >),3 * /8 * 0)+,3>,6 * 4/=/-,) * .6883 * .6=/>/?/)>6 * 2)+/,/7/+,3 * .68 * 764)< * /> * =37)46 * ./ * ->3 * +-3* .6=/>/?/)>6 *./*0343,,646 *16,3=/+0)A *C003>,)* 38* 0343,,646 *./* 0)>,/>-/,; * .6/ *246+-22)+,/* 16,3=/+/0/*.6883*86,,643,-43*6*.688@34,6*/,38/3>3*./*=/>6*",,)06>,)*6*.6/*24/1/*.68*#)7606>,)<* 61649)>)*/*0343,,64/*./+,/>,/7/*.6883*.6=/>/?/)>6*./*16,3=/+/03*./*5-6+,6*5-3,,4)*0)22/6* .@3-,)4/A*D*3,,43764)*8@3>38/+/*./*,38/*68616>,/*./*0)>,/>-/,;*6*./*./+,/>?/)>6*0:6*+/*3246*83* 2)++/E/8/,; * 3. * ->3 * >-)73 * 0)1246>+/)>6 * .68 * .)0-16>,) * -13>)< * .6883 * 1300:/3< * .68* +/1E)8)<*.68*F34)8/E64/+1)<*.688@3+,43?/)>6<*6*/>=/>6*.68*083++/0/+1)<*>6883*8)4)*/>,4/>+603* >3,-43*./*=)416*.68*764)A * 18 !"#$%&'&($ )*+,"(*($(-"!!.$"$&'$/ '&(0%12$&(2"'()*+& !"##$%&$%'"()*%+,-"*%./0%&$%'"0(%*$%,"(1"(&$(2 34(*%/($%2+(+56$/*$%$2%76"1"(&$%/(02+8 94*2$%,"##$%'4%(/02%$2%,"##$%'4%,'462+8 :$*%7461/#*8%'$*%,"/'$/6*%$2%'$*%*"(*%*$%6+7"(&$(2; !-46'$*%<4/&$'406$8%!"##$%&"'()'*$%+, 0(,-$%,./$0#%,(0,1)/8%=>?= $3($4%+&215$&4*3 % @'%9$60*#"=?%&0%A0"B4((0%9$6)4%$%&0%:/0)0%!47/4(4%&0*20()/$%0'%76"760"%("#$%C$%'4% 76"7604%7"$20,4D%&4%./$''"%&$''$%4'26$%*,/"'$%"22",$(2$*,-$%&$'%E$4'0*#"%$%&$'%F42/64'0*#"% &$60B4(&"'"%&4'%*"*24(20B"%GB$6";H%I/$*24%76$1$6$(J4%&$'%2$6#0($%GB$6"H%4%./$''"%&0% G6$4'2KH % ("( % 746'4 % 24(2" % &$''4 % ($,$**02K % &$0 % &/$ % *,6022"60 % *0,0'04(0 % &0 % &0*20()/$6*0 % $% 0&$(2010,46*0%0(%/(%("#$%&0%*,/"'48=L%./4(2"%70/22"*2"%&$''4%,$(264'02K%&$''4%60,$6,4%&$'%B$6"% 0(%6$'4J0"($%4''4%*,6022/64%,6$420B4;%!"#MN%("2"8%'4%,"''45"64J0"($%264%9$6)4%$%!47/4(4%0(% ./$*24%,"#/($%60,$6,4%&$'%B$6"%-4%0(0J0"%($''4%O06$(J$%&$''4%*$,"(&4%#$2K%&$''MP22",$(2"% 16 Enrico Ghidetti, L’ipotesi del realismo. Storia e geografia del naturalismo italiano, Milano: Sansoni, 2000; Toni Iermano, a cura di, Positivismo, Naturalismo, Verismo. Questioni teoriche e analisi critiche, Roma: Vecchiarelli editore, 1996; Vittorio Spinazzola, Verismo e Positivismo, Milano: Arcipelago Edizioni, 1993 [1977]; 17%Q%5$(%("2"%./4(2"%7","%9$6)4%4#4**$%'$%$20,-$22$%$%./4(2"%76$1$60**$%60,"("*,$6*08%70R% ,-$%,"#$%*,6022"6$%B$60*248%,"#$%*,6022"6$%&$'%B$6";%S%./$*2"%76"7"*02"8%si veda la lettera a Felice Cameroni del 15 luglio 1875 ristampata in Enrico Ghidetti, Verga guida storico- critica, Roma: Editori Riuniti, 1979, p. 51. 19 !"#$%&!'(!")!**+",-*+)%".!'*-"+))-"/0123/0024""5)"6(!&7!".(!"8-779:"!"-)"6(!&7-"&7!&&-"+))-:" ()+"&-;-*!"+77!)<-%)!"+**+"$!=-&-%)!".!-"7!$;-)-">=!$-79?"!">$!+*79?"-)"$!*+<-%)!"+*"#$%8!&&%" 8$!+7-=% " =-!) " .+7+ " .+ " +*7$- " .(! " -;#%$7+)7- " '$(##- " .- " &8-77%$- " ! " #-77%$-@ " 6(!**% " .!-" ,+88A-+-%*-"+"B-$!) 5)"=-$7D".!**+"8%**+E%$+<-%)!"-)7!$8%$&+"7$+"F!$-&7-:",+88A-+-%*-:"!"C8+#-'*-+7-")!*" 8%)7!&7%".!**+"=-=+8!"+77-=-79"8(*7($+*!".!**+"B-$!) 6(!&7%"#$-;%"8+#-7%*%"&-"%88(#+".!-"*%$%"$-&#!77-=-"#!$8%$&-".-"$-8!$8+".!*"=!$%:".!**!"*%$%" .-HH!$!) ;%.% " F!$'+ " +88%*'+ " )!**+ " #$%'$!&&-=+ " !*+E%$+<-%)! " .!**+ " #%!7-8+ " =!$-&7+ " &-+ " *!" &%**!8-7+<-%)-".!-",+88A-+-%*-"&(**+")!8!&&-79".!**%"&7(.-%".!**+"$!+*79"8%)7!;#%$+)!+"!"#$ %&'(:"&-+"6(!**!".!'*-"C8+#-'*-+7-"&(**+"=!$-79".!*";%).%".!**%"&#-$-7%4"C-"8%)&-.!$!$+))%" 6(-).-"&-+"-"$%;+)<-".!*"#!$-%.%"H-%$!)7-)%:"8A!"*!"%#!$!".!'*-"+))-";-*+)!&-4"K%"&=-*(##%" .!*"#!)&-!$%".-"F!$'+".-"6(!&7-"+))-"H%$;+7-=-"&+$9"'(-.+7%".+"6(!-"$%;+)<-"!"6(!**!" )%=!**!"#$!8!.(7-".+"()+"#$!H+<-%)!".!**J+(7%$!:"8%;!")!*"8+&%".-")*('+"$!+$,-"$."/+-&'"0$ 1%":"2&!!"0"3"-*"4*+56&'+"$!"78"9"-*&$!+$:'"9+;-"< !!"#!#$%&&'!%!()!#%#*!+,-.,/#)(#0123!(#3%)#4,+(" I!**+"&!8%).+";!79".!**JL77%8!)7%:"B-$!) !"#$!#%!& '(' )!*+%,+- ' #"".*%. ' #$' /012' !$' 3#445 ' 6!78+$#%9!.$./0' :!' #44+*;# ' 7.;+ ' $<.9.' =*!>!$+9!#".'?!'!%7.%"*.'?+!'6#778!#!.$!-'<%'>!>#7+'9*<==.'?!'#*"!:"!'78+'?!:7<"+'?@#*"+-' $+""+*#"<*#-'"+#"*.'+'=.$!"!7#&/A'B+$'/012'C<+:".'9*<==.'78+':!'*!"*.>#'=<%"<#$;+%"+'%+$$#' :#$+""#'=*!>#"#'?+$'3#445'6!78+$#%9+$.'%.%'8#'#%7.*#'%D'<%'%.;+'%D'<%#'=.+"!7#&'E<+:".' $<.9. ' ?! ' *!"*.>. ' + ' ?! ' ?!F#""!". ' %#:7+ ' !% ' #$"+*%#"!># ' + ' !% ' .==.:!,!.%+ ' #$$@(77#?+;!#' ?+$$@#*"+'+'#!':<.!'"*#?!,!.%#$!';+".?!'?@!%:+9%#;+%".&'G$!'#$"+*%#"!>!'!%?!*!,,!'?!'*!7+*7#' 78+'#""*#99.%.'$@#""+%,!.%+'?+!'=!"".*!'?+$'3#445'>+%9.%.'=+*'$.'=!H'?#$$#')*#%7!#I':.%.'!$' J.:!"!>!:;.'!%'#;F!". '4!$.:.4!7.- '$#':7<.$# '?!'K#*F!,.%'+'$+ '=*!;+'"+.*!,,#,!.%!'?+$' L+#$!:;.'!%'7#;=.'#*"!:"!7.'+'$+""+*#*!.'+-'!%4!%+-'9$!':7*!""!'?!'J!+**+MN.:+=8'J*. 78+':=#,!#%.'?#$'7#;=.'+7.%.;!7.-'=.$!"!7.'+':.7!#$+'#'C<+$$.'?+$$@+:"+"!7#&'P+;=*+'%+$' 18 Il Caffè Michelangiolo aprì attorno al 1848 e chiuse nel 1866. Per la storia del Caffè Michelangelo Cfr. Ettore Spalletti, Gli anni del Caffè Michelangelo (1848-1861), Firenze: De Luca Edizioni d’Arte; Roma: Leonardo Editore, 1989. 19 Per una presentazione dei Macchiaioli in relazione al contesto storico, politico, e sociale italiano di fine Ottocento cfr. Norma Broude, The Macchiaioli: Italian Painters of the Nineteenth Century, New Haven: Yale University Press, 1987; Albert Boime, The Art of the Macchia and the Risorgimento: Representing Culture and Nationalism in Nineteenth-Century Italy, Chicago: University of Chicago Press, 1993; Edith Tonelli and Katherine Hart (eds), The Macchiaioli: painters of Italian life, 1850-1900, Los Angeles: Frederick S. Wight Art Gallery, University of California, Los Angeles, 1986. 20 Pierre-Joseph Proudhon, Du principe de l'art et de sa destination social, Paris: Garnier frères, 1865. Per una ricostruzione storica della nascita e dello sviluppo dei Macchiaioli, e del loro rapporto con la pittura francese cfr. Francesca Dini ed Ettore Spalletti, mostra e catalogo a cura di, Da Courbet a Fattori, I princìpi del vero, Castiglioncello, Centro per l’arte Diego Martelli – Castello Pasquini, 16 luglio – 1 novembre 2005, Milano: Skira Editore, 2005; Francesca Dini, (catalogo della mostra a cura di), I Macchiaioli. Sentimento del vero, Roma, Chiostro del Bramante, 11 ottobre 2007 – 3 febbraio 2008, Milano: Silvana Editoriale Spa, 2007; Fernando Mazzocca e Carlo Sisi, catalogo e mostra a cura di, I Macchiaioli prima dell’Impressionismo, Padova, Palazzo Zabarella, 27 settembre – 8 febbraio 2004, Venezia: Marsilio Editori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fr. Andrew Bowie, Aesthetics and Subjectivity from Kant to Nietzsche, cit.; Monroe C. Beardsley, Aesthetics from Classical Greece to the Present, cit.; Frederick C. Beiser, a cura di, The Cambridge Companion to Hegel, cit.; Charles Taylor, Hegel, (+/B% 22 Sull’importanza della figura di Diego Martelli tanto per il gruppo dei Macchiaioli, quanto per lo sviluppo della storia dell’arte italiana della seconda metà dell’Ottocento cfr. Francesca Dini e Piero Dini, a cura di, Diego Martelli: storia di un uomo e di un’epoca, Torino: Umberto Allemandi & C., 1996; Francesca Dini ed Ettore Spalletti, mostra e catalogo a cura di, Dai Macchiaioli agli Impressionisti: l’opera critica di Diego Martelli, Museo Civico Giovanni Fattori, Livorno, 3 ottobre 1996 – 12 gennaio 1997, Firenze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rtificio Edizioni S.r.l., 1996; Francesca Dini ed Ettore Spalletti, mostra e catalogo a cura di, Diego Martelli, l’amico dei Macchiaioli e degli Impressionisti: mostra fotografico- documentaria, Castiglioncello, Castello Pasquini, 3 agosto – 31 ottobre 1996, Firenze: Casalini Libri, 1996; Piero Dini, a cura di, Diego Martelli, Firenze: Il Torchio, 1978. 23 Diego Martelli, Sulla pubblica mostra di Belle Arti della nuova Società promotrice in occasione del centenario di Dante, in L’Avvenire, anno I, 8-9 Giugno 1865, ristampato in Francesca Dini (catalogo della mostra a cura di), Da Courbet a Fattori. I princìpi del vero, /#*C'$p. 246 [grassetto mio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elemaco Signorini, Del fatto e del da farsi nell’arte, in La Nuova Europa, 2 agosto 1863, ristampato in Francesca Dini (catalogo della mostra a cura di), Da Courbet a Fattori. I princìpi del vero, cit., p. 246 [grassetto mio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iego Martelli, Arte che sia?, in Gazzettino delle arti del disegno, a cura di Alberto Maria Fortuna, Firenze: L. Gonnelli & Figli Editore, 1968, p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iego Martelli, Gazzettino delle arti del disegno, cit., p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elemaco Signorini, I quadri dei signori Fattori, Lega e Borrani, in Diego Martelli, Gazzettino delle arti del disegno, cit., pp. 18-19, [grassetto mio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rticolo incluso in Telemaco Signorini, Zibaldone, Firenze: Sillabe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emma «macchia» in Vocabolario delle arti del disegno, di Fililppo Baldinucci, URL: http://baldinucci.biblio.cribecu.sns.it/baldinucci/html/index.html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anto Martelli quanto Signorini si riferiscono alla finzione artistica nei termini di «traduzione» e «interpretazione» della realtà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elemaco Signorini, Del paesaggio e della sua influenza nell’arte moderna, in Diego Martelli, Gazzettino delle arti del disegno, cit., pag. 259. 32 Telemaco Signorini, Del paesaggio e della sua influenza nell’arte moderna, in Diego Martelli, Gazzettino delle arti del disegno, cit., pag. 266. 32 !"#$% & '" & ()%*+, & #-*, 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' ,*! ' O$:#."/ ' 9/.# ' -! ' 6./&,,*6# ' 6&,&K= 'Q$$# ' ./$#"!9!"0 ' +/$$/' #66#./%;/'+/$$#'./#$"01'N#6*#%#'&66&%/'$#',&%"!%*!"0'/'$:!+/%"!"0'+/$$&'-6!.!"&1')*/$$/' O6#--!&%!'/'R)*/!S',#.#""/.!',4/'+#'2!3$!#!#'+:#%%!'+*.#%&'!'2/+/-!2!'%/$$#'$&.&'-&-"#%;#1' -*5/%+&'#66/%#')*#$,4/'$/33!/.#'2&+!7!,#;!&%/'6/$$#'+!9/.-!"0'+/:'$*&34!'/'+/:',$!2!K='T' -*')*/-"#'7&%+#2/%"#$/'+!-"!%;!&%/',4/'-!'-9!$*66#'$#'6&/"!,#'+/$'U/.!-2&8'+!-"!%;!&%/',4/' 36 Luigi Capuana, La Nazione, 13 novembre 1866, ora in Il teatro italiano contemporaneo, Palermo: Luigi Pedone Lauriel, 1872, p. 123 [grassetto mio]. 44 !"#$"!%&'($)#)'%*+#'+,,-&.+$)#/"#0+$1)#2"'#/)1,"#)''"#/"#2&$3)4"&'+#2"&$+'("'"5# 67)'/�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icola Niceforo gli fornì lettere di presentazione presso capocomici e giornalisti teatrali, mentre Mario Rapisardi lo introdusse a Dall’Ongaro e Ludmilla Assing. Sulle amicizie di Verga a Firenze cfr. Irene Gambacorti, Verga a Firenze, Firenze: Le Lettere, 1994. 38 Domenico Morelli e Saverio Altamura, entrambi napoletani, contribuirono a diffondere a Firenze, tra i Macchiaioli, le novità pittoriche parigine. Ebbero un ruolo importante nei primissimi anni di formazione del gruppo e di formulazione della poetica della macchia. Cfr. Corrado Maltese, Storia dell’arte italiana (1758-1943), Torino: Giulio Einaudi Editore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rancesco Dall’Ongaro, L’arte italiana a Parigi nell’esposizione universale del 1867, Firenze: Giovanni Polizzi e Comp., 1869, p. 30. 40 Francesco Dall’Ongaro, L’arte italiana a Parigi nell’esposizione universale del 1867, cit., p. 31. 41 Francesco Dall’Ongaro, L’arte italiana a Parigi nell’esposizione universale del 1867, cit., p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ettera di Giovanni Verga a Capuana, inviata da Catania nell’aprile 1872, Carteggio Verga-Capuana, a cura di Gino Raya, Roma: Edizioni dell’Ateneo, 1984, p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nna Storti Abate, Introduzione a Capuana, Roma-Bari: Editori Laterza, 1989, p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rene Gambacorti, Verga a Firenze, cit. p. 164. 45 I rapporti di Signorini con il gruppo della Scapigliatura sono numerosi e duraturi. Particolarmente significativo è quello con Emilio Praga. Signorini accompagna con le sue acqueforti il volume di poesia di Praga dal titolo Tavolozza del 1862. La raccolta include tra l’altro una serie di cinque poesie dal titolo significativo di Pittori sul vero. Signorini inoltre intrattiene rapporti con Ferdinando Martini e Camillo Boito. A quest’ultimo dedica il libro sugli anni del caffè Michelangiolo intitolato: Caricaturisti e Caricaturati, del 1893. Nelle vesti di poeta, Signorini sottopone al giudizio di Boito la propria raccolta di sonetti dal titolo 99 discussioni sull’arte del 1877. Di particolare interesse è anche l’amicizia con Enrico Nencioni con cui Signorini condivide la lettura di scrittori stranieri come Charles Baudelaire e Edgar Allan Poe, inclusi nella rosa di scrittori di riferimento del gruppo degli Scapigliati. Cfr. Francesca Dini (catalogo della mostra a cura di), I Macchiaioli. Sentimento del vero, cit. 46 Neuro Bonifazi, La “Rivista Minima” tra scapigliatura e verismo, Urbino: Argalìa Editore Urbino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gino Ugo Tarchetti, Tutte le opere, a cura di Enrico Ghidetti, Cappelli Editore, 1967, Vol. I, pp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gino Ugo Tarchetti, Tutte le opere, Vol. I, cit., pp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email protected]"7&:.,,)&#)'&*(')&$%"&,-(.--6)99"7&,)%9"& #'.2"')&F$"+-6)&-.,"7&F$),/.&'"--.%/.&#./')@@)&#'.2"')&"&,#()1"')&4.+/)&-.,)7&+)&F$"+(&,(& +",-("%.&(%&@("%-.&"##.,/"7&#)'-6H&-(",-$%.&2(&/'.2(&F$)+&-6)&2(&-)'-";BLM 49 Enrico Ghidetti, Racconti fantastici dell’Ottocento, Editori Riuniti: Roma 1985, Vol I, p. 230. 50 Giovanni Verga, La coda del diavolo, in Tutte le novelle, Milano: Arnoldo Mondadori Editore, 1982,Vol. I, pp. 43-44, d’ora in poi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ullo sviluppo della scrittura di Giovanni Verga cfr. AA. VV. [Alberto Asor Rosa, Vitilio Masiello, Giuseppe Petronio, Romano Luperini, Bruno Biral], Il caso Verga, Palermo: Palumbo, 1975; Guido Baldi, L’artificio della regressione. Tecnica narrativa e ideologia nel Verga verista, Napoli: Liguori, 1980; Giorgio Bàrberi Squarotti, Giovanni Verga: le finzioni dietro il verismo, Palermo: C.F. Flaccovio, 1982; Roberto Bigazzi, Su Verga novelliere, Pisa: Nistri-Lischi, 1975.Romano Luperini, Pessimismo e verismo in Giovanni Verga, Padova: Liviana, 1982 (1968), Verga, Bari: Laterza, 1979, Simbolo e costruzione allegorica in Verga, Bologna: il Mulino, 1989; Giovanni Cecchetti, Il Verga maggiore, Firenze: La Nuova Italia, 1968; Luigi Russo, Giovanni Verga, Napoli: Ricciardi, 1919; Roma – Bari: Editori Laterza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
*"--"O(;2"(+2==,"3%-"("&(;2'1-#(=',($#,20'--#:("&(4*#&-'(%,(;2%,'( $#,,"(+#**'(",($#1-*#(�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G-%:*),*).#)2$+-),.)!.23.+-)43$%.-@1).2)/2)&*4$1)$),.)!&/$%-@)2-:#.)*#3%.?)C9/4$),-##*)5*%$#*) !&/$%-@1).2)/2)4-24$)&'-)&$+5%-2,-)#9-+$3.7.3H)-)#*)54.&$#$:.*),-.)5-%4$2*::.1)4*%H)/2*) 54 Introduzione a SDC, p. 4. 55 L’*::-33.7$),-%.7*),*#)#*3.2$).*-.1231)*)4/*)7$#3*)4/5-%#*3.7$),.).*-&'231),*#)4.:2.6.&*3$) ,.)O&.8)&'-)43*)5.D),-23%$?P 56 Comitato per l’edizione nazionale delle opere di Giovanni Verga, I tempi e le opere di Giovanni Verga, Palermo: Banco di Sicilia; Firenze: Casa Editrice Felice Le Monnier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p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pp. 50-51. 58 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82 Luigi Capuana, Per l’arte, a cura di Riccardo Scrivano, Napoli: Edizioni Scientifiche Italiane, 1994, p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uigi Capuana, Per l’arte, cit., p. 36. 84 Luigi Capuana, Per l’arte, cit., p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imilmente, in una conferenza del 1883 dal titolo Il darwinismo nell’arte, De Sanctis scrive a proposito dell’immaginazione: «Quando un oggetto o piuttosto l’immagine di un oggetto si presenta nel nostro cervello, noi ne riceviamo una impressione; e quando quella immagine vogliamo tradurla al di fuori nella parola, questa contiene in sé non solo l’oggetto ma l’impressione prodotta. Quella immagine è l’oggetto trasformato nel cervello. E questa parola è arte nella sua forma più elementare.[…] Questo è quello che voleva fare il Cossa; ma non è quello che ha fatto. L’artista non fa quello che vuole, perché ciò che vuole appartiene al suo intelletto; ciò che fa appartiene alla sua immaginazione incosciente ed ispirata»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uigi Capuana, Per l’arte, cit., p. 45. 87 Luigi Capuana, Per l’arte, cit., p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abriele d’Annunzio, Opera Omnia, Versi d’Amore e di Gloria, Milano: Mondadori, 1980, p. 590-593. Una versione comprensiva anche dei disegni che accompagnarono la prima edizione del testo è disponibile alla seguente pagina elettronica: URL: http://www.gutenberg.org/files/27825/27825-h/27825-h.htm. 89 È questo il primo dei tre romanzi che compongono Il ciclo della rosa, ora in Gabriele d’Annunzio, Prose di romanzi, Vol. 1, Milano: Mondadori, 2005 [1988]. D’ora in poi PRI e PRII, rispettivamente per il primo e il secondo volume. 90 Per un inquadramento storico dello sviluppo della scrittura di d’Annunzio cfr. almeno Annamaria Andreoli, Il vivere inimitabile. Vita di Gabriele d’Annunzio, Milano: Mondadori, 2000; Gianni Oliva, D’Annunzio e la poetica dell’invenzione, Civiltà 85 !"#$%&'%()*#(+(),-%.&//-012)3-//("&)#4"566&'&)3"&''()+#)%5-)"&'-7&$6#)789$$5$6-()'-)&"#) "-/-"#/()3&")'%"-:&"& )!"#$%&'()(* #;#$/()+#)7#/#)7-)3544+-%#6-($&2)<5#$/()-+)7&7-%#/#"-(2) "&$7($()<5&'/()"(=#$6()3#"/-%(+#"=&$/&)'->$-?-%#/-:()3&")+8-$/&"&''&)7-)<5&'/()%#3-/(+(@) A($ )!" # $%&'()(2 ) -$?#//-2 ) +# ) 3"('# ) 78#$$5$6-#$# ) 3"&$7& ) +& ) 7-'/#$6& ) 7#+ ) B&"-'=( ) %.&) letteraria del Novecento, Milano, Mursia, 1992. 91 Francesco Paolo Michetti, nato a Chieti nel 1851, appartiene alla generazione di pittori «nati male», come ha notato il critico d’arte Renato Barilli, nel senso di essere nato a cavallo tra la generazione degli Impressionisti e dei Simbolisti. Michetti, tanto allora come oggi, sfugge ai tentativi di categorizzazione non essendo pienamente nè un verista, nè un simbolista, nè tantomeno un’impressionista o un preraffaellita. Allo stesso tempo, il suo stile condivide caratteri tipici di tutte queste poetiche di fine Ottocento. L’opera con cui si è soliti associare il pittore Francesco Paolo Michetti con lo scrittore Gabriele d’Annunzio è La figlia di Jorio; un soggetto realizzato da Michetti in una grande tela vincitrice della prima biennale di Venezia nel 1895, e nella forma teatrale, da D’Annunzio, nel 1903. L’associazione tra queste due opere è agevolata tanto dalla loro omonimia quanto da alcune dichiarazioni di D’Annunzio che si riferiscono all’episodio di vita reale di cui tanto il pittore quanto lo scrittore furono testimoni e da cui i loro lavori sono poi derivati. Entrambe le opere, così come le dichiarazioni di d’Annunzio sono state analizzate in un articolo di Raffaella Bertazzoli, intitolato La figlia di Iorio da Michetti a d’Annunzio, pubblicato su Annali d’italianistica, nel 1987. In questo studio la Bertazzoli dimostra come le varie versioni della tela della Figlia di Jorio del Michetti abbiano funzionato come guida nel processo di scrittura della tragedia d’annunziana. Questo studio in cui le opere del pittore e dello scrittore vengono analizzate una accanto all’altra è abbastanza unico nel suo genere. Nonostante l’intensità della collaborazione, studi specifici come questo della Bertazzoli, sono ancora rari. Numerosi sono tuttavia i riferimenti a tale scambio, soprattutto nella letteratura del Michetti, che spesso si avvale del nome del più noto collega d’Annunzio per riproporre al pubblico il valore del pittore. Più ricca è invece la letteratura di carattere storico biografico, come ad esempio il recente volume di Franco di Tizio, in cui viene raccolta e ordinata la corrispondenza tra i due artisti. Più copiosa, infine, è la bibliografia relativa all’interesse di d’Annunzio per le arti figurative, della quale, tra le pubblicazioni più recenti va menzionato il catalogo della mostra a cura di Renato Mammucari, intitolata Dal naturalismo al simbolismo: D'Annunzio e l'arte del suo tempo, Marigliano, (Napoli): LER, 2005. Questo catalogo è ricco di documenti su d’Annunzio e sugli artisti che accompagnarono le sue opere con un commento grafico. All’interno di questo quadro bibliografico resta dunque ancora aperto un ampio spazio per l’approfondimento dello scambio intervenuto tra l’imaginifico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d’Annunzio) e il cenobiarca (Michetti). Per un inquadramento storico della pittura di Francesco Paolo Michetti cfr. Renato Barilli, mostra e catalogo a cura di, Il Primo '800 italiano: la pittura tra passato e futuro. Milano: Mazzotta, 1992, Renato Barilli, mostra e catalogo a cura di, L’ultimo Michetti. Pittura e Fotografia, Firenze: Fratelli Alinari, 1993; Rossana Maggio Serra, a cura di. L'Ottocento: catalogo delle opere esposte, Milano: Fabbri, 1993; Roberta J. M. Olson, Ottocento: Romanticism and Revolution in 19th- century Italian Painting, New York, NY: American Federation of Arts; Florence, Italy: Centro Della Edifimi srl, 1992. 92 Gabriele d’Annunzio, San Pantaleone, Firenze: Barbera, 1886; Per i rapporti tra la scrittura di d’Annunzio e quella di Verga cfr. Emerico Giachery, Verga e d’Annunzio, Milano: Silva Editore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abriele d’Annunzio, Lettere a Giselda Zucconi, a cura di Ivanos Ciani, Pescara: Centro nazionale di studi dannunziani, 1985, lettera del 4 settembre del 1881, p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abriele D’Annunzio, Il Piacere (1889), Il Trionfo della Morte (1894), in Prose di romanzi, Vol. 1, Milano: Mondadori, 1988. 95 Marina Miraglia, Francesco Paolo Michetti fotografo, Torino: Einaudi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affaella Bertazzoli, La figlia di Iorio da Michetti a d’Annunzio, Annali d’italianistica, Vol. 5, n.1, mese 1, 1987,pp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er una cronologia dell’amicizia tra d’Annunzio e Michetti cfr. Franco Di Tizio, D’Annunzio e Michetti. La verità sui loro rapporti, Casoli (Chieti): Mario Ianieri Editore, 2002; Franco Di Tizio, Francesco Paolo Michetti. Nella vita e nell’arte, Pescara: Ianieri Editore, 2007. La bibliografia relativa a Michetti è molto più ricca di riferimenti ai rapporti tra il pittore e lo scrittore. Cfr. Silvia Cassani e Paola Rivazio, catalogo della mostra cura di, Francesco Paolo Michetti. Dipinti, pastelli, disegni, Napoli: Electa, 1999, e Francesco Paolo Michetti. Il Cenacolo delle arti tra fotografia e decorazione, Napoli: Electa, 1999. 98 Paola Sorge, Sogno di una sera d’estate: d’Annunzio e il cenacolo michettiano, Altino (Chieti): Ianieri Editore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ittore a cui D’Annunzio dedica uno dei suoi articoli pubblicati su Il Mattino (1892). Gabriele d’Annunzio, Scritti Giornalistici, Vol. 1, Milano: Mondadori, 1996, pp. 42-51. D’ora in poi SGI. Ci riferiremo al secondo volume con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ra i suonatori rappresentati nella processione che segue il feretro si riconoscono i volti di Barbella, Tosti e de Cecco, gli altri membri del Cenacolo francavillese. Franco di Tizio, Francesco Paolo Michetti nella vita e nell’arte, p. 83. D’ora in poi FPM. 101 FPM, p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uigi Capuana, I nostri giovani poeti: Gabriele d’Annunzio, in Fanfulla della Domenica, 4 giugno 1882 (il passo è citato in Susanna Scotoni, D’Annunzio e l’arte contemporanea, S.P.E.S.: Firenze, 1981, pp. 61-62n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icordi francavillesi. Frammento autobiografico, 7 gennaio 1883, Fanfulla della Domenica, SGI, p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l Voto, 14 gennaio 1883, Fanfulla della Domenica, SGI, p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l Voto, 14 gennaio 1883, Fanfulla della Domenica, SGI, pp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l Voto, 14 gennaio 1883, Fanfulla della Domenica, SGI, pp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�)"#'1233)34".5#3*+#0.%6.#'*++1&%$"0.+.5#6"#7#%"8*%"$.#0.3#+*# *69%*66".3"#'"#,:.+.3$;#'*++12%$*5/#*#,6*3$"<*3$.=/#>)*6$.#,-*%./#7#')3()*#+1&)$.%*#'*+# ()&'%.5#&)$.%*#0.3#0)"#+1*6*0)$.%*#*<9"%"0.?%*&+*5#@"0A*$$"5#0."30"'*#3*+#6.+.#<.<*3$.# '*++�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riedrich Schiller, nel descrivere il processo poetico in una lettera a Goethe del 18 marzo del 1796 scrive: “Da principio il sentimento è in me senza oggetto determinato e chiaro; quest’ultimo si forma solo più tardi. Precede una certa disposizione d’animo musicale, e solo a questa segue in me l’idea poetica.” A questo passo Friedrich Nietzsche fa riferimento nella sua Nascita della Tragedia, nel capitolo in cui distingue l’io lirico dall’io empirico-reale. All’altezza del 1883, d’Annunzio non ha ancora letto Nietzsche ma al contrario conosce bene Schiller, a cui fa ripetutamente riferimento nelle sue opere. 109 Tanto il termine ‘immaginazione’ quanto quello di ‘sentimento’ avevano attratto l’attenzione delle poetiche del Romanticismo, e continueranno ad attrarre l’attenzione delle poetiche moderne, come ad esempio nel caso di Giuseppe Ungaretti e del suo Sentimento del Tempo (1933). Cfr. Giuseppe Ungaretti, Sentimento del tempo, edizione critica a cura di Rosanna Angelica e Cristiana Maggi Romano, Milano: Fondazione A. e A. Mondadori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fr. Giuliana Pieri, “The Critical Reception of Pre-Raphaelitism in Italy, 1878-1910” Modern Language Review, 99:2, 2004 Apr, pp. 364-81. Della stessa autrice, e sempre relativamente ai rapporti tra i Preraffaelliti e d’Annunzio, cfr. “D'Annunzio and Alma-Tadema: Between Pre-Raphaelitism and Aestheticism,” Modern Language Review, 96:2, 2001 Apr, pp. 361-69, e The influence of pre-Raphaelitism on fin de siècle Italy: art, beauty and culture, London: Maney Publishing for the Modern Humanities Reseach Association, 2007. 111 Sul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�"%!#%>&/8#&$*&-&$%$.*.0*.(&(&20#''(&,#''%&$.0,*%&,#*& 112 Gabriele D’Annunzio, L’ultimo romanzo, apparso il 26 maggio 1888 su “La Tribuna,” SGI, p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edica a F.P. Michetti di Il Piacere (1889), PRI, p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edica a F.P. Michetti di Il Piacere (1889), PRI, p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iovanni Verga, Eva, Milano: Mursia, 1991, p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a grande arte II, 20-21 aprile 1889, Il corriere di Napoli, SGII, pp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a grande arte II, 20-21 aprile 1889, Il corriere di Napoli, SGII, pp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a grande arte II, 20-21 aprile 1889, Il corriere di Napoli, SGII, pp. 12-13. 122 A fine Ottocento e nei primi del Novecento si assiste ad un diffuso e rinnovato interesse per la figura di Leonardo da Vinci, così come testimoniano, ad esempio, gli scritti di Walter Pater, Leonardo da Vinci (1869), in Il Rinascimcento, a cura di Mario Praz, Napoli, Edizioni Scientifiche Italiane, 1946, e di Sigmund Freud, Leonardo da Vinci: a memory of his childhood (1910), London: Routledge, 1999 [1957]. L’associazione tra Michetti e Leonardo da Vinci si fa espressione della partecipazione di d’Annunzio a questo fenomeno culturale. Un’altra testimonianza della partecipazione di d’Annunzio a questo fenomeno è la sua frequentazione di Angelo Conti, che nel 1910 pubblica un suo saggio su Leonardo da Vinci nel volume collettivo Leonardo da Vinci. Conferenze fiorentine, Milano: Treves, 1910. Il saggio di Conti è stato ripubblicato più recentemente e accompagnato da un saggio sul leonardismo di fine secolo da Ricciarda Ricorda. Cfr. Angelo Conti, Leonardo Pittore, a cura di Ricciarda Ricorda, Padova: Editoriale Programma, 1990. Per il ruolo di Conti nella cultura italiana di fine secolo cfr. Ricciarda Ricorda, Dalla parte di Ariele: Angelo Conti nella cultura di fine secolo, Roma: Bulzoni Editore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nnamaria Andreoli, Il vivere inimitabile. Vita di Grabriele d’Annunzio, cit., pp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l romanzo futuro (frammento d’uno studio su l’Arte Nuova), 31 gennaio, 1892, La Domenica del Don marzio, SGII, p. 17. 125 Il romanzo futuro (frammento d’uno studio su l’Arte Nuova), 31 gennaio, 1892, La Domenica del Don marzio, SGII, p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l romanzo futuro (frammento d’uno studio su l’Arte Nuova), 31 gennaio, 1892, La Domenica del Don marzio, SGII, p. 18. 127 Il romanzo futuro (frammento d’uno studio su l’Arte Nuova), 31 gennaio, 1892, La Domenica del Don marzio, SGII, p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l romanzo futuro (frammento d’uno studio su l’Arte Nuova), 31 gennaio, 1892, La Domenica del Don marzio, SGII, p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’enfasi sullo studio della coscienza si riscontra anche nell’articolo d’argomento politico e intitolato La Bestia Elettiva dove si legge: “Egli ha l’occhio infallibile quando guarda in sè medesimo. E in questa autocrazia della coscienza è il principal segno dell’aristocrate nuovo.” SGII p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p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na Tendenza, 30-31 gennaio 1893, Il Mattino, SGII, p. 122-123. 132 Una Tendenza, 30-31 gennaio 1893, Il Mattino, SGII, p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riedrich Nietzsche, La nascita della tragedia, Milano: Adelphi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rancesco Paolo Michetti, maggio 1893, La Tribuna Illustrata, SGII, pp. 190-191. 132 !"#$%&'$()*+,-.$/$0/%&)%1-2$#3%))$-4$%&%-5(6(7*&()*-(-8%*&(69*-)(&)*-&%00(-":(-#(5(#$);- (&(0$)$#( - 9$ - 6$56*9:66% - 0% - "5%#$<$#$); - 9%00( - &():6(1 - =:(&)* - &%00( - ":( - #(5(#$); - 9$- 6(556%"%&)('$*&%-9%0-/$")%6*+->(&)*-&%$-=:(96$-9$-8%*&(69*1-=:(&)*-$&-=:%00$-9$-2$#3%))$1- "$-<*&9*&*-#*"?-$-9:%-)%6/$&$&$-"*))*")(&)$-(00@(&)$)%"$-9%70$-(55*")$A-0(-6%(0);-/%)(<$"$#(-%- =:%00(-%/5$6$#(+->(&)*-())6(4%6"*-$0-#*&#%))*-9%00(-<:"$*&%-9%70$-*55*")$-9$-("#%&9%&'(- B$%)'"#3$(&(1 - )(&)* - ())6(4%6"* - $0 - 6%#:5%6* - 9%0 - /*9%00* - 0%*&(69%"#*1 - 9@C&&:&'$*- 6%$&)%656%)(-$0-4(0*6%-9%00@D9%(0%-9%00@(6)%-#3% -%6(-")()*-5*")*-(-<*&9(/%&)* -9(00@(6)%- 6*/(&)$#(+-C00@$&)%6&*-9$-=:%")*-9$"#*6"*1-0@D9%(0%-&*&-E-%"#0:"*-9(00@(6)%-/*9%6&(-(- <(4*6%-9%0-"*0*-"):9$*-(&(0$)$#*-9%0-6%(0%+-F""*-5$)):*")*-4$%&%-6$4$")*-&%0-":*-)6*4(6%-0%- <*&9(/%&)(-&%0-/*9%6&*-"):9$*-"#$%&)$<$#*-9%00(-6%(0);+- D0-#(//$&*-)%*6$#*-5%6#*6"*-9(0-9@C&&:&'$*-<$&-9(0-56$/*-$&#*&)6*-#*0-2$#3%))$- 4$%&%1-$&<$&%1-/(7$")6(0/%&)%-6$("":&)*-$&-*##("$*&%-9%00(-"#6$)):6(-9%00(-9%9$#(-5*")(-(9- (5%6):6(-9%0 -!"#$%&$'()**+',$"-). 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Michetti del Trionfo della morte, PRI, p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edica a F.P. Michetti del Trionfo della morte, PRI, p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edica a F.P. Michetti del Trionfo della morte, PRI, pp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ul rapporto di Michetti e d’Annunzio con la fotografia cfr. ()*+,-.,%#/*%"%#01,2-&&13# !" # 4-+*,%"% # 5-""- # *)&1 # &)* # 6%&%7)*61* # - # 5-,%)*81%+-' #>"4,!%G # O!*+&"G # MPPP # * #Marina Miraglia, Francesco Paolo Michetti fotografo, Torino: Einaudi, 1975. 138 !""#$!%!&'!&()*+,*&+-*%*&'!&.!,#&,/#,,*&'#0&.*/+1&+!&/!.*/+#%1&/!+2*,,!.#"*%,*&%*!&()#'/!&'!& 3!-4*,,!&-1"* &!"#$%&% #*&'(#)(*+, #1&!%�-)%*&'*00*&2#$!%*&'*0 &-*,%./%#0(""1#2%*&( #'!& '56%%)%7!13#85!"21/,#%7# & '*005#+2*,,1 & '1-)"*%,#/!1 & '*00# & +-/!,,)/# & -/*#,!.# & 9& ,*+,!"1%!#,1&#%-4*&'#00#&%1,#&21+,#&#&-1%-0)+!1%*&'*&!"#&*,%./%#0(""1#2%*&(:&'1.*&+!&0*$$*;& <=),,*&0#&2#/,!-10#/!,>&*,%!-4*&'*0&()#/,1&0!?/1&*&'*0&()!%,1&+1%1&/!$1/1+#"*%,*&*+#,,*@&A& -#2!,10!&B:&BA&*&BAA&'*0&()#/,1&0!?/1&C&!%,1/%1�&D#%,)#/!1&'!&E#+#0?1/'!%1&C&+1%1&!0& /!+)0,#,1&'!&)%#&1++*/.#7!1%*&'!/*,,#:&/!2*,),#&%*001&+,*++1&0)1$1&*�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`'*005!%'!.!')1a&*& 0*&-1+*&*+,*/!1/!@^&8#&'!"1+,/#7!1%*&'*00#&.*/!,>&K#,,)#0*&'*00*&]-1+*&*+,*/!1/!^&9&')%()*&!0& 2/*+)221+,1&2*/&.*'*/*&-1"*&()*+,*:&%*0&01/1&$!1-1&'!&]#7!1%!&*&/*#7!1%!:^&+!&,/#+K1/"!%1& +)00#&2#$!%#&1&+)00#&,*0#&!%&])%#&+*0.#&!%%)"*/*.10*&'!&+*$%!&.#/!&-4*&,),,!&-1//!+21%'1%1& !%&)%#&+,*++#&#%!"#&-1"2/*%+!.#&*&2*/+2!-)#@^& 139 Nota ai libri IV e V del Trionfo della Morte, PRI, p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�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l Trionfo della morte (1894), PRI, pp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l Trionfo della Morte (1894), PRI, p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l Trionfo della morte (1894), PRI, p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’intervista è contenuta in Ugo Ojetti, Taccuini, Firenze, 1954, ed è stata citata nell’articolo di Marina Miraglia, Michetti tra pittura e fotografia, in 4$/*5-65#(7/#.#( 3&58-""&2(9.(:-*/5#.#(,-..-(/$"&("$/(+#"#;$/+&/(-(,-5#$/<&#*-'(E)1%&!+#Q&/(')+#:RRR, p. 15. 148 !"# $ %&#"' $ ()**+ $ #+ $ ,-+.!" $ "-*+ $ ./"-+ $ 0.1"%*+*+2 $ %".3+ $ 0.*"-4+##&' $ 5" $ 067#&-+30&.0 $ %0$ 7-&7+,+4+.& $ 0.0.*"--&**"2 $ "#"4+.!&%02 $ +88+%%+.!&%02 $ 0. $ 9&-&2 $ + $ 9&.*-+%*&2 $ 9&. $ 60##"$ +99".*0' $ 5/+670"33+ $ !"##+ $ 9+67+,.+ $ %�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�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p. 903. 149 !"#$%&%!'(&)*(+*(,*"%-#(.*/0"#+1(,1-*"*(/12!1(#22#(3#$%+#(,%(,45++6+7%18( 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�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er un’introduzione a Filippo Tommaso Marinetti scrittore, cfr. Giusi Baldissone, Filippo Tommaso Marinetti, Milano: Mursia, 1986; Giovanni Lista, Marinetti, Parigi: Seghers, 1976; l'introduzione a !/7/66"$:"44-*"$F-#/')11/.$!#+&*/$#$*,7#,8*+,#$-6)6&*2)/9$ -$0&#-$(/$D&0/-'"$M)$F-#/-.$F/7-'"N$F"'(-'("#/.$OPPQ$RJSTUVW Claudia Salaris, F.T. Marinetti: arte-vita, Roma: Fahrenheit 451, 2000; Per un’introduzione all’opera di Boccioni cfr. Giulio Carlo Argan, Boccioni, Roma: De Luca Editore, 1953; Guido Ballo, a cura di, Boccioni a Milano, Milano: Nuove edizioni Gabriele Mazzotta, 1982; Maurizio Calvesi, Ester Coen, e Antonella Greco, a cura di, Boccioni prefuturista, Milano: Electa, 1983; Ester Coen, a cura di, Umberto Boccioni, New York: Metropolitan Museum of Art, 1988. Per gli studi relativi alla nascita e allo sviluppo del movimento del Futurismo cfr. Maurizio Calvesi, Il Futurismo. La fusione della vita nell’arte, Milano: Fratelli Fabbri, 1967-1975; Marianne W. Martin, Futurist Art and Theory 1909-1915, Oxford: Clarendon P., 1968; Gian Battista Nazzaro, Introduzione al Futurismo, Napoli: Guida Editori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aroline Tisdall e Angelo Bozzolla, Futurism, New York – Toronto: Oxford University Press, 1978; Mario Verdone, Che cose è il Futurismo, Roma, Ubaldini, 1970. 148 Tanto Marinetti quanto Boccioni fanno costantemente uso di un linguaggio che mette in evidenza l’eccezionalità del momento storico e del ruolo che occupano all’interno di questo momento. Soprattutto i primi testi di Marinetti puntano con decisione sull’immagine della nascita, della ri-nascita, o della risurrezione, come nel caso della macchina che risorge in Fondazione e Manifesto del Futurismo (1909) o nel caso della nascita di Gazurmah, figura centrale di Mafarka il Futurista. Nel caso di Boccioni, nel primo Manifesto dei Pittori Futuristi (1910) il pittore presenta il Futurismo come il naturale seguito culturale del Risorgimento politico italiano e scrive: FG)#*A1'*%1,#'*3"3"1'5* 12H,%1'%*<*%(4"#%*,)##%*+'*$"#,'5*/(2'$$)(0%*G"$3)'*-'%(48)AA'%(,)*+'*0)3"14#':*@2H,%1'%* '(B)4)*#'(%04)5*)*%1*0/"*I'0"#A'$)(,"*3"1','4"*0)A/)*'1*I'0"#A'$)(,"*'(,)11),,/%1):*C)1* 3%)0)*+)A1'*%(%1!%-),'*B%(("*$"1,'31'4%(+"0'*1)*04/"1)J*()1*3%)0)*+)1*+"14)*!%#*(')(,)* #/AA"("*"#$%'*"!!'4'()*'((/$)#)B"1'J*()1*3%)0)*+)112)0,),'4%*,#%+'&'"(%1)*03'44%("*"AA'*'1* B"1"*'03'#%&'"('*0!"1A"#%(,'*+'*("B',D:K *Umberto Boccioni, Taccuini futuristi, a cura di Plinio Perilli, Roma: Mancosu Editore, pag. 18. D’ora in poi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ilippo Tommaso Marinetti, Teoria e invenzione futurista, a cura di Luciano De Maria, Milano: Mondadori, 2005 [1968], p. 8. D’ora in poi, TIF. 155 !"#$%&'()*(&+#$+)*,&--"*'+.-(./"*%.(./'("*!"#"$%&'&()&)(*+,&+(-../01(2,&3(&4/'.1(&5-0(6'.1(& (01,)-1,&0$((./"*&*1+.-(./"*2.(./$'(&&!"#"7%8"9:&;11+-2'+.,&),&.1/3(,&3(&4/'.1(&1'.1(&.(&2'3+<& =,5'&>,==(,0(&+'=/?'+(&()&3(.=,+.,&1',+(=,&3(&@-+(0'11(A&?'+&+(-3-11-+),&-)&?+,?+(,&3(.=,+.,& +')-1(2,&-))'&-+1(&6(B/+-1(2'A&'3&-5?)(-+),8&C0-&1'+D-&1-??-&.-+<&4/'))-&3'))-&)'11/+-&3'(& 5-0(6'.1(&3')&E-+,)(*'+(.5,&3(&@-+(0'11(A&3,2'&.(&-2+<&5,3,&3(&2'3'+'&=,5'&-&./-&2,)1-& @-+(0'11(&(01'B+(&()&3(.=,+.,&3(&>,==(,0(&+')-1(2,&-))'&-+1(&6(B/+-1(2'&-))F(01'+0,&3(&4/')),& )'11'+-+(,8& G06(0'A & 4/'.1,& (01'0.(..(5, &+-??,+1,&3(&.=-5*(,& 2'3'& /0F(0-.?'11-1,& ?/01,& 3F-++'.1,&-&=-/.-&3'))-&5,+1'&3(&>,==(,0(&0')&"#"H8&;0=I'&),&.=,??(,&3'))-&?+(5-&B/'++-& 5,03(-)'&(01'++,5?'&1'5?,+-0'-5'01'&),&.2()/??,&3')&J/1/+(.5,8&G)&5,2(5'01,&6/1/+(.1-& +(?+'03'&)-&?+,?+(-&-11(2(1<&3,?,&)-&6(0'&3'))-&?+(5-&B/'++-&5,03(-)'&=,0&)-&?/**)(=-D(,0'& 3(&/0&0/,2,&+,5-0D,&3(&@-+(0'11(&3-)&1(1,),&3-$*4#,)5"6$-$*!"#$$%7*K-&)'11/+-&3(&4/'.1,& +,5-0D,A&=,0&=/(&.(&=,0=)/3'&()&=-?(1,),A&=(&,66+(+<&)F,==-.(,0'&?'+&2-)/1-+'&)-&0/,2-& 3(+'D(,0'&(01+-?+'.-&3-)&J/1/+(.5,&3(&@-+(0'11(&(0&-..'0D-&3')&=,))'B-&>,==(,0(8 !!"#$%#&'()*%$!)+#,'$$%#-%&&.!(%#('$$%#&/()!(0!)+#)*%#%*)'#'# 1!)%" 2)#,"8$)#&*&*!"#$%&'()*,&-*2.(./$'5)9 *?/**)(=-1,&./) &2$:"/) *3(&E-+(B(&()&$:& 6'**+-(,&"#:#A&.(&?+'.'01-&6(0&3-))F(0(D(,&=,5'&)F-.?(+-D(,0'&-3&'..'+'&/0&5,5'01,&3(& 150 C5*'+1,&>,==(,0(A&0$((./"*&*'+.-(./"*%.(./$'(&9*-&=/+-&3(&L'0,&>(+,))(&'&=,0&/0,&.=+(11,& 3(&@-+(,&3'&@(=I')(A&@()-0,M&NOA&"##P8&QF,+-&(0&?,(&ENJ8 156 !"!#$%&'())"*"&+%$$#&,-$!-'#&(!#$(#)#.&,#'#!!%'(//#!"&+#$&'(0(-!"&+%$$#&!'#+(/(")%&$%!!%'#'(#&%& +#$ & 0#'1( & ,#)!"'% & +%$ & 2'"2'(" & !%32"4 & 5% & 2#6()% & +( & #2%'!-'# & +%$ & 3#)(0%1!" & 2")6")"& $7#!!%)/(")%&1-$$7%,,%/(")#$(!8&+%(&2"%!(&0-!-'(1!(&%&1-6$(%!!(&+%$$#&'%#$!8&,9%&'(,9(#3#)"& $#&$"'"&#!!%)/(")%4&:(&$%66%&()0#!!(&,9%&;#'()%!!(&%&(&1-"((,(&1")"&<1"$(.&()&=-%$$7"'#.>& <1"$(&,"(&0-",9(1!(.>&<1"$(&,"(&)%'(&0#)!#13(&,9%&0'-6#)"&)%$$%&2#),%&#''"*%)!#!%&+%$$%& $","3"!(*%.>&% &<1"$(&,"6$(&-?'(#,9(4>@A@& 57%,,%/(")#$(!8 &B&+-)=-% &+#!# &+#$$#&1,%$!# &+(& *"$%'1( & ,")0'")!#'% & ,") & ( & )-"*( & #12%!!( & +%$$# & '%#$!8 & ,")!%32"'#)%#. & % & () & 2#'!(,"$#'%.& -'?#)#4&C$$7#!!%)/(")%&2%'&($&$()6-#66("&+%$$#&)#!-'#.&(&D-!-'(1!(&1"1!(1!-(1,")"&=-%$$#&2%'&($& $()6-#66("&+%$$#&3#,,9()#E&<3%)!'%,"$!#*#3"&$7%1!%)-#!"&?"'?"!!(".&+(&2'%69(%'%&+%$& *%,,9("&,#)#$%&%&$"&1,9'(,,9("$#'&+%$$7"11#&+%(&2#$#//(&3"'(?")+(&1-$$%&$"'"&?#'?%&+(& -3(+# & *%'+-'#. & )"( & -+(33" & 1-?(!#3%)!% & ($ & '-66('% & 1"!!" & $% & 0()%1!'% & 6$( & #-!"3"?($(& 0#3%$(,(4>@AF& 5# & 2'%1%)/# & +%$$# & 3#,,9()# & )%$$# & *(!# & +%$$7-"3" & 3"+%')" & '(,9(#3#& $7#!!%)/(")%&+%(&2"%!(&1-&+(&1G4&H$&1-"&'-66(!"&1,-"!%&(&2"%!(&+#$&1"))"&%&$(&(),(!#&#$$#& 2#'!%)/#4&:(&$%66%.&()0#!!(E& H$&$()6-#66("&2'"0%!(,"&+(&;#'()%!!(&1%'*%&#&+#'%&$#&3(1-'#&+%$$#&6'#*(!8&%&+%$$7(32"'!#)/#& 151 TIF, p. 7. 152 TIF, p. 8. 157 !"#$%&'()#*+,("-).+,&#/)/&0()#'(),"-)1#&#!&.#,%).)#-2&#"#*)&("#3%(%,"'("#'"#(,)4+0)#+!# +33,)0(+,&5#6"70"3"-+("4)#8#+0-2&#.9%')#!&..9"//+7"0&#!&.#:&0(+%,)1#.+#-%"#0+(%,+#";,"!+# +..9"0(&,0)#!"#$%&'()#(&'()#0)0#8#*"<#!+(+#!+..+#3%'")0&#!&..9%)/)#-)0#.9+0"/+.&1#;&0'=#!+# $%&..+#!&..9%)/)#-)0#.+#/+--2"0+5#6)0)#7."#+'*&(("#&#"#-+,+((&,"#!"#$%&'(+#3%'")0&#-2�)0# 2+00)#+0-),+#(,)4+()#&'*,&''")0�&7."#'*+>"#!&..+#.&((&,+(%,+#"(+."+0+1#&#-2&#"#?%(%,"'("#'"# +**,&'(+0)#+!#"04&'("7+,&5#@+#/+--2"0+#8#.9"//+7"0&#!)/"0+0(&#!"#$%&'()#*,"/)#(&'()# 3%(%,"'(+#"&0&#%(".">>+(+#*&,#3+,#&/&,7&,&#.+#!"'(+0>+#-2&#"#*)&("#3%(%,"'("#4&!)0)#(,+#.&# -),,&0(" # 3),/& # !" # &'*,&''")0& # !&..9+,(&1 # & # "0 # *+,("-).+,& # $%&..& # '"/;)."'(&1 # & # .+ # 4"(+# /)!&,0+5# A.#-&0(,)#!&..+#4"(+#/)!&,0+#4"&0&#!%0$%&#*)'(+#.+#/+--2"0+1#')*,+((%(()#0&..&# *,)/&''&#-2&#$%&'(+#)33,&#+..�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�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p. 11. 154 Sul tema del mito della macchina nel Futurismo cfr. Enrico Crispolti, Il mito della macchina e altri temi del Futurismo, Trapani: Celebes, 1969; Ernesto Livorni, “La macchina come rinascita dell’umanità: Marinetti e il primo Futurismo,” Rivista di studi italiani, Anno XXVII, n° 1, giugno 2009, pp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7@"*)-!"1)$7%&%*'++,2%-%*1)*#)'7G2)$/'#"*!%$$"$$%*1"++'*#"'+/;*7%&/"-!%#'&"'*'//#'0"#$%* +,'//)0)/; * !%"/)7' *" * 7#"'/#)7"5*M'++,'+/#%< * )+* 0'+%#" *1"+ *!'$$'/% *" * 1"++' * -"-%#)' *0)"&"* 158 MF, p. 163. 159 MF, pp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p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ul legame tra il vero, la durata e la creazione Bergson scrive: O.)$*!$'=5(>/$*)!/&%0$%&"P$ )=5)$*!$2/5&$QRS$C/)=57=T!*'!$U*&&$)=/($:/'#3/$/P7/2*/('/$*)!/&%$5(4$4"25)*#($U*&&$:/$ 2/6/5&/4$5!$*)$2/5&&T$*!$V$"('/5!*(>$'2/5)*#(0$)=/$"(*)/22"7)/4$"7!"2>/$#%$(#6/&)T+W$X/(2*$ E/2>!#(0$23()40(%/'5()1'#$0$)254"8*#(/$4*$C5:/&&/$?+$Y(4*!#(0$M/U$Z#2[9$\2//(U##4$ ]2/!!0$,J-^$Q,J_-S0$77+$,-`,a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p. 18. 163 Sull’incontro tra Boccioni e Marinetti, cfr. la prefazione di Aldo Pallazzeschi a Teoria e Invenzione futurista, TIF, pp. XV-XXVI. 164 Le prime edizioni del primo manifesto dei pittori futuristi recavano la firma di Boccioni, Carrà, Russolo, Bonzagni e Romani. Questi ultimi due pittori abbandonarono presto il gruppo e al loro posto subentrarono Giacomo Balla e Gino Severini. Cfr. Marianne W. 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el campo della tradizione figurativa, un precedente significativo per lo sviluppo di Boccioni era stato quello dei Macchiaioli, particolarmente apprezzati dall’arista. Come si è visto nel primo capitolo di questa dissertazione, i Macchiaioli furono tra i primi, nell’Italia del diciannovesimo secolo, a promuovere in pittura il riavvicinamento dell’arte al proprio tempo. Similmente, anche i Macchiaioli, così come poi Boccioni, erano entrati in polemica con le accademie dell’arte e con l’imitazione della tradizione figurativa, sostituendo ad esse il modello della natura e del proprio tempo. Sull’influenza dei Macchiaioli e delle scuole di fine Ottoccento cf. Marianne W. Martin, Futurist Art and Theory 1909-1915, cit. 166 La pittura futurista. Manifesto Tecnico (1910), TF, p. 226. 8BP La pittura futurista. Manifesto Tecnico (1910), TF, p. 226. Nel Manifesto dei pittori futuristi, il tema era già stato anticipato nel tipico linguaggio marinettiano violento e proovocatorio: “Noi vogliamo combattere accanitamente la religione fanatica, incosciente e snobistica del passato, alimentata dall’esistenza nefasta dei musei.” TF, p. 220. 171 !"##$%&'$("#$!"#$"%&$'(&$'")*"&+&,-.*'$&"/*0"'"(&$'"123)&4'5&!6789"" :*(*5(&$;&"3"<-3$;'"34&43"1*="%3;;'">32*$&;;*?"3$,@&"*"/*;;'2*"%-;-2*+;*"+*;-3$'"*5"/2'/2*'" )*+,'2+'"+-553"4&2*;=")&55A'/&23")A32;&"/'$&$)'53"*$"2&53.*'$&"3553",'$;&(/'23$&*;="/&2" 5*B&23253 " )35" +-'" +;3;' " )*" *+'53(&$;'!"C3" ;-;;34*3 ",@*32*;'",'+3 " *$;&$)3" D',,*'$*"/&2" *+'53(&$;'"&"/&2"2*344*,*$3(&$;'")&55A32;&"35"+-'";&(/'!" 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" +&,'$)' " D',,*'$*?" 5A32;&")&4&"2*355*$&32+*",'$"-$3"$-'43",'$,&.*'$&")&55A&+*+;&$.3!":*"5&11&"*$%3;;*M"HI'*" 4'15*3('"2*&$;232&"$&553"4*;3!"N3"+,*&$.3")A'11*?"$&13$)'"*5"+-'"/3++3;'?"2*+/'$)&"3*" 168 PSF, p. 13 (corsivo mio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a pittura futurista. Manifesto tecnico, TF, p. 230. 170 La pittura futurista. Manifesto tecnico, TF, p. 227. 171 PSF, p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p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pp. 21-22. 174 Gli scritti di Bergson relativi alla relazione tra la realtà e la rappresentazione, così come quelli sull’intuizione sono fondamentali per la formulazione della teoria futurista di Boccioni. Nel suo Introduction to Metaphisics, nel descrivere la metafisica, Bergson scrive: “If there exists a means of possessing a reality aboslutely, instead of knowing it relativerly, of placing it oneself within it instad of adopting points of view toward it, of having the intuition of it instead of making the anlysis of it, in short, of grasping it over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and above all expression, translation or symbolical representation, metaphysics is that very means. Metaphysics is therefore the science which claims to dispence with symbols.” Henri Bergson, An Introduction to Metaphisics.)'10*/2$,#")*$ T. E. Hulme, Indianapolis: Bobbs-Merrill, 1955, p. 191. 175 Manifesto Tecnico della Scultura, (1912), TF, p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refazine al Catalogo della I Esposizione di Pittura futurista, TF, p. 237. 177 Pittura futurista. Manifesto tecnico (1912), TF, p. 226. 178 Manifesto tecnico della scultura (1912), TF, p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refazione al catalogo della I esposizione di scultura futurista, (giugno-luglio 1913), TF, pp. 264-265. 180 Papini, nel rielaborare la teoria di Bergson, così descrive il nuovo modo di concepire il rapporto tra l’intelligenza e la materia: BM+9#!*#&1,2&+);2(292:.28&,#&:;2(2.#&+&,+&9#:+& 1#*#!#&*2&"!-%()#!2%&;(+:.%L2,2.%8&;+(&2&Y%!.2%!2&,+&9#:+&:2&%*%..%!#&%,,#&:;2(2.#/&M+9#!*#& =+(1:#! & 2!$+9+8 & ,-2!.+,,21+!>% & + & ,% & )%.+(2% & :2 & :#!# & %*%..%.+ & ;(#1(+::2$%)+!.+ & ,-"!%& %,,-%,.(%&;+(&'+()%(:2&%&"!%&'#()%&9#)"!+8&:299 !"#$%&'"()*+#,+"()&''&)-.%/+'&01.#")$".%12&)*"''&)-.%/&)-+$+%13$&()4)1')2.#2"$$.)*"') /.$.( ) 2.#2"$$. ) 3+ ) 2+1 ) 5.221.#1 ) 31 ) 3.--"%/& ) 1# ) *16"%3" ) 21%2.3$�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p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a pittura futurista. Manifesto tecnico. TF, p. 226. 180 !"#$%& ' ())&*(+# ' ,( ' "+& ' ,($-./&0(.+# ' $1&0(&-# ' ,#--. ' $1#%%&%.2# ' 3(#+# ' "-%#2(.2)#+%#' &112.+,(%& ' +#- ' /.+/#%%. 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refazione al catalogo della I esposizione di pittura futurista, TF, p. 238. 184 SPF, p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p. 46. 192 I passi provengono dai punti 2, 3, e 5 del Manifesto Tecnico della letteratura futurista, (1912) qui citati per intero: “2. Si deve usare il verbo all’infinito, perchè si adatti elasticamente al sostantivo e non lo sottoponga all’io dello scrittore che osserva o immagina. Il verbo all’infinito può, solo, dare il senso della continuità della vita e l’elasticità dell’intuizione che la percepisce. 3. Si deve abolire l’aggettivo, perché il sostantivo nudo conservi il suo colore essenziale. L’aggettivo avendo in sé un carattere di sfumatura, è inconcepibile con la nostra visione dinamica, poiché suppone una sosta, una meditazione. 5. Ogni sostantivo deve avere il suo doppio, […] Siccome la velocità aerea ha moltiplicato la nostra conoscenza del mondo, la percezione per analogia diventa sempre più naturale per l’uomo. Bisogna dunque sopprimere il come, il quale, il così, il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simile a. Meglio ancora, bisogna fondere direttamente l’oggetto coll’immagine che esso evoca, dando l’immagine in iscorcio mediante una sola parola essenziale.” TIF, pp. 46- 47. 193 TF, pp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p. 53. 198 !"#$%&'()#(&"(*(+,)#-+#*""%..*/&#.&#-+00&/&"1&#'&4*/*")#+.#')55&(()#-*.#6)"-)# &'(&/")#*00+"237#'8+-&"(+0+23+")#.8%")#2)"#.8*.(/)9#+.#4)&(*#(/*-%2&#*"2)/*#%"*#,).(*9#+"# (&/6+"+#.&((&/*/+9#.8*00&/6*1+)"&#:)22+)"+*"*#'&2)"-)#2%+#.)#'4&((*()/&#'*/;#4)'()#*.#2&"(/)# -&.#$%*-/)<# #=+6+.6&"(&9#*((/*,&/')#.*#-+'(/%1+)"&#-&..8>+)#.&((&/*/+)9?#@*/+"&((+#'+#0*# 4/)6)()/& # -&..8*""%..*6&"() # -&..* # ')55&((+,+(; # * # 0*,)/& # -+ # %"8*'').%(* # )55&((+,+(;9# *00+"23A#.*#.&((&/*(%/*#'+*#,&/*#6*"+0&'(*1+)"&#-&..*#/&*.(;#B)''&''+)"&#.+/+2*#-&..*#6*(&/+*C# &#")"#-&..*#')55&((+,*#4&/2&1+)"&#-&.#4)&(*#-&..*#/&*.(;#'(&''*<#=&5%&"-)#$%&'(*#'(/*-*9# @*/+"&((+#*::*"-)"*#)5"+#4%"()#-+#,+'(*#/&.*(+,)#4&/#*''%/5&/&#*-#%"#4%"()#-+#,+'(*# *'').%()9#)55&((+,)9#$%&..)#-&..*#6*(&/+*#'(&''*#23&#'%55&/+'2&#&-#&,)2*#+66*5+"+#*..8+)# 4)&(*"(&<# D8*""%..*6&"()#-&..8+)#.&((&/*/+)#4&/6&(()'E#-+#')'(+(%+/&#.8+"(&/&''&#-&..8%)6)# 2)"#.8+"(&/&''&/#.*#6*(&/+*<#F&.#4*/*5/*0)#2)"2.%'+,)#-&.#6*"+0&'()9#'+#.&55&#+"0*((+G # >@&-+*"(&#.8+"(%+1+)"&9#,+"2&/&6)#.8)'(+.+(;#*44*/&"(&6&"(&#+//+-%2+:+.&#'&4*/*#.*# ")'(/*#2*/"&#%6*"*#-*.#6&(*..)#-&+#6)()/+<#H)4)#+.#/&5")#*"+6*.&9#&22)#+"+1+*/'+#+.#/&5")# 6&22*"+2)<#I)"#.*#2)")'2&"1*#&#.8*6+2+1+*#-&..*#6*(&/+*9#-&..*#$%*..+#'2+&"1+*(+#")"# 4)'')") # 2)")'2&/& # 23& # .& # /&*1+)"+ # 0+'+2)J23+6+23&9 # ")+ # 4/&4*/+*6) # .* # 2/&*1+)"&# -&..8!"#"$#%&&'()&"$*'++%$,'-.)$&'#/)'/)+)0#F)+#.)#.+:&/&/&6)#-*..8+-&*#-&..*#6)/(&9#&# $%+"-+#-*..*#6)/(&#'(&''*9#'%4/&6*#-&0+"+1+)"&#-&..8+"(&..+5&"1*#.)5+2* N&-+*6)#-%"$%&#/+'4&(()#*.#KLOL9#.8+"(&/&''&#-+#@*/+"&((+#2)"(+"%*#*-#&''&/&#$%&..)# 4&/#+.#/+""),*()#+"(&/&''&/#.*#6*(&/+*#&#+.#/&5")#-&..*#6*223+"*9#6*#A#').)#-)4)#.*# 0)/6%.*1+)"&#-&+#6*"+0&'(+#-+#P)22+)"+#23+%"5&#*..*#0)/6%.*1+)"&#-+#%"*#(&)/+*#-&..*# 195 TIF, p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p. 66. 197 TIF, p. 78. Questa idea del “divenire del tutto” e del verbo all’infinito è vicino al concetto boccioniano di “dinamismo,” a sua volta derivato da quello di “durata” di Bergson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p. 921. 204 !"##"$%&"''()*+,&-"&*%)%#*.)/"&0.--"&1"$.2("&!"##"##.&"$$2"3.2#%&(-&$2"1($.&0.--4()$5(/(%).6& 7"&).*.##($8&0(&#$"9(-(2.&5)&2"!!%2$%&!(:&3(#*.2"-.&*%)&-"&2."-$8&"3.3"&!%2$"$%&"--"&2"0(*"-.& 0(*+("2"/(%).&0.--"&).*.##($8&0.--"&0(#$25/(%).&0.--.&9(9-(%$.*+.&.&0.(&15#.(6&;.)$2.&()& <5.-&!2(1%&1")('.#$%&;"2().$$(&"3.3"&()3($"$%&(&!%.$(&'5$52(#$(&"&2(3%-=.2.&-4"$$.)/(%).&"--"& 1"$.2("> & ).--" & !2.'"/(%). & " & <5.#$% & 2%1")/% & ;"2().$$(& $%2)" & " & 0"2. & -" & !2.*.0.)/" & "-& 2(*%20%>&"--"&'")$"#(">&.&"-&#%=)%6&?(&-.==.>&()'"$$(@& AB.2$%&-%&"3.3%&).--.&1(.&3.).&-(9.2.&.&).(&1(.(&-(9.2(&15#*%-(&<5")0%&=(%*"3%&9"19()%& )50%&*%(&1%).--(&).=2(&)50(--.&05).&2%3.)$(&0(&C"1-.+6&D)"&$.)0"&9.05()"&925)"&%2-"$"& 0( & *")( & #*+.-.$2(*( & #$2"**( & *"2%=). & (11%)0(/(.6 & ?(-.)/(% & 2%##% & 0.--. & '"**. & 0.( & ).=2(& "**%3"**("$(&()$%2)%&"0&5)&'5%*%&"2%1"$(*%6&B2.!($(%6&?!(2"-.&0.-&'51%&"//522%6&?(-.)/(%& "##%-5$%6&B2(#$"--%&")#(%#%&0.--4"2("6&E-&#(-.)/(%&=.1.6&D)&'-"5$%6&?%=)"&'%2#.&0(&#!2.1.2.& -"&0%-*.//"&0.--"&!52(##(1"&#.2"&3.20.6& F3.3%&*.2$"1.)$.&).--.&3.). &!"#$%&'()*+#"#& 052")$.&(-&1(%&5-$(1%&3("==(%&).--4F-$%& G=($$%6&;"&-"&*%)*./(%).&0(&<5.#$%&!%.1"&!"2%-(9.2%&1(&"##"-H&(-&*.23.--%&).-&0%21(3.=-("& 0(&5)&1"$$()%&0(&#.$$.192.>&<5"-*+.&=(%2)%&0%!%&"3.2&*%1!(5$%&,-*".(/*$'-*..#*#(0$"0& F)$(=)")%6&I&?5--.&%''(*().&-(3%2).#(&%**5!"$.&0"=-(&%!.2"(&="22(3")%&9")0(.2.&2%##.6&;"& #.192"3")%&=2(=(.--"&#*"2-"$$"&2(#"$"&).=2"&0.-&1"2.&(#!(2"$%2.6JKLM E) & <5.#$% & !"##%> & #( & %##.23" & *+. & -4(0."/(%). & 0.- & 2%1")/% & )%) & !"##" & "$$2"3.2#%& -4%##.23"/(%). & 0.--" & 2."-$8 & ).- & 1%1.)$% & !2.#.)$.6 & N() & 0"--. & !2(1. & !"2%-. & ;"2().$$(& 0(*+("2" & 0( & "3.2 & "35$% & (- & 2%1")/% & ).--. & #5. & 3.). & '() & 0"( & $.1!( & 0.--" & #5" & ()'")/("6& O(3.2#"1.)$.&0"-&!2(1%&N5$52(#1%>&#(&!.20.&(-&#.)#%&0.--"&(11.0("$.//"&).-&2"!!%2$%&$2"& -"&2."-$8&*(2*%#$")$.&.&-"&'()/(%).&-.$$.2"2("6&E-&'%)0"1.)$%&0(&3.2($8&0(&<5.#$%&2%1")/%& "##51. & 05)<5. & 5) & *"2"$$.2. & !(: & $2"#*.)0.)$"-. & 2(#!.$$% & " & <5.--% & 0.( & $.#$(& 0.- & !2(1%& N5$52(#1%6&P5.#$4(0."&*%)$()5"&"0&.##.2.&2"''%2/"$"&).-&#.*%)0%&!"2"=2"'%&0.-&!"##%&*+.& 203 TIF, p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pp. 922-923. 206 !"#$%&'&'!#'()*&+,)-+&'(&!'$).-$(-/',-0+-/'&'(&!!#'1#+%#,)#'2'%&,%)*-+)#%-'(#!!-',%&,,-'%-+-' 1)#3&,.-'&'(#!!#'%$#*#'(&!'$-*#+4-5'6$-%#0-+),%)'(&!'$-*#+4-',-+-')+1#%%)'7+'0$788-'()' .#$.&$#%)'+&$)'.9&'0)#..)-+-')+'7+#'1-,,#')+'*&44-'#!'(&,&$%-/',-$:&0!)#%)'(#'.#$.&$)&$)'+&$)' #'!-$-':-!%#',-$:&0!)#%)'(#)';#$%#.&)5'<0+)'+-%%&/')'.#$.&$)&$)'.-+(7.-+-'0!)'=+(-*#3)!)' #!!")+%&$+-'(&!!"<#,)/'+&!!#'>7#!&'%7%%)')+,)&*&'#%%$#:&$,#+-')!'!#0-'(&!!#'6-&,)#'&'(&!' ?&+%)*&+%-/'$),.$)%%7$#'()'7+'@(&+'(-:&'%7%%&'!&'():&$,)%A'&')'.-+%$#,%)',)'#.>7)&%#+-'&' $)%$-:#+-'7+)%A'+&!!")**#0)+&')+1#+%)!&'()'7+'0)$-%-+(-5'B,.)%)'(#!'!#0-'(&!!#'6-&,)#'&'(&!' ?&+%)*&+%-/'0!)'=+(-*#3)!)'&+%$#+-'+&!!#'.)%%A'(&)';#$%#.&)/'.)%%A')+'.7)':&+0-+-'.$&#%)'&' .7,%-()%)')'8$-(-%%)'(&!!")+%&!!)0&+4#C')'!)3$)5'B+#':-!%#'&+%$#%)'+&!!#'.)%%A/'0!)'=+(-*#3)!)',)' 8-+0-+-'#!!#'07)(#'()'7+#'$):-!74)-+&'.-+%$-')';#$%#.&)5'D#'$):-!74)-+&'+-+'2',-!-'.-+%$-' )'!)3$)/'.-*&'+&!'.#,-'(&!'8$)*-'E7%7$,)*-/'*#'#+.9&'.-+%$-'!#'*#..9)+#/'()'.7)',)' *&%%-+- ' )+ ' &:)(&+4# ' +-+ ' 8)F ' 0!) ' #,8&%%) ' !)3&$#%-$)/ ' 3&+,G ' () ' -88$&,,)-+&5 'H!.7+) ' (&)' !#:-$#%-$) ' (&!!# ' .)%%A ' (&) ' ;#$%#.&) ' )+)4)#+-/ ' )+1#%%)/ ' # ' !#*&+%#$,) ' () ' I*#+-:$#$& ' 7+#' *#..9)+#')+:&+%#%#'(#'#!%$)/J'&('#!!#'!#*&+%&!#',&07&'7+')++-'#!!#'1#+%#,)#/'&'#!!#'8-&,)#' .-*&':&).-!-'&',%$7*&+%-'()'!)3&$#4)-+&5'=+'>7&,%-'8#,,-',)'-,,&$:#'(7+>7&'.-*&'!-' ,%$&%%- ' !&0#*& ' () ' ()8&+(&+4# ' .9& ' K#$)+&%%) ' #:&:# ' 1-$*7!#%- ' %$# ' !# ' 8-&,)# ' & ' !# ' :)%#' #%%$#:&$,-'!"#%%&+4)-+&'8&$'!&'8-%&+4)#!)%A'8-,)%):&'(&!!#'*#..9)+#'.#*3)#'()$&4)-+&5'' L!)'=+(-*#3)!)',)'*&%%-+-'(7+>7&'#!!#'07)(#'(&!!#'$):-!74)-+&'.-+%$-'!#',.9)#:)%F' (&!'!)3$-'&'(&!!#'*#..9)+#M'$):-!74)-+&'.9&':&(&')!',7-'.7!*)+&')+'7+"#!!7:)-+&'1!7:)#!&' 207 !"#$%&!'()*!#$&$+%',-.'(&/,&$)#0$%'1-(2'$-0$)&$3*'%&$)#0045-/&6$)-$)'7#$#%-('$+-%,&,&8$9-(,'$ &0$7&-..&'$-,,%-7#%/'$045-/&$:*-(,'$0-$%&7'0*2&'(#$!'(,%'$&$;-%,-!#&$/&$%&+#,'('$'.(&$.&'%('$ /#(2-$!"#$.0&$<()'1-=&0&$(#$!'(/#%7&('$0-$!'/!&#(2-8$9-0#$&(!'/-+#7'0#22-$>$!&?$!"#$0&$ %#()#$/!"&-7&$)#&$0'%'$!-%!#%&#%&$(#%&8$@0$,#%1&(#$)#0$%'1-(2'6$,*,,-7&-6$/*!!#)#$:*-0!'/-$ )&$(*'7'8$A0&$<()'1-=&0&$%&!'%)-('8$B#&$+-%-.%-3&$!'(!0*/&7&$)#004*0,&1'$!-+&,'0'$)#0$ %'1-(2'$&(,&,'0-,'$CD4@%,#6E$/&$0#..#F CG!!'H$G!!'H$G!!'H$I#)'$)#(,%'$)&$1#$,*,,'$!&?$!"#$-77#((#$:*#/,-$(',,#$(#0045-/&$#$ /*00#$/+'()#$)#0$D-.'H$9*,,&$/&$%&22-%'('$,*1*0,*-()'F$J$;"#$!'/-$7#)&K$L-%0-H$L-%0-H$ M-!!'(,-H$A04<()'1-=&0&$/&$-!!-0!-7-('$-,,#(,&$&(,'%('$-$N&%1'3&16$!"#$-$!-+'$!"&('$ %-!!'(,-7- $ OPQ $ ;'/R6 $ +&S $ 3'%,# $ )#00# $ !%*)&,T $ !-!'3'(&!"# $ )#0 $ U'0# $ # $ )#0 $ U-(.*#6$ 3&(-01#(,#$0-$/'7%*1-(-$3%#/!-0-,-$V&/,%-2&'(#$)#004@%,#$'+#%-7-$0-$1#,-1'%3'/&$)#.0&$ <()'1-=&0&8EWXY @(!"# $ &( $ :*#/,# $ +-%'0#6 $ !'/R $ !'1# $ (#00- $ +%#3-2&'(#6 $ 0# $ &11-.&(& $ )#0 $ %-!!'(,' $ )&$ N&%1'3%16 $ :*#00# $ &11-.&(& $ !-+-!& $ )& $ '+#%-%# $ 0- $ C1#,-1'%3'/& $ )#.0& $ <()'1-=&0&6E$ /'%.'(' $/+'(,-(#-1#(,# $)-0$%&!'%)'$#$)-00-$1#1'%&-6$#$&( $*('$/,-,'$)&$&(!'/!&#(2-$ )#004-*,'%#8$@(!"#$:*#/,'$+-//'$!'(!0*/&7'$)#0$%'1-(2'$!'(3#%1-$!'1#$(#0$0&(.*-..&'$ )#0$/#!'()'$Z*,*%&/1'$)&$N-%&#(,,&6$04'+#%-$)4-%,#$,'%(&$-$+%&7&0#.&-%#$&0$/*'$0#.-1#$!'($0-$ 1#1'%&-6$0-$3-(,-/&-6$#$04&11-.&(2&'(#8$ !""#$%&'%()*"&'+ ;'14>$/&$>$7&/,'$)-004-!!'/,-1#(,'$)#&$,#/,&$,#'%&!&$#$)#00#$'+#%#$)4-%,#$)&$Z&0&++'$ 205 TIF, pp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er un dettagliato resoconto delle vicende biografiche della famiglia de Chirico cfr. Paolo Baldacci, De Chirico. The Metaphysical Period 1888-1919, Toronto, Canada: Bulfinch Press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�"'&()&11.(3+004'.(5&0.6+$+%.2+5",(*-U+5-*/(/-!"2+ 78:8D 207 Su Savinio e de Chirico pittori cfr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ndré Breton, Anthology of Black Humour, translated by Mark Polizzotti, San Francisco: City Lights Books; Monroe, OR: Subterranean Co, 1997, p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er gli studi relativi all’opera di de Chirico negli anni della Scuola Metafisica e di Valori Plastici cfr. Paolo Baldacci, De Chirico. The Metaphysical Period 1888-1919, cit; 5)-%&;&(#O)9&(2(#3"22BD%0(/#5,./6,.'7)'!",/,8.9',*'%)+:.'(,'2#*./,';*#&%,8,4'<=<>-<=??/# P(')Q#F"#!-0)/#<=R>@#K"%#92&#+.-3&#%"2).&,&#)22S($"%)#0('$2"++&,)#3"#:1&%&0( #cfr. 5)-%&;&( # :)2,"+& # " # 5)%&( # T%+&*(/ # ) # 0-%) # 3&/ #7) ' !",/,8.4 ' @") ' A)B ' C)%#:"D&,8&Q# D'+."%3)'Q#:%)6.+')*#U(-+"V#W-66)2(/#AXQ#T*&,"%+&.Y#(6#Z(%(*.(#K%"++/#<==[V#\+."%# :("*/#)#0-%)#3&/ #C)%#:"D&,8#4# 5&2)*(Q#\2"0.)/#C>>NV#D01&22"#W(*&.(#]2&,)/#)#0-%)#3&/# 5,./6,.'()'!",/,8.E'F$'+#)&%.&.'&,*)$G,.4'5&2)*(Q#4&2,)*)#\3&.(%&)2"/#C><>V#Gerd Roos, Giorgio de Chirico: a Metaphysical Journey: Paintings 1909-1973, Köln: König; New York, NY: Distributed Art Publishers, Inc., 2008@# 211 Per gli studi relativi ai caratteri propri della scrittura di Savinio cfr. Giacomo Debenedetti, Savinio e le figure dell’invisibile, Parma: Monte Università Parma Editore, 2009; Silvana Cirillo, Alberto Savinio: le molte facce di un artista di genio, Milano: Mondadori, 1997; Giovanna Caltagiorne, Io fondo me stesso. Io fondo l’universo. Studio sulla scrittura di Alberto Savinio, Pisa: Edizioni ETS, 2007; María Elena Gutiérrez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lberto Savinio. Lo pischismo delle forme, Firenze: Edizioni Cadmo, 2000; Filippo Secchieri, Dove comincia la realtà e dove finisce. Studi su Alberto Savinio, Firenze: Le Lettere, 1998; Alfredo Sgroi, Alberto Savinio, Palermo: Palumbo Editore, 2009; Alessandro Tinterri, Savinio e l’ “Altro,” Genova: Il Melangolo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fr. Paolo Baldacci, De Chirico. The Metaphysical Period 1888-1919, cit.; Paolo Baldacci, Gerd Roos, and Pia Vivarelli, Alberto Savinio: musician, writer, and painter, New York, N.Y.: Paolo Baldacci Gallery, 1995; Gerd Roos, Giorgio de Chirico e Alberto Savinio: ricordi e documenti, cit. 216 !"#$%$"%&'&'()$'!*+,$'!+) '!"#$%&'()!%$$*"#( ),$'-+).$'& '+(),#$"&%-'*./(' ,$'/01))1%$1' 21,$1'!&345"%1'&!!&5&'!*"*&',+&'(+$,&'$3015*"%*$',"'+%')"*1'0&5'5$"))"..$"5&'$)'3$*1'"))&' 05105$&'&!0&5$&%6&'"+*14$1(5"7$.8&9'&',")):")*51'0&5'$,&%*$7$."5&'+%')$%(+"(($1'$51%$.1'&' ,$!!".5"%*&'%&$'.1%751%*$',&))"'*5",$6$1%&'"+)$."9'.1%!1%"%*&'.1%')1'!0$5$*1',$';"#$%$1<=>? @'!&(+&%,1')"'."55$&5"'3+!$.")&',$';"#$%$1'.8&'"%.8&'A$15($1'($+%(&'$%'B*")$"9' %&)):&!*"*& ' ,&) ' >CDC< ' @ ' !+))" ' 4"!& ' ,&) ' %+1#1 ' 5"0015*1 ' $%,$#$,+"*1 ' ," ' ;"#$%$1 ' !+))"' 5&)"6$1%&'*5"'3&315$"'&'3$*1'.8&'%"!.1%1'$'05$3$'E+",5$',$'A$15($1',&'F8$5$.1',&)'>CDC<' G"'$%1)*5&'1!!&5#"*19'.8&9'01$.8H';"#$%$1'&5"'$)'0$I'$%*&))&**+")3&%*&'"**$#1',&$',+&'75"*&))$9' H',$'%+1#1'!&305&'!&(+&%,1')&'!1))&.$*"6$1%$')&**&5"5$&'&'7$)1!17$.8&',$'E+&!*:+)*$31'.8&' ,& 'F8$5$.1'!$'"##$"'!+..&!!$#"3&%*& '"))"')&**+5" ',&()$'!.5$**15$'$*")$"%$',&)):&0$."',&)' J+"**51.&%*1'K-+).$9'L1$"5,19'/5$1!*1M9',$'E+&))$',&)):N**1.&%*1'K$%'0"5*$.1)"5&'O&10"5,$M'&' ,&)'7$)1!171'*&,&!.1'P5$&,5$.8'Q$&*6!.8&<'@9'$%7"**$9'05105$1'%&)):&!*"*&'$*")$"%"',&)'>CDC' .8&'A$15($1',&'F8$5$.1'$%$6$"')"'!+"')&**+5"'"00"!!$1%"*"',$'Q$&*6!.8&'$%'75"%.&!&<=>R'S"%*1' E+&!*&')&**+5&9'E+"%*1')1'!."34$1'$%*&))&**+")&'.1%'$)'75"*&))1'5&)"*$#1'"))"'5&")$66"6$1%&',$' 0"(1%)2%&'%3'*."4 )E+"%*19'$%7$%&9')"'!.10&5*"'7"**"'"'T1%".1',&))"'0$**+5"',$'/5%1),' LU.V)$%9 ' !1%1' )& ' .1301%&%*$ ' .8& ' ,"%%1 ' +%:$3051%*" ' $%$6$")& ' & ' ,&.$!$#" ' "))" ' 0$**+5"' 3&*"7$!$."',$'A$15($1',&'F8$5$.1<' B)')$%(+"(($1'&)"415"*1'$%'E+&!*$'"%%$'*51#"'$%7$%&'+%'0+44)$.1'5&.&**$#1'%&))"' 213 Cfr. Baldacci, De Chirico. The Metaphysical Period 1888-1919, cit., p. 56. 214 Cfr. Baldacci, De Chirico. The Metaphysical Period 1888-1919, cit., p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iorgio de Chirico, Scritti [1911.1945], a cura di Andrea Cortellessa, Milano: RCS Libri S.p.A., 2008. D’ora in poi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a osservato inoltre che, parallelamente, nell’ambito letterario, la questione del caso era stata messa al centro del discorso poetico da Stéphane Mallarmé e dal suo 3-04,.50'/0 '(106$7$+10-8$9,!+&$0!/0#$1$&'0/2RV306$+"-?$\F>+"-$],)7'".)!L$^"'..6$1__`6$ &&;$2aVb2cV; 218 SC, pp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p. 597. 220 Tanto il concetto di profondità quanto quello della revisione della moralità sono strettamente legati alla lettura di testi di Friedrich Nietzsche come Così Parlò Zarathustra (scritto negli anni 1883–85 e pubblicato nel 1891) e Al di là del bene e del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male (1886). Cfr. Friedrich Nietzsche, Così Parlò Zarathustra, a cura di Giorgio Colli e Mazzino Montinari, Milano: Adelphi Edizioni, 1976 [1968], e Al di là del bene e del male, a cura di Giorgio Colli e Mazzino Montinari, Milano: Adelphi Edizioni, 1977. 221 SC, pp. 598-599. 222 Cfr. Così Parlò Zarathustra, a cura di Giorgio Colli e Mazzino Montinari, Milano: Adelphi Edizioni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Revue littéraire et artistique, a cura di Isabel Violante, Parigi: Édition de Conti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lberto Savinio, “Le drame et la musique,” cit., pp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elativamente all’incontro tra de Chirico, Savinio, Carrà, de Pisis in Italia cfr. Paolo Baladacci, pp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’articolo viene pubblicato per la prima volta su Cronache d’attualità, il 15 febbraio 1919, rivista romana diretta da Anton Giulio Bragaglia. Viene poi posto ad apertura della raccolta di scritti teorici di de Chirico intitolata Commedia dell’arte moderna, e pubblicata nel 1945. SC, p. 269. 230 L’articolo viene pubblicato su Ars Nova nel 1919, ma diversamente dagli altri qui presi in esame, non viene incluso nella raccolta della Commedia dell’arte moderna (1945). Cfr. SC., pp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p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p. 319. 233 !"#$%&'"#()%'*(+,-.+,%#/#!&01&%#&0-#'%2+0!-#*-,.%03-#(&04+#(-#,+..-#!"#&0#5"-44"+#"0"3"-.+# .%6*+#-!!"%.,+7#%#2+0#&0-#6%.-#4"8#"0!"2-.-9#'2+*,",%#"#:-0.-'6"7#"#!%6+0"7#&0-#0&+5-# 6%.-:"'"2-;#<#-((-#*,%'%0.-3"+0%#!"#1&%'.-#0&+5-#6%.-:"'"2-#2=%#!%#>=","2+#!%!"2-#4("#-(.,"# -,."2+("#*&??("2-."#'&#!"#$%&'(#")*&+&, @&% # 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Così parlò Zarathustra, op. cit., e in particolare la sezione intitola “La visione e l’enigma,” pp. 181-186, per il legame tra “enigma” “eterno ritorno” e “nostalgia.” 246 !"#$%&$'()(*+$,#*-#$%&$.(+$/0&+*#$-%$,*+1#..02$&0$*0,,*#.#3)04%+3#$-#&&0$5(0&%)6$1#)0'%.%!0$ -#&&0$!+.02$-#&&0$.(0$5(0&%)6$%11()07%&#$#-$#)#*30$82$,#*$90/%3%+2$,*#*+:0)%/0$-#&&0$'0!+&)6$ -#&&0 $ ;#1+*%02 $ &0 $ /#*0 $ !+3+.!%)*%!# $ -#&&<%3)#*+ $ ,0..0::%+ $ -#&&<(+1+ $ .(&&0 $ )#**0=$ >#&&<(&)%10 $ .#4%+3# $ -% $ 5(#.)+ $ .0::%+ $ 90/%3%+ $ *#!(,#*0 $ (3 $ 0&)*+ $ 1%)+2 $ 5(#&&+ $ -%$ ;3#1+.%3#2$&0$-#0$30)0$!+3$&0$!0!!%0)0$-#&&<(+1+$-0&& -#&&#$1(.#$%.,%*0)*%!%$-#&&<0*)#=$A+.B$!+1#$3#&$1%)+$-%$C#3#*#$&0$30.!%)0$-#&$3+/#&&+$-%+$ 0//#3%/0$,#*$+,#*0$-%$(3$)*0/0:&%0)+$#$1%.)#*%+.+$10*#$!*#0)+*#2$.%1%&1#3)#2$%3$5(#.)+$ ,0..+2$&<0*)#$.+*:#$-0&$:*#17+$-#&&<0&)*#))03)+$1%.)#*%+.0$;#1+*%0=$;#1+*%02$,#*$90/%3%+2$ 3#&&0$.(0$30)(*0$-%/%302$3+3$82$%3'0))%2$&0$.+&0$1#1+*%0$,#*.+30&#$#$%3-%/%-(0&#=$>+3$8$ 5(#&&0$1#1+*%0$0$!(%$-#$A"%*%!+2$,#*$#.#1,%+2$0))*%7(%.!#$&0$*#.,+3.07%&%)6$-%$+''*%*!%$%&$ .#3.+$3+)+$-#:&%$+::#))%$#$-#&&0$*#0&)6=$9%$&#::#2$%3'0))%D$ EF0$1#1+*%0$8$%&$3+.)*+$,0..0)+=$F0$1#1+*%0$8$%&$3+.)*+$,*+,*%+$,0..0)+=$;0$3+3$8$ .+&)03)+$%&$3+.)*+$!"#!"$#%,0..0)+D$8$03!"#$%&$,0..0)+$-#:&%$0&)*%$(+1%3%2$-%$)())%$:&%$(+1%3%$ !"#$!%$"033+$,*#!#-()%G$/%0$/%0$'%3+$0$A0%3+$%&$5(0$,*%1+2$'($:#3#*0)+$3#&$:*#17+$-%$&#%= F0$1#1+*%0$8$&0$3+.)*0$!(&)(*0=$H$&<+*-%30)0$*0!!+&)0$-#%$3+.)*%$,#3.%#*%=$>+3$.+&01#3)#$ -#%$3+.)*%$!"#!"$$,#3.%#*%D$8$03!"#$&<+*-%30)0$*0!!+&)0$-#%$,#3.%#*%$-#:&%$0&)*%$(+1%3%2$-%$ )())%$:&%$(+1%3%$!"#$!%$"033+$,*#!#-()%=$?$,+%!"I$&0$1#1+*%0$8$&<+*-%30)0$*0!!+&)0$-#%$ ,#3.%#*%$3+.)*%$#$0&)*(%2$#..0$8$&0$3+.)*0$*#&%:%+3#$J$"&'$($#)%KLM$F<0*)#$-(35(#$8$.+*)0$-0&$ '#!+3-+$:*#17+$-#&&0$;#1+*%0=$H$,#*$5(#.)+$!"#$3#&&<0*)#2$,%N$!"#$%3$3#..(3$0&)*+$1+-+2$ .,%*0$!+1#$(30$3+.)0&:%02$3+3$-%$!#&#.)%$*0,%1#3)%2$10$-#&&0$:*04%0$!"#$%3$,*%3!%,%+$'%+*%/0$ 5(0::%ND$-#&&<%11+*)0&%)6$)#**#.)*#=$H$,#*$5(#.)+$!"#$3#&&<0*)#2$#$.+&+$3#&&<0*)#2$%&$*%!+*-+$ -#&$,*%1%)%/+$7#3#$*%)+*30$/%/%..%1+2$,*#!%.+2$#$(3<0&)*0$/+&)02$1%*0!+&+.01#3)#2$-%/#3)0$ !#*)#440)OPQR S+%!"8$&0$;#1+*%0$-%$!(%$,0*&0$90/%3%+2$3+3$8$&0$.+&0$1#1+*%0$%3-%/%-(0$7#3.B$5(#&&0$ !"#$*%,#*!+**#$&0$.)+*%0$-#&&<(103%)6$'%3+$0&&#$.(#$+*%:%3%2$#..0$.+&0$8$!0,0!#$-%$+''*%*#$ 250 NV, pp. 102-103. 247 !""#!$%&'%! 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Si è anche visto che tale eternità e immobilità terrestre sono associate al sentimento della nostalgia dell’antico bene perduto: l’infinito. Tutta la produzione letteraria di Savinio è pervasa dalla presenza del sentimento della nostalgia, spesso legato al tema del viaggio e della morte. La casa, nel linguaggio di Savinio, si fa sia metafora del sentiero del viaggio così come della sua meta. Una meta che si presenta non come tensione verso il futuro, ma come ritorno ad un luogo che è a un tempo familiare ed estraneo, irraggiungibile e sempre presente. Come si è già detto, il primo importante scritto di Savinio a noi sopravissuto porta il titolo di Chants de la mi-mort. Si tratta di un’opera drammatica sperimentale, che viene rappresentata per la prima volta nel contesto degli ambienti d’avanguardia parigini del 1914. Nel preludio dei canti della mezza morte, il discorso sulla nostalgia compare subito fin dalle prime righe, legato a quello della rivelazione dell’arte. Nel preludio si legge: “Fraîches quand elles arrivent, [Les idèes] elles sont encore toutes ruisselantes de fraîcheur lorsqu’elles me quittent… Moi, je demeure pantelant, frémissant; inassouvi, comme l’amant touché par le sublime amour; comme un Tristan!… Je conserve pure l’émotion qu’elles me donnent. Elles me laissent toute la nostalgie des amitiés ardentes et passagères.”253 In questo passaggio, il momento della rivelazione artistica è paragonata al doppio tema di amore e morte nel suo essere l’esperienza umana della rivelazione della verità. 253 Alberto Savinio, Hermaphrodito e altri romanzi, "(#1!"(+'(8/.00"%+!$(9'%&.!!',(:'/"%$;( 8+./)<',(344=,()7(=7(D’ora in poi H. 256 L’esperienza della rivelazione è caratterizzata dall’essere ardente e familiare, come se conosciuta da sempre, ed allo stesso tempo passeggera. Tanto la familiarità quanto la fugacità dell’esperienza lasciano un senso di nostalgia, di cui intendono farsi espressione i canti della mezza-morte. Il riferimento del titolo alla “mezza-morte” indirizza pertanto l’attenzione del lettore verso l’uomo metafisico che si nutre non della vita naturale, bensì della nostalgia di quell’altra vita esperita nell’attimo della “morte” della rivelazione. Il legame di quest’opera con quella di de Chirico è rintracciabile anche nella identità del repertorio delle immagini. Così come molti dei quadri di de Chirico, anche il dramma de Les Chants de la mi-mort è ambientato nel mezzogiorno e la scena è occupata da marmi, busti senza teste, e statue che rievocano le ambientazioni dechirichiane. Tra le statue, ve n’è una, in particolare, che domina la scena: è qualla di Arianna. Si legge: “Ho cuore chiarissimo amici, mente come crisopasio strani meati d’onde so cantar i canti di città il terribile sogno vigilato dal semaforo e l’asinesca guardia. Vidi morir le statue dei politici: curvarono le teste e dissero l’ultimo canto, poi, rotte su’ fianchi, caddero come le Arianne abbandonate… […] ! La casa! la casa! Amici; chi fra di noi saprà mai sciogliere l’enigmatico nodo di pietra?… - Vidi una donna calva salir come lucertola di latta su per lo zoccolo d’Emanuele Filiberto nella pura Torino; pugnalò il Principe del dolman sgorgò piropo sangue dall’appassito bronzo… Cantarono i piccioni, come Arianne addolorate… - Il sole, amici, nero, e l’ombre lunghe Corrono i drammi sulla città. 257 Vidi le case belle, tragiche terribili; Vinte, spossate, senza più amore né odio, mute d’ogni nostalgia, tranquille, superato l’impeto e la passione, giacere a buon riposo, calme come le Arianne addormentate…”254 Diverse sono le immagini che accomunano questo passo ai quadri di de Chirico: “le statute dei politici,” “lo zoccolo d’Emanuele Filiberto nella pura Torino,” “le ombre lunghe [che] corrono i drammi sulla città,” e soprattutto la ripetizione dell’immagine delle Arianna “abbandonate,” “addolorate,” e “addormentate.”255 Com’è noto, Arianna è colei che aiuta Teseo ad uscire dal labirinto in virtù del filo che gli dona. In questo senso, dunque, Arianna rappresenta la via della fuga, la via dell’uscita. Arianna, inoltre, attraverso l’immagine del filo che traccia la strada di Teseo, si fa protettrice di quello stesso percorso tracciato, di una strada fatta, la cui meta coincide, di nuovo, con un ritorno. L’importanza che Savinio attribuisce a Les chants de la mi-mort viene confermata dall’inclusione di quest’opera ad apertura del suo primo libro, Hermaphrodito, pubblicato in Italia nel 1918, nel periodo in cui inizia la collaborazione alla rivista di Valori Plastici. Si tratta di un libro che raccoglie una serie di racconti e riflessioni autobiografici del periodo della prima guerra mondiale. La figura mitologica dell’ermafrodito, sotto il cui titolo Savinio raccoglie la serie di racconti, ci mette di fronte ad una forma ibrida, che in questo caso riguarda il genere maschile e femminile. Alla forma ibrida sessuale Savinio 254 H, p. 10. 255 A proposito della presenza del mito di Arianna nella pittura di de Chirico cfr. Michael R. Taylor, a cura di, Giorgio de Chirico and the myth of Ariadne, Philadelphia: Philadelphia Museum of Art, 2002. 258 ne fa seguire una spaziale, quella del sottotitolo, Microscopio – Telescopio, che a sua volta lega ed oppone il microcosmo ed il macrocosmo. Titolo e sottotitolo rimandano pertanto a quella dimensione, propria della metafisica, caratterizzata dall’annullamento di ogni tipo di distinzione propria della vita naturale. L’ermafrodito è pertanto simbolo di ciò che sta aldilà delle differenze, e che trova forma ed espressione nell’immagine e nella parola artistica. Tra i vari racconti di questa raccolta, di particolare interesse è quello intitolato La partenza dell’argonauta per una sua certa affinità con il quadro di de Chirico intitolato !"# $%&'() # $* # &+,)"! "#$#%&. In questa tela de Chirico rappresenta due figure maschili, probabilmente due militari, mentre attraversano una piazza. Tanto la data del quadro, quanto le due figure maschili vestite da militari fanno pensare al riferimento biografico dell’imminente partenza dei fratelli de Chirico per l’Italia, poco prima della prima guerra mondiale. Sul fondo della piazza è posta un’imponente statua equestre. All’altra estremità della tela s’intravvede il passaggio di un treno. Alle due estremità laterali della tela si trovano un palazzo dalle infinite arcate e dalle dimensioni imponenti, e \ le ombre allungate di torri e palazzi esclusi dalla visione. Il passaggio delle due figure umane è completamente dominato e sovrastato dall’imponenza e l’immobilità delle statue, dei palazzi, e delle ombre. Sia l’incertezza sul senso del viaggio che su quella del ritorno sono sottolineate dalla presenza dominante dell’ombra verso cui le due figure si dirigono. Anche La partenza dell’argonauta di Savinio è un resoconto autobiografico. Si tratta infatti delle memorie della partenza dello scrittore per la Macedonia, durante la 259 prima guerra mondiale. Tutto il racconto si svolge in treno, lungo l’adriatico, mentre il protagonista si prepara a raggiungere il porto da cui deve imbarcarsi. Così come nel quadro di Chirico, anche il racconto di Savinio è dominato dal tema dell’incertezza del ritorno e del senso del viaggio: il racconto, infatti, si conclude con una sorta di ironica filastrocca, che recita: “In quest’ora, la mia immaginazione dilatata rivà al pensiero della Patria. Vorrei tornare… E quanto fastidioso m’insiste alle orecchie il canto delle sirene supersiti: l’Argonauta se ne va tralallera tralallà l’Argonauta se ne va chi sa mai se tornerà?… !"#$%&'()'*+$,)$-&.&$/*'$,*$*$/*'$0.$12&'*$,0&3$456#$0(-&,,)#$)7.0$).%'0$15*$0,/&'%)$15*$ .89'7&()2%)$(&($%&'(0$/0:;3<=>? In questo passo si osserva che diversamente dagli argonauti di Volos, a cui il titolo del racconto fa riferimento, l’argonauta Savinio non giustifica il proprio viaggio in un senso della missione e della patria. Da questo punto di vista, il racconto si fa revisione dei valori patriottici di ascendenza risorgimentale che ancora nutrivano la retorica della guerra di questi anni. Dall’altro, tanto la partenza, quanto l’espressione del disinteresse della collettività nei confronti del ritorno dell’individuo si fanno veicolo di una domanda relativa non tanto al senso della partecipazione dell’argonauta alla guerra, quanto del viaggio dell’esistenza in sè. La raccolta di racconti di Hermaphrodito si conclude con un breve e importante racconto, dal titolo L’orazione sul tetto della casa, il cui finale che si presenta, di nuovo, come un ritorno. Il titolo fa riferimento ad un’orazione proferita dalla sua città natale, 256 H, p. 183. 260 Volos, e riprende le stesse parole di Le chants de la demi-mort con cui la raccolta di Hermaphrodito era stata aperta. Questo breve racconto è strettamente legato a quello della partenza dell’argonauta. Anche in questo caso l’autore fa riferimento all’esperienza autobiografica del suo ritorno nella terra natale, la Grecia, in occasione della prima guerra mondiale, dove fu chiamato come traduttore. Il racconto si divide in tre parti dedicate rispettivamente alla figura del politico, del religioso, e infine del lirico. Ad apertura di quest’ultima sezione, si legge: “Negli sdruci delle nubi eran apparsi intanto gli animali luminosi; ed io tornai nella città. Per quanto camminassi, non riuscii a slacciarmi dalla voce dello strano ermafrodito, che tagliava l’epoche da parte a parte. E pure invano volli cancellar la casa di mattorni: io la rividi sempre, e la rivedo ancora. La casa, amici, la casa! Chi fra noi saprà mai sciogliere l’ennimatico nodo di pietra?… Ultima cosa umana che ci dia ancora una consolazione senza nausee e un amore liscio di rimorsi. Isolante sovrano e unico rifugio per noi che abbiamo le viscere pregne di mille dolori e di mille felicità.”257 Da questo passo si osserva che l’esperienza del ritorno alla casa dell’infanzia è presentata come meta costante, e allo stesso tempo, proprio come l’infanzia, non più raggiungibile. La casa dell’infanzia si fa dunque metafora della dolcezza di un tempo conosciuto, sempre desiderato, ma non più accessibile. La vita intesa come costante tensione e desiderio di ritorno ad un tempo conosciuto e irraggiungibile trova il suo culmine nell’“esercizio finale” della morte. Si legge, infatti: !"#$#%&'(%$#)*%&+,%-,*./-'/#%.*00'%$')*-'%1*.2+/'(%),%/#03,%+.%4+'./#%*%05,.$6,#2',%'00'% 7'-*/*8 %90 %4+'./# %7*.:#0#., %$#.3*-1'%0' %&#-)'%2*00' %)'.# %1+#/'; %,# %4+'-2#%,.%<+*0% $'2'1*-*%2,%)'.#%,0%),#%2*3/,.#(%$6*%.#.%=%7,>%$6*%+.'%$#/*..'%34#.&,'8%%?*00'%/-,3/*::'% 2+-'%$6*%3/'%$#)7'4.'(%'@@-'$$,#%0'%),'%+0/,)'%'),$,:,'8%ABC%D'04#%3+0%/-'7*:,#%7*-% 05*3*-$,:,#%&,.'0*;%$6*%3,%$6,+2*-E%,.%2-'))'%ABC%D+0%)#.2#%)+/'./*%*%)*2*3,)#(%0'%),'% 257 H, p. 191. 261 !"#"$%&%$'()"''*+$,'"$-.$!"#.$/.0-($1&)(%(23456 In questo passo, l’uomo che riflette sul senso dell’esistenza si esplicita attraverso l’immagine del guanto appeso al chiodo, la stessa immagine del quadro !" # $%&'(# )*&+,-./ di de Chirico. L’orazione sul tetto della casa si conclude così con la presa di consapevolezza del fatto che del movimento della vita non resta che una “cotenna sgonfia.” Tanto la forma della mano vuota, così come la caducità della casa tra gli uomini si fanno espressione della perdita del senso della finalità dell’esistenza. Infine, il tema della casa e del suo intimo legame con quello del ritorno, della nostalgia, e della morte, diventa il perno attorno a cui ruota la raccolta intitolata Casa «la Vita». Si dalle prime parole della prefazione, Savinio dichiara che l’intera opera si fonda sulla centralità del “pensiero della morte.” Si legge, infatti: “Molti dei racconti contenuti in questo volume sono ispirati dal pensiero della morte, alcuni direttamente come Il signor Münster, e Casa «la Vita», altri indirettamente come Omero Barchetta e Storta la vita sana?”259 7.)8'. $ %.--" $ 8'.,"9(&%. $ #( $ :'&;" $ "%!<. $ 1%" $ :.#:()&%("%9" $ /.--" $ !&%:(%1(:*$ /.--=()8&#:"9(&%.$:.&'(!"$/($>1.#:"$'"!!&-:"$!&%$>1.--"$/.0-($"%%($;.%:($%.-$8'.#.%:"'-"$ !&).$(-$,'1::&$/($1%"$'(;.-"9(&%.2$?.-$8"'-"'.$/.--.$#1.$&8.'.+$7";(%(&$#!'(;.@$$ “È per questo felice stupore, per questo loro presentarsi inaspettate e nuove, per questo venirmi incontro come da un altro mondo, che prima di farsi amare da altri le mie opere si fanno amare da me; prima di divertire altri esse divertono me; prima che ad altri esse dicono a me che nel buio quale dietro a me si richiude esse rimangono ferme e formate di un fosforo immortale.”260 A"$/.#!'(9(&%.$/.--.$&8.'.$%.-$-&'&$B8'.#.%:"'#($(%"#8.::":.$.$%1&;.3$'(!<(")"$"--"$).%:.$ 258 H, pp. 193-194. 259 CLV, p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“Lui stava seduto presso il letto sul quale era disteso suo padre, e d’un tratto, attraverso il grasso, l’osceno profumo delle rose, egli sentì l’odore della morte. Ora, dopo trentasei anni, ecco quello stesso fetore che risale su dal passato. Ma questa volta non vien di fuori: è dentro di lui, gli sale su dai visceri, gli riempie la bocca, le narici… È suo padre dunque che si ridesta in lui? Sono i figli dunque la tomba dei propri padri? È nella morte dunque che il padre si continua nel figlio? È dunque così che l’anello si salda ad anello nella catena delle generazioni? Malgrado il terrore che lo stringe, una idea oscura e maestosa riempie il signor Münster. Il suo corpo che tra poco – egli lo sa – marcirà, andrà a pezzi, egli lo sente come un misterioso tempio. Le più profonde formazioni della vita si compion nel lezzo. Quale pensiero ha traversato la mente del signor Münster? Egli si sente madre. Si sente madre di se stesso. Della parte migliore, incorruttibile, immortale di se stesso.”262 Questo passo rappresenta il momento di svolta nella vita del protagonista. Da questo momento in poi, infatti, il signor Münster non si pensa più come essere vivo per la vita, bensì come essere morto, o meglio vivo per la morte. In questo suo nuovo stato in cui si sente un vivo-morto, il protagonista ritrova il punto di contatto con suo padre e con i suoi avi. In questo nuovo stato il protagonista perde dunque il senso della distinzione tra presente e passato. Oltre alla perdita di distinzione tra presente e passato, il questo passo il protagonista perde anche il senso di distinzione tra il genere uomo e donna. Il signor Münster si sente, infatti, madre di se stesso. Si era già vista quest’allusione all’indifferenziazione dei sessi nel titolo della raccolta Hermaphrodito. In questa sede, Savinio la riprende e la approfondisce, inquadrando questo discorso all’interno di quello del pensiero della morte. Infine, si osserva che il corpo, nel suo essere l’epigono delle generazioni che lo hanno preceduto, acquista una dimensione sacra nel farsi Tempio dei suoi avi. Grazie a questa nuova condizione del sé, il protagonista inizia a vedere il mondo 262 CLV, pp. 431-432. 265 con occhi nuovi. Si legge, infatti: “Ora i suoi occhi vedono ciò che finora occhio umano ha mai veduto, e solo una percezione straordinaria, l’ultima e più acuta consente di vedere: ciò che vede l’occhio di un santo, di un facitore di miracoli, di un dio in efficienza – ciò che vede l’ultimo sguardo di uno che muore. Si scoprono i tessuti dell’aria, i paesaggi celesti, le immagini dei cieli più antichi, intatte nella forma e col brillio ancora dei colori originali.”263 !"#$%&%"'(&$)'$*+)$#,$-",#(./$0)1(,$2,##,$3-&13"(()0,$2"##,$%&-("/$)')4),$,$%,')5"1(,-1)$ 1&((& $ 5&-%" $ '+&0" $ "2 $ )',13"((,("/ $ )# $ 3-&(,6&')1(, $ -,66)+'6" $ #" $ *&'2)4)&') $ '"*"11,-)"$ ,55)'*78$1&-6,$#,$2",$9"'"-"$"$1)$%,')5"1()$'"##"$5&-%"$2"##:,-(";$<)$#"66"/$)'5,(()=$$ “Il signor Münster si trova in piedi, senza essersene accorto. Non sente più il proprio corpo. Levarsi in piedi lo ha voluto lui, ma il movimento è avvenuto «a folle». Ora egli potrebbe bucarsi una mano, un piede senza soffrire. La sua anima va in giro, guarda, ascolta, cerca un altro amore, diverso da quello che cercava quaggiù e non ha trovato. Non ti celare più, tu che dal fondo Emergi dagli abissi, O madre delle madri, e tu in che tutto, E vita e morte si confonde. Io ti ascolto – ma tu ascolti me?”264 Come si era già visto negli scritti teorici di Savinio degli anni Venti, il sorgere di Venere rappresenta il momento della creazione artistica, ovvero la forma in cui si annulla ogni tipo di distizione: quella tra il bene e il male, quella tra l’uomo e la donna, quella tra i due fratelli de Chirico, quella che separa gli uomini, e soprattutto quella che separa la vita dalla morte. Il protagonista, infine, in questa nuova dimensione dove le differenze si annullano, indossando i vestiti della propria moglie, esce di casa per andare incontro, con un sentimento nuovo, all’aurora del nuovo giorno. E si legge: “Equivoco o più semplicemente errore di ottica. Vedere come una marcia in avanti ciò che veramente è una marcia indietro. Credere che avanziamo quando il nostro illusorio 263 CLV, p. 454. 264 CLV, p. 455. 266 avanzare è in verità un «fabbricare passato». Questo lasciarsi ingannare da una linea che a noi sembra retta, ma che in verità è la parte di un cerchio. […] Scoprendo questo rovesciamento di posizioni, il signor Münster capì finalmente quale specialissimo riguardo gli aveva usato la sorte offrendo ai suoi occhi di morto quella magnifica visione del passato, ossia la visione dell’avvenire nel quale egli era per entrare; e terminò la sua morte nel sentimento ineffabilmente felice di una nascita cosciente e che l’uomo si è scelta da sé.” Attraverso la storia del signor Münster, Savinio capovolge il punto di vista da cui si osserva la vita. La vita, infatti, perde la sua prospettiva teleologica. La vita non è più vista e vissuta in funzione del futuro, di un promessa, di un qualcosa che deve venire con la morte o dopo la morte. Al contrario, la vita è vissuta come un continuo ritorno a ciò che è già stato fabbricato. Attraverso questo cambiamento di prospettiva, Savinio giunge all’asserzione del valore di ciò che lui chiama la “fabbricazione del passato.”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“Ma chi ha mai dubitato che i miti non nascono tali ma tali noi stessi li facciamo a poco a poco? Anche la Storia è mitomane quanto e più dell’uomo. Da notare che nella lingua di Omero mito significa semplicemente parola. Gli eroi di Omero parlano come voi e me, solo che usano miti come noi usiamo parole. L’errore è di chi legge e non sa ritrovare la sinonimia tra miti e parole. Il «mitismo» di Omero è un’illusione, un’illusione creata dall’ignoranza del vero valore di quella lingua. Si restituisca la parola omerica al suo valore originale, e il «mitismo» che rimarrà sarà il solo, il «solito» mitismo che è nelle parole dei poeti: nelle nostre.”265 265 CLV, pp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“La camera è vuota. Vuota come tutte le altre camere di quella casa. Vuota di tutti gl’inquilini della casa. Vuota del violinista… Un leggio di ferro è ritto in mezzo alla camera. Sul leggio è aperto un quaderno di musica e davanti al leggio, all’altezza della spalla di un uomo che non c’è, un violino è sospeso in aria sul quale l’archetto scende e risale, scende e risale. Aniceto è al di là dello stupore, al di là della paura.”266 3,##"'4*"5-0-,'0#'!("$"'%)*6,'7,##%'4$%)8%'*6,&'*")'#%'4(%'+,#"70%&'#"'%!,!%'1(07%$"'90)"'%' #:&';)0*,$"'9(11,.'/0'#,11,&'0)9%$$02' “Aniceto fugge inorridito. Scende a pricipizio le scale che prima aveva salito cercando gl’inquilini della casa e non trovandoli. Crede in fondo alla scala di aprire la porta che dà sul giardino e invece si trova su una nave che naviga un mare sconfinato sotto un cielo buio. È la nave della morte sul mare dell’eternità. Che importa? Nella Casa «la Vita» il passaggio degl’inquilini non si arresta. E mentre Aniceto esce dalla porta «creduta» del giardino, Ruggero, continuazione fisica di Aniceto, entra nella Casa sicuro di sé, lo sguardo diritto e comincia a esplorare le camere illuminate e deserte nelle quali rimangono i segni vivi, caldi, palpitanti degl’inquilini che sono appena usciti. Viva il principe Ruggero!”267 Attraverso lo spazio architettonico della casa, non troppo lontano in fondo da quello delle piazze del fratello de Chirico, Savinio dà espressione alla presa di consapevolezza del non senso della vita (le stanze vuote), del suo continuo ritorno (Ruggero che riparte), della morte (la stanza vuota del violino), e dell’al di là (la porta «creduta» del giardino). La melodia del violino che sprona il continuo andare tanto di Aniceto, quanto del figlio Ruggero, si fa espressione di quella nostalgia dell’infinito che accompagna il continuo passaggio dell’uomo sulla terra. Di questo passaggio ne offrono una testimonianza quei “segni vivi, caldi, [e] palpitanti degl’inquilini che sono appena usciti.” Simili alla “cotenna sgonfia,” tali segni sono l’equivalente dei miti, delle immagini e delle parole viventi che, nel loro aspetto sempre nuovo e a un tempo familiare, orientano il cammino 266 CLV, pp. 499-500. 267 CLV, p. 500. 269 dell’erede Ruggero, ennesimo esemplare dell’eterno ritorno del nulla. IX. CONCLUSIONE. Nel ripercorrere le tappe e le dinamiche della collaborazione intercorsa tra Giorgio de Chirico e Alberto Savinio, si è visto come questa si sia concentrata nel periodo compreso tra gli anni 1909 e 1922, ovvero dagli anni in cui tale collaborazione nasce e si sviluppa a seguito degli spostamenti e degli interessi musicali, letterari e filosofici di Savinio, e si solidifica nell’unità di intenti e di realizzazioni artistiche di entrambi i fratelli. All’interno di questo periodo storico, la Scuola Metafisica si evolve sulla base dello scambio tra i contributi teorici di Savinio, e la produzione artistica di de Chirico. Se, infatti, da un lato gli scritti di Savinio, soprattutto negli anni di Milano e Parigi, guidano e sostengono lo sviluppo delle prime opere di de Chirico, dall’altro, i quadri di de Chirico forniscono continui spunti di riflessione e di approfondimento per gli scritti di Savinio. Questo è vero soprattutto in riferimento agli anni della collaborazione dei due fratelli alla rivista Valori Plastici, periodo in cui la Scuola Metafisica ha già elaborato gli elementi essenziali e distintivi del suo linguaggio. Tale linguaggio, nasce e si sviluppa dall’esigenza di liberarsi delle premesse naturaliste della pittura moderna, ovvero dall’esigenza della rappresentazione della verità naturale. In questi stessi anni, i Futuristi elaborano il proprio linguaggio pittorico e letterario partendo da una simile esigenza. Nonostante questa comunione di intenti, i fratelli de Chirico giungono ad una definizione di verità che per certi versi è opposta a quella dei Futuristi. Mentre i Futuristi identificano 270 la verità in una rappresentazione del movimento, i fratelli de Chirico identificano la verità in una rappresentazione dell’immobilità terreste, alla quale l’artista giunge in virtù di Mnemosine, la dea della memoria tanto individuale, quanto collettiva. Da tali presupposti del vero nascono le opere pittoriche e letterarie della Scuola Metafisica, opere in cui in cui il non-senso del continuo passaggio dell’uomo della terra è sopraffatto dall’eternità che spira dalla poesia della parola e dell’immagine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U.,-&&%'V/2-@/'W&-D#5'#'.?)#'*-5 '>+"'@+"()&(!*+'+%",(A#(5.&$0"$"($+1&#B+",' 6-/7' P-&D#2#'=*-@/)-#&%5'BC8C; (-&-XX/'P%..,-%)-5 'C"/&(%"5+#%+.(1.('&.10D(&()"/&(6+#+$%&,(904)+($4(718&'0"(9./+#+"5' (-)%24%7'Y%'Y%@@%)%5'899Z; >%)*'I//"5'>+"'@+"()&(!*+'+%"(&(718&'0"(9./+#+"E('+%"')+(&()"%45�+7'6/2#./5'6-/5' (-)%24%'89CQ[89885'V/)#\V/&/F2#5'8999; >%)*'I//"5 '>+"'@+"()&(!*+'+%"E(.(F&0.3*G$+%.1(?"4'#&GE(H.+#0+#@$(IJKJLIJMN: (]^&27' ]^2-F_'K%L'M/)N5'KM7'0-"@)-$?@%*'U)@'3?$&-",%)"5'!2.;5'BCCZ; U&`)%*/'PF)/-5'718&'0"(9./+#+":(3#&%)1/7'3#&?1$/'=*-@/)%5'BCC9; Michael R. Taylor, a cura di, Giorgio de Chirico and the myth of Ariadne, Philadelphia: Philadelphia Museum of Art, 2002. ' U&%""#2*)/'a-2@%))-5'9./+#+"(&(12(O710'":P'>%2/D#7'!&'6%F/&/5'8999;