Degas. L'altro volto della danza

The essay will focus on Degas as ‘cruel’ painter, draftsman and sculptor of ballet dancers. In this essay, the Degas’s poetics, philosophy, aesthetic of dance are dealt with as a specific stage of European thought on art and poetry. In particular, they are analysed in the light of the theories developed in Europe in the second half of 19th century and in the first half of 20th century in relation with the art criticism, philosophy, literary criticism, visual thought. Degas was not a painter alone, but a sculptor, photographer, and poet. Late in his career, Degas turned to poetry as a new language for his artistic expression. Degas valued a multi-faceted form of art, as expression of the doctrine of Synaesthesia, which has been carefully examined and characterised from several vantage points. The creative efforts of the artist were the result of a conscious effort to search for means to revolutionise the philosophical-literary, the figurative thinking that dominated about classical dance. The essay deals with this specific aspect of Degas’s thought about dance, which can be also considered as medium of communication with social and political implications.The essay will focus on Degas as ‘cruel’ painter, draftsman and sculptor of ballet dancers. In this essay, the Degas’s poetics, philosophy, aesthetic of dance are dealt with as a specific stage of European thought on art and poetry. In particular, they are analysed in the light of the theories developed in Europe in the second half of 19th century and in the first half of 20th century in relation with the art criticism, philosophy, literary criticism, visual thought. Degas was not a painter alone, but a sculptor, photographer, and poet. Late in his career, Degas turned to poetry as a new language for his artistic expression. Degas valued a multi-faceted form of art, as expression of the doctrine of Synaesthesia, which has been carefully examined and characterised from several vantage points. The creative efforts of the artist were the result of a conscious effort to search for means to revolutionise the philosophical-literary, the figurative thinking that dominated about classical dance. The essay deals with this specific aspect of Degas’s thought about dance, which can be also considered as medium of communication with social and political implications

Il disegno come soggetto teorico-critico e regione letteraria nel primo Ottocento francese. Da Baudelaire a Baudelaire

Nel sostanziare un versante specifico della riflessione sull’arte, la poetica e la filosofia del disegno vengono indagate alla luce delle teorie che trovano alimento nella seconda metà del XIX secolo in rapporto privilegiato con la critica d’arte e il pensiero visivo rivoluzionato e reinventato da Charles Baudelaire. Il dibattito che segue, coinvolgendo artisti, – vedi Eugène Delacroix e Constantin Guys –, scrittori, poeti, filosofi, non, ovviamente, unicamente francesi, si sarebbe concentrato sulla natura del disegno, variamente atteso ed inteso come scrittura visuale, pura astrazione, sfera creativa sottratta a ogni traduzione pragmatica, esito di pura immaginazione, o, in antitesi, strumento di forte pervasività comunicativa con non sotterranee implicazioni di ordine politico e sociale.In this essay, the poetics and philosophy of drawing are dealt with as a specific stage of thought on art. In particular, they are analysed in the light of the theories developed in the second half of 19th century in relationwith the art criticism and visualvthought revolutionised and reinvented by Barles Baudelaire. The ensuing debate – which involved several artisits, writers, - see Eugène Delacroix and Constantin Guys – poets, and philosophers, mostly, but not esclusively, French – will focus on the nature of drawing, which was variously considered as a kind of visual writing or pure abstraction, as a acreative sphere devoid of any practical connections, as pure imaginatice work, or, in antithesis, as medium of communication with social and political implications

“Degl’instrumenti dell’Architettura”. Nel disegno di Guarino Guarini.

Disegno come dimensione stessa o prima epifania della concezione architettonica. Disegno architettonico in una determinazione eminentemente funzionale. Disegno architettonico riconnotato, risemantizzato da declinazioni estetiche della linea, del colore, dell’ombra che modificano la prospettiva del processo fruitivo. Guarini sostanzia tutto questo, determinando, attraverso quelle implicazioni estetiche, rispetto ai percorsi interpretativi del disegno di architettura tradizionalmente frequentati, uno scarto sensibile, culturalmente pregnante quanto criticamente trascurato