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Auguste Rodin exhibition in November 2010 Editorial

120 works to discover the great French artist

The town of Legnano, in the setting of the Palazzo Leone da Perego, hosting the largest retrospective ever made Italy the great French artist, who lived in the second half of the 800. The exhibition Rodin. The origins of genius, in the course until March 20, will trace the career of painter and sculptor through a series Fine (120 drawings, sculptures and paintings unpublished) that tell the production of Auguste Rodin in the art world from the beginning, until you reach the maximum expression of his stylistic development, embodied by the famous Gates of Hell.
out the transition from Rodin still bound to an expression bourgeois art, the metamorphosis in the artist "modern" that combines a monumental trial, a journey through painting and sculpture.

The show opens up with the early works, dating back to 1854, when the artist was a student of the "Little School" where he acquired a solid formazi one technique based on the design and decorative arts. In addition to portraits of family and friends, even traditional taste, stand out in bronze and marble busts of the man from a broken nose, considered by Rodin himself his first real sculpture. It continues with a series of paintings and granted for the first time to Italy from the Musée Rodin in Paris. The interlude devoted to the study of landscape painting in Belgium has a tradition of masters such as Corot and Courbet and is fundamental to the studies on light and space artist, subsequently used in the sculpture.
If in the course of her career Rodin sought the favor of critics and art circles in France, has not waived its right to formulate its own language, in the balance balance between classic and modern monuments, which will make its often hostile to the world of academia where he aspired to join. The innovative elements that characterize the most mature work of Rodin, however, are the elements that fascinate the viewer today.

The exhibition of sculptures such as The Age of Bronze and St. John the Baptist, a change of course compared to previous work, full of great evocative power together with the lesson of classical teachers (first of all Michelangelo), all seem to herald 'central work in the experience of Rodin: The Gates of Hell. His talent was finally recognized by the most influential leaders the art world, so much so that the state commission in the door to the Rodin Museum of Decorative Arts in Paris. The port becomes a hotbed of experimentation for the artist, which is measured by the strength of the work of Michelangelo, which is located in the contrasts of light and shadow and the powerful structure of the bodies.
is where the viewer finds himself to marvel at his studies of Dante's characters, the protagonists of the door. Kiss opens the series, followed by a plaster version of almost two meters of the Thinker (identified by critics as a sort of reference to Rodin himself) and, finally, the look can only be catalyzed by the imposing bronze version of The three shadows, synthesis of all his research formalistic.

arrive in front of a rundown of the major works of Rodin is undoubtedly an experience of great impact, opportunity, then, for those who know and appreciate the talent of the artist in Paris, but also for those who approach is the first time.

Valentina Taglieri

On display until March 20
Palazzo Leone da Perego
via Gilardelli, 10 - Legnano (Mi)
Tel: 0331 471 335
sale@legnano.org

Codice Attivazione Bluephoneelite2

Each act of violence towards a player in politics, the statue against Berlusconi al fanta-attentato a Belpietro, tornano in auge le condanne ai “seminatori d’odio”. Chi attacca con troppa veemenza un rivale politico sarebbe responsabile del comportamento di un qualsiasi squilibrato che, guidato dalla mano invisibile dell’odio ideologico, scagli statuette o proiettili inceppati verso il nemico di turno.
La pretestuosità dell’argomento è ben evidente anche alle anime belle che si abbeverano alla “stampa dell’amore”. Siamo però sicuri che l’odio sia un sentimento così illegittimo? In nome di che principio non sarebbe possibile, nell’intimo della propria casa, odiare un’altra persona? Esiste forse un obbligo al “volersi bene”, al di fuori delle aule del catechismo? L’odio in sé è perfettamente legittimo, a patto chiaramente che non si traduca in azioni concrete. Il codice infatti proibisce la pratica violenta o l’istigazione, ma fortunatamente non si occupa di stati dell’anima.
E chi non odia nessuno? Fa benissimo, se trova preferibile un’etica personale che suggerisce ecumenicamente di amare il proprio nemico. Ma attenzione, non confondiamo un personale convincimento con la normatività della legge, che non distingue tra giusto e sbagliato ma solo tra legale e illegale. Il rischio è quello di ritrovarsi in uno stato etico simile a certe società anglosassoni, dove i politici si dimettono per aver tradito la moglie. Stiamo attenti a non replace an already weak ethics of the offense, such an anachronistic ethic of sin.

Filippo Bernasconi

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Three books for 2011 and the city lights

Cesare Segre, Ten tests fantasy, Einaudi, 2010
"It's up to you to choose between these fragments of history with no connection, and a story (let's say legend) that its logic and its beauty. "The literary work is this: a choice. You choose to approach a text, or a series of acts in a certain way, and let them into the public domain: this body is not always enriched by new works, or even variations of the same fable, or narrative core. And this at the bottom il lavoro che si propone Segre, dopo una vita dedicata alla filologia e alla critica letteraria: mettere in parole quel procedimento di ri-uso fino ad ora solo analizzato, cimentarsi nel campo della narrazione rimanendo legato ai testi oggetto dei suoi studi. Ecco allora una diversa e sorprendente versione della storia di Rolando, qui cavaliere violento e gradasso, o la risposta di Charles Bovary allo scrittore che lo ha reso simbolo dell’inettitudine dello sciocco medico di campagna, o ancora le confessioni degli stratagemmi messi in atto da Isotta per celare al marito Marco la sua relazione con un Tristano imprudente e beffardo.

Forse l’aspetto più interessante di queste prove, non poi così fantasiose in verità, è quello metaliterary: the reuse of texts is not as simple as we believe, and even with the advent of printing we are accustomed to consider the work completed a fact since there are so many versions passed by word of mouth through the various minstrels, singers, court poets, in fact, the text is versatile and in constant metamorphosis and regeneration: become a paradigm, the possibility of reading and rewriting are always open. We think the story of Roland-Orlando, so often interpreted in antiquity, from the origins to the great oral epics of Boiardo and Ariosto.

Among events only possible as the last night of Pavese, or different representations of characters ormai divenuti quasi di carne e sangue nell’ immaginario collettivo, o improbabili interviste con Giulio Cesare che confronta i meccanismi di potere dei suoi tempi con quelli di oggi, l’autore a volte si lascia prendere dal tono erudito dello studioso, eccedendo forse in nozioni e dettagli un po’ scolastici, ma si risolleva con l’ironia della voce fuori campo o del punto di vista.

L’intervista immaginaria a Marie le Jars de Gournay, figlia adottiva di Montaigne, è una sorta di mise en abyme: come l’autore ha inserito del suo in storie da lui amate, così la donna è sospetta di aver variato gli Essais del padre nel curarne l’edizione. Quasi che, quando si ama troppo un testo, non si possa help but change it to read it ever again.

Cesare Segre, Ten tests fantasy, Einaudi 2010, p. 104, € 12.00.

Irene Nava

Pino Cacucci, However, no remorse, Feltrinelli A bullet hole at the left lung, his face is completely swollen. Bonnot has small shoulders, and looking at the photograph of his corpse, shirtless, lying on a wooden table, almost looks like a boy. The day of his death there was a whole army. Units of the gendarmerie, police, firefighters, citizens armatisi voluntarily for the occasion, curious, local and national reporters. There was even a camera, in its infancy in the world of crime. The day of his death, Jules Bonnot was the most famous man in France. An anarchist, a murderess, a criminal, one of those who were betrayed by history, and who sought all his life his own revenge. With

However, no remorse, Pino Cacucci tells the story of Bonnot, how, by the son of a poor worker lost his mother at the beginning of the twentieth century has become, in turn, worker, then a soldier, father and betrayed lover, a criminal, a skilled mechanic, driver of Sir Arthur Conan Doyle, a new lover, and finally head of the notorious Bonnot Gang, the first car use in armed robberies. What we do know Cacucci is the other side of the Belle Epoque, one made of misery, violence and oppression. It's the story with the tiny, one of the losers who try to hide and forget in a hurry. Behind the displays of modernism and luxurious lounges and upper-class aristocrats and the courts of Europe, lie the violence and corruption of the state, the squalor of the suburbs, the lack of freedoms now more than obvious. Some reflection of the landscape painted by Cacucci comes but to this day: the work that kills, repression in the streets, personal freedoms in crisis, the failure of institutions to turn the look in the direction of progress. And the distance between our time and that of the story is even more subtle, almost disappears due to visceral narrative of the author. The smells and sounds are made palpable, the vividness of the representation is full. The reader follows from the thoughts and the feelings of the protagonists, is a participant. But when he wants to influence behavior, the characters get out of hand and they make their way. However, no remorse is a story, there are many little stories that you would like to change, but have been cruelly written and filed from time. Fellini said that Cacucci "is a craftsman, a builder of plots, atmosphere and characters. " This book is an excellent example.

Pino Cacucci, However, no remorse, Feltrinelli, Milano 2001 (first edition: Longanesi, Milan 1994), p. 308, € 8, 50.

Judith Grechi

Carlo D'Amicis, The Perfect Beat, Minimum Fax, 2010

protagonist of this novel is the Spina family.

's father, Philip, simple and honest man, an elementary school teacher, said the television, this new invention, and sensed right away that will bring the people most complete ignorance.

son, Canio, the exact opposite Strong voter Italy, whose sole purpose is to please everyone, renamed in honor of Silvio Silvio II who loves so much, rebels against the ideology of the father to escape to Milan, making advertising salesman, and even counselor by Berlusconi.

Through this generational conflict is revealed the tragedy of the Italian revolution which, after having hidden for years behind middle-class respectability, went to the apotheosis of superficiality.

D'Amicis complaint as a people that is identified in the superficial and artificial world of show business, driven by advertising, and the perfect stop talking about this, our country, and the decline that has earned it.

Carlo D'Amicis, The Perfect Beat , Minimum Fax, 2010, p.363, € 15.00.

Francesca Di Vaio