Originally there is design, if anything, preceded by the tract, from the sketch, which is an advance toward the "end product", the painting.
But you would not believe that the design can not have and does not have its own autonomy, its own life in the context of the art of portrait or painting.
So, without too much forcing, I could say that there are patterns that do not stutter the subject of painting, but that these same issues are finished, delivered to the lovers of beauty, perhaps less mincing the category of critics, who often like to bask in the codes established (not by chance that the great De Chirico claimed that no serious and conscientious man could claim the title of 'art critic'). If artist's task is to represent not but express, as claimed van Gogh, it is immediate to conclude that a designer is an artist in the round in which nothing is missing nor talent nor expressiveness, he is also a turner of ways, as a potter work to his wheel, one hand hovering over a white sheet to give visual and symbolic expression of that inner world kicking and pawing, which is agitated in contact with the visible, which attempts to portray the aesthetic content from a intimate and subjective perception, which is also aesthetic, sometimes neurotic, which happens all the time that the futuristic titillates the soul, tempting to a frantic and exhausting search for new of styles and content.
Here it goes far beyond the call of Cezanne by the simple forms ("Treat nature by the cylinder, the sphere, the cone") or the six laws of painting cited by Shieh I, because it goes beyond the rules and some formalism . Here we talk about the Spirit, who sometimes found it difficult to adapt to the flesh, according to the thesis of the great French humanist Jean Guitton, although far be it from me the vision of the Platonic division between body and soul, the more convincing and close to the true holistic. Yet for those who cultivate the arts seems to result in irreparable fracture between the "spirit" and "brute", Charles Baudelaire, the author of the poetry collection immodest Les Fleurs du Mal, with frank brutality exhibited different approach to sexuality than the artist to the people ("The more a man cultivates the arts, less broom. It has become increasingly sensitive in divorce between the spirit and the brute. Only brute fuck well, fuck you and the lyricism of the people ").
Send "In the Sign of Stroke - Drawings of the Twentieth Century Pugliese", superbly edited by Carmelo Cipriani and Dominic Toto, is a hymn to the Spirit, valuable and even necessary appendage to the book "Echoes from the Novecento Pugliese. Tribute to Domenico Cantatore, "also offered to us by the two curators of the exhibition in the context of the same name held in Ruvo di Puglia from 26 July to 9 August 2008, which already contained some drawings by Domenico Cantatore (for example, the portraits of Leonardo Sinisgalli Lelj and Catherine, both of 1938). Even
"In the Sign of Stroke - Drawings of the Twentieth Century Pugliese" comes from the homonymous exhibition held in the former Dominican Convent of Ruvo 10 to 20 September 2009, and presents a fine overview of drawings by artists such as Francis Xavier Net , Richard Thomas, Jeremiah King, Francesco Domenico Di Terlizzi and Cantatore, Giuseppe Ar, Lanave Antonio, Antonio Piccini and others of no less talent and technique.
A text, to Cipriani and Toto, who goes with lightness and grace in the world of Suddenly, improperly considered the poor relation of the pictorial, and alerts us to the urgent need to preserve and promote cultural heritage, if you know of old, we return to our roots for this reason, the faces, the faces, places a time, only for the past neglect, superficiality and vulgarity of those who do not like the good and ignoring the spirit, inevitably underestimates or destroyed.
Salvatore Bernocco
Copyright 2010 - Studies Bitonto No 88/2009
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