TESTIMONIALS
Franco Battiato
Franco Venanti
Andrea Cernicchi
REVIEWS
Vittorio Sgarbi
Eugenio Gianń
Antonio Carlo Ponti
Sabrina Falzone
Serena Carlino
Paolo Levi
Marco Grilli
Elena Gollini
Luciano Cancelloni
Salvatore Russo
VITTORIO SGARBI
Woe to Anna Maria Artegiani, failure to
Perugia pharmacist who converted to the practice
integral of painting around the late
Eighty, if we could not paint the
spirit, meaning it especially
what kind of religion, and in a sense
cross, without drastic distinctions between
a confession and another, as if to
this world everyone, despite the
diversity of forms, we had a way
substantially common to feel the existence
supreme entity.
But art, fortunately dell'Artegiani, has
had, among its major historical peculiarities,
also to represent the unrepresentable.
residues archaeological us
say that since the dawn of civilization,
representation of the divine purpose mainly
apotropaic, was one of
major concerns of man.
Fundamental, art greek-Roman, it is
was the work of humanization of the divine,
corresponds in fact to the deification
human (the body was represented
in accordance with a canon of ideal proportions)
functional vision immanent
universe in which nature and spirit
were a perfect match, in
sign of the satisfaction of basic needs.
Then came Christianity, in
At first, averse to paganism,
inclined to marry the aniconic
of the Jewish tradition of which was the son, in
later also adopted by Islam.
Totally change the route, representing
any aspect of the events
the divine spirituality, so as to make art
an essential tool in understanding
dogmas and other theological truths otherwise
difficult to assimilate at the
mass of the faithful, it was the winning move
Christianity, encouraging not just
the primacy exercised in the culture
Western. But even coming from the West,
iconism divine has played a
indispensable role in Buddhism, Hinduism,
in the religions of pre-Columbian civilizations,
just to mention a few,
always trying to reconcile the spiritual ideal
and one of the form, the heavenly beauty
and the earthly.
Of these assumptions, the Artegiani is well
conscious when it says it wants to do
art "sensitive to the sanctity of life and
the mystery hidden in the human. "
Any proposal that aesthetics is proposed
similar goals can only assume
a value of mediation between the physical and the
metaphysical, the infinitely blurred the
absolute spirituality and of distinguishable
everyday spirituality. in other words, the art
proposes, exactly as it happened
with the turn dell'iconismo to provide exempla
through which the immeasurable
can risultarci edible adattatoa
parameters more suited to our ordinary
costumes civilians. the more able in this
intent, says the Artegiani, the more the work
Art will exhaust its task through
the climbing of its sheer physicality,
a prelude to the real enjoyment of those who
looks at the inner.
so good, in theory. in practice, the
problems to be addressed are not lacking. one,
for example, is what art is, between theories
of angels, monks, rabbis, Orthodox monks,
imams, monks Zen and Sufi dervishes who in lively,
enchanted figurative repertoire dell'Artegiani,
one another almost seamlessly
of continuity, as belonging
to one big family, can focus
too much on externals of spirituality
religious, for example on the
more details of its customs, especially
with regard to non-Western cultures,
encroaching thereby exoticism.
That is not a sin,
Having regard to the systematic use of which has made
Western art, not just figurative
(I think a lot of music too contemporary,
infarcitasi Siddhartha and gilgamesh)
but perhaps you might correct the
shoot above the target primary there
had proposed. Another issue is that
that ended in crisis iconism Byzantine Empire, the
more spiritual than ever to have covered the
Mediterranean basin, when you
realized that the worship of the faithful was moving
from religion to art, seen as
its form of objectification. The religious art,
in short, is capable of becoming the religion
of itself, as happens regularly
in our days, basically atheists, yet
ready to venerate the blades tiziano or
the sacred frescoes of Michelangelo.
When I see certain frontal portraits dell'Artegiani,
probably his works stylistically
the most complete, strictly paratactic
perfection in every aspect
of the face, in an extreme sense of idealizing
the classical canon, I wonder, in fact,
if the true religion of the author is not
art, beauty and socialite, perhaps dressed
sacred, the real purpose of contemplation.
But in that case, not ravviserei any real
contradiction, beauty may very well
refer only to itself. Otherwise, we should
consider all contradictory
the best religious art of the past.
Vittorio Sgarbi