Thursday, May 29, 2008
Wednesday, May 28, 2008
Spanish Condolences Quotes
work a long day
PAOLA Borgonzoni GHIRRI
n.111 work a long day
"Here they are again, sitting on white benches in the garden, sipping tea from white porcelain, a gift from China, looking at a postcard sent by an older brother who is climbing Mont Blanc. Meanwhile, white wedding dream ... "
D. Jarman, Chroma.
Saturday, June 7, 2008 at 19:00 Vetusta Studio features the work of Paola
Borgonzoni Ghirri.
coy doll furniture, lanterns and curious hats with ears, notes, memories, poems, letters and unusual, paper clothes, "Shoes of leaves and also the mysterious" Book of the Mist. " Against forgetting or just a slight smile bias, a receptacle for a Lilliputian toys "recollect" to be the scene of a melancholy dream theater afternoon in which to get lost in memories and forgetfulness. As all the dreams always fade away at dawn, Paola Ghirri Berger, hurries, contemptuous and quick to return a just a fleeting concretization. Giocattoliera Victorian perturbed chiffonieuse, poetic fragments worn catalog of course, in this way tells its own existential suspension. Nestled in the table that becomes shrine, or on a pedestal, and each area consists childish elegance of white. As regards the White ontologism phenomenal, there is no essence, the immaculate ceremony of catharsis, the meaning of silence, the strange spell that "asleep" all the possibilities of matter, white objects Paola Bergonzoni Ghirri are therefore liable to the meaning of whiteness, of yearning and melancholy. White is purifying treatment, coverage anesthetic that allows objects to survive the precarious semantics and détournement, but at the same time will also be a perceptual strategy "negative" from time to time be altered, corrupted, amended, "soiled" by the accidents Low-existence, "earthly". Crossed by spending time and settle the dust, the "whiteness" innocent of each of the articles reveal his secret finally became couleur accidentelle shadowy nature, and therefore to be considered inessential to the random way as the illusions and weaknesses, "impure" in the sense that constituent concerns are often unjust, unjustified terrible accidents of life . 
PAOLA Borgonzoni GHIRRI
n.111 work a long day
"Here they are again, sitting on white benches in the garden, sipping tea from white porcelain, a gift from China, looking at a postcard sent by an older brother who is climbing Mont Blanc. Meanwhile, white wedding dream ... "
D. Jarman, Chroma.
Saturday, June 7, 2008 at 19:00 Vetusta Studio features the work of Paola
Borgonzoni Ghirri.
coy doll furniture, lanterns and curious hats with ears, notes, memories, poems, letters and unusual, paper clothes, "Shoes of leaves and also the mysterious" Book of the Mist. " Against forgetting or just a slight smile bias, a receptacle for a Lilliputian toys "recollect" to be the scene of a melancholy dream theater afternoon in which to get lost in memories and forgetfulness. As all the dreams always fade away at dawn, Paola Ghirri Berger, hurries, contemptuous and quick to return a just a fleeting concretization. Giocattoliera Victorian perturbed chiffonieuse, poetic fragments worn catalog of course, in this way tells its own existential suspension. Nestled in the table that becomes shrine, or on a pedestal, and each area consists childish elegance of white. As regards the White ontologism phenomenal, there is no essence, the immaculate ceremony of catharsis, the meaning of silence, the strange spell that "asleep" all the possibilities of matter, white objects Paola Bergonzoni Ghirri are therefore liable to the meaning of whiteness, of yearning and melancholy. White is purifying treatment, coverage anesthetic that allows objects to survive the precarious semantics and détournement, but at the same time will also be a perceptual strategy "negative" from time to time be altered, corrupted, amended, "soiled" by the accidents Low-existence, "earthly". Crossed by spending time and settle the dust, the "whiteness" innocent of each of the articles reveal his secret finally became couleur accidentelle shadowy nature, and therefore to be considered inessential to the random way as the illusions and weaknesses, "impure" in the sense that constituent concerns are often unjust, unjustified terrible accidents of life .
Wednesday, May 14, 2008
Ladies Wearing Stockings
ancilla
Saturday, February 9, 2008, Studio Vetusta
presents "Ancilla (sister)"
installation Matteo Serri, with the participation of
Corrado Nuccini (Giardini di Miro), Pillow,
Galavotti Francesco, Matteo Bosi
by Patrick Silingardi
a paraphrase of a small written striona space in which they narrate the circumstances of five dark apparitions of the Virgin Mary, Matteo Serri documents in the style of wall paper and photographic giant's anonymous places that later became nostalgic locations of popular devotion, where in May wearing white roses, prostrate hatching and ask a favor. No sanctuary, no altar, but only beautiful ravines and isolated trees where the leaves el'impenetrabile tangle of brambles seem to discern the subtle animula of "a young girl dressed in white." Mary is a fantasy, inner vision, noetic and spiritual substance, a denial of the 'imago lucis opera expressed. " Ancilla is: scared and little sister diaphanous memory pre-Raphaelite. The Photograph, now freed from his real estate representative, as a sophisticated narrative occurs when the rapture takes over and falling on any material contingency.
With the same intensity of exorcism, Corrado Nuccini (Giardini di Miro), plays the sound research of Luca di Mira-Pillow (concerto for piano and reworking sound of the real sounds of places) to propose a suggestive lyric that evokes the deep humanity and the desecration of Ancilla sensualist. Video-
document Galavotti Francis c / o Gallery 42contemporaneo, via Carter 42, Modena. Ancilla
t-shirt limited edition c / o Grace Omnis - E35 Factory, Modena, via Carteria 49.
9 February to 1 March 2008
vernissage Saturday, February 9, 2008 19:00
Studio age, via Carteria 60 - Modena
Hours: Saturday 17:00 to 19:00 and by appointment
+39347 5601841 - + 39 339 7842 175
Saturday, February 9, 2008, Studio Vetusta
presents "Ancilla (sister)"
installation Matteo Serri, with the participation of
Corrado Nuccini (Giardini di Miro), Pillow,
Galavotti Francesco, Matteo Bosi
by Patrick Silingardi
a paraphrase of a small written striona space in which they narrate the circumstances of five dark apparitions of the Virgin Mary, Matteo Serri documents in the style of wall paper and photographic giant's anonymous places that later became nostalgic locations of popular devotion, where in May wearing white roses, prostrate hatching and ask a favor. No sanctuary, no altar, but only beautiful ravines and isolated trees where the leaves el'impenetrabile tangle of brambles seem to discern the subtle animula of "a young girl dressed in white." Mary is a fantasy, inner vision, noetic and spiritual substance, a denial of the 'imago lucis opera expressed. " Ancilla is: scared and little sister diaphanous memory pre-Raphaelite. The Photograph, now freed from his real estate representative, as a sophisticated narrative occurs when the rapture takes over and falling on any material contingency.
With the same intensity of exorcism, Corrado Nuccini (Giardini di Miro), plays the sound research of Luca di Mira-Pillow (concerto for piano and reworking sound of the real sounds of places) to propose a suggestive lyric that evokes the deep humanity and the desecration of Ancilla sensualist. Video-
document Galavotti Francis c / o Gallery 42contemporaneo, via Carter 42, Modena. Ancilla
t-shirt limited edition c / o Grace Omnis - E35 Factory, Modena, via Carteria 49.
9 February to 1 March 2008
vernissage Saturday, February 9, 2008 19:00
Studio age, via Carteria 60 - Modena
Hours: Saturday 17:00 to 19:00 and by appointment
+39347 5601841 - + 39 339 7842 175
High Hard Cervix Late Period
11 Lady Havisham
I went, then, and I found myself in a room large enough, well lit by candles. There penetrated the slightest glimmer of sunshine. It was a dressing room, as I supposed, looking at the furniture, though much of it was of forms and uses unknown to me, but there towered a table draped with a gold mirror, and at first I realized that it was the toilet of a large lady.
If I could identify this object so readily, without a great lady sitting before it, I can not say. In a chair, a ball resting on the floor of the toilet and his head leaning on his hand, sat the strangest lady I have ever seen and I will be ever allowed to see.
was dressed in a very luxurious fabrics - silks and satins and lace - and all in white. The shoes were white, a long white veil descended from the hair, the wedding flowers adorned her hair, but they were white. Some jewels sparkled on her neck and hands, and other shone there on the table. More clothes, less luxurious than those he wore, and half-filled trunks, were scattered everywhere. She must not have finished dressing, because he wore only one shoe, and the other was on the table next to her hand - her veil was not styled in half, watch and chain were still there, along with a lace to put on his chest, the handkerchief , gloves, and some flowers and a prayer book, all piled in disorder about the mirror.
It was in those few moments that I made out all those things, well, the first glance revealed to me more than you might imagine. I saw that everything was in the room, and that should have been white, he had been a long time ago, and now had lost its brightness, was faded and yellow. I saw the bride in wedding dress had withered like the dress, like flowers, and left the other glory than that of sunken eyes. I saw that the dress had been cut for the full forms of a young woman, and that the figure on what time it collapsed was all skin and bones. (...) It was when I
found myself standing before her, avoiding her gaze, I noticed every detail of the things around her, and I realized that the clock was stopped at nine and twenty pendula in the room was too firm on nine winds.
Charles Dickens, Great Expectations, Chapter Eight. 
I went, then, and I found myself in a room large enough, well lit by candles. There penetrated the slightest glimmer of sunshine. It was a dressing room, as I supposed, looking at the furniture, though much of it was of forms and uses unknown to me, but there towered a table draped with a gold mirror, and at first I realized that it was the toilet of a large lady.
If I could identify this object so readily, without a great lady sitting before it, I can not say. In a chair, a ball resting on the floor of the toilet and his head leaning on his hand, sat the strangest lady I have ever seen and I will be ever allowed to see.
was dressed in a very luxurious fabrics - silks and satins and lace - and all in white. The shoes were white, a long white veil descended from the hair, the wedding flowers adorned her hair, but they were white. Some jewels sparkled on her neck and hands, and other shone there on the table. More clothes, less luxurious than those he wore, and half-filled trunks, were scattered everywhere. She must not have finished dressing, because he wore only one shoe, and the other was on the table next to her hand - her veil was not styled in half, watch and chain were still there, along with a lace to put on his chest, the handkerchief , gloves, and some flowers and a prayer book, all piled in disorder about the mirror.
It was in those few moments that I made out all those things, well, the first glance revealed to me more than you might imagine. I saw that everything was in the room, and that should have been white, he had been a long time ago, and now had lost its brightness, was faded and yellow. I saw the bride in wedding dress had withered like the dress, like flowers, and left the other glory than that of sunken eyes. I saw that the dress had been cut for the full forms of a young woman, and that the figure on what time it collapsed was all skin and bones. (...) It was when I
found myself standing before her, avoiding her gaze, I noticed every detail of the things around her, and I realized that the clock was stopped at nine and twenty pendula in the room was too firm on nine winds.
Charles Dickens, Great Expectations, Chapter Eight.
Monday, May 5, 2008
Expired Whitening Gel?
christian rainer
CHRISTIAN RAINER
Episode 9:
a neutral figure, a communion in the suit and compromise the pass
"Several people have in their own component unknown, the unknown aspect or disturbing element that will identify the figure of the wolf.
Each of these people draws its wolf using the hand of a neutral black figure.
The figure is a neutral intermediary with the function of putting into communion all those distinct identities and their unknown side.
This is also a communion gives rise to a third kind or greater identity made up of many children.
A row of eight trees that will be visible only after the steps described above, is both the new nature that is created and the site that hosts it.
unconscious
"The metamorphosis of the individual forms depends, as in Goethe, a common shape or gestalt that noticeable on an intuitive level, is the basis of all the elements belonging the same series. "
M. Reithmann
In modes poor (us) and tied to the concept of minimal art and enlarged totalizzante1, Christian Rainer proposed action, a kind of "social sculpture". In a lucid and run a partition schematic conceptual and idealistic to find even a fleeting shape to the dark folds of the mind and a keen mental concept of subtlety. The hardening lucid and detached performance, where each of the visible fascination is subject to an 'invisible' chromophobe and essential, following the dictates of the transference, empathy and automatic writing.
The passage of a black figure and neutral acts as an intermediary, a medium; becomes the shaman transcriber of that subtle social common denominator that is the unconscious (here identified with the allegorical figure of lupo2). The black figure drawing, in fact, a "flock" of wolves implying the idea of \u200b\u200b"putting in communion, and shared an indescribable feeling. Hence the creation of a new identity-magnitude larger, composite, "transcribed" in a subsequent symbolic backdrop, a visual container on which stands the image of a row of brooding cipressi3. Touching the sublime and the depraved, the underlying theme is the ambiguity of a panic and tripartite nature: human, animal, plant. Succubi of the mysterious laws of metamorphosis and the likelihood, the intimate reason of existence of these "nature" aspire to a whole full of dreamlike, set up as an intermediate realm, "liminal space, a place" infrasottile and supernatural concerns utopia bökliniana4 perceptual memory. As romance frozen and lacerated icon in the action of Christian Rainer, not least aware of how objects are often inadequate and defective vehicle to allude to meanings of one spirit and indeterminacy, then leaves and returns fragile and fatal examples, fragments, notes unvoiced. A series of Polaroids and drawings of wolves, wolves drawn, ancient symbols of childhood wonder fairytale.
pontaneo an ambiguous reference to the modus operandi of Joseph Beuys, especially in the performance "I Like America and America likes me", Tate Modern, Room 4, May 1974. S
2 "Until the modern age, this animal of prey in Central Europe was considered very dangerous. No wonder → tales in it constitutes the greatest threat to mankind, which takes the shape of the enemy in animal form, and that wolves are considered bloodthirsty humans, having undergone a transformation (werewolf). In ancient Germanic mythology it is said that the powerful wolf Fenrir was chained, but in the final battle, able to break the → chains and devour the sun, until the father Odin → did not kill him in a duel, but was in turn killed. In antiquity, the wolf was considered a "ghostly animal," which made it look dumb. Herodotus and Pliny tell us that the members of the tribe of Scythian Neuroi turned into wolves once a year, however, after summing up the human aspect. Therein may lie the memory of a → totem-wolf of the tribe, and even Genghis Khan boasted of their descent from a "wolf elected," gray-blue, created by the supreme → sky. Although the wolf, as he sees 'night' can be regarded as a symbol of the morning sun (Apollo Lincei), about it overrides the meaning of negative image of the savage and satanic powers. Even in ancient China, the wolf represented greed and cruelty "wolf eyes" means distrust and fear before the animal of prey that occurs in a pack. In contrast to the above, there are stories in which wolves are breast-feeding and growing children. The feared predator may then, under certain conditions, become protector of defenseless creatures, though in any case prevail always the fear of the "big bad wolf." In Christian iconography the wolf appears first as a symbol of the evil enemy that threatens the flock of the faithful. Only the saints are allowed to change into "devotion, with their loving persuasion, the character of this wild animal - so, for example, Francis of Assisi, William of Vercelli (who saddled a wolf), and Hervé Saint Philibert of Jumièges. It is said that St. Simpert Augsburg has saved a baby from the jaws of a wolf and has forced the animal back to its mother →. The 'jaws' s → Hell "themselves are represented as the mouth of a dragon or a ferocious wolf. In Physiologus, dating back to early Christian text, the wolf is an 'animal cunning and evil', which approached the man paralyzed him and then attack him. The "wolf as a lamb →" is the symbol of false prophets and tempting, whose purpose is to "bring to ruin the simple." Some expressions in symbolic state: "putting the wolf in the sheepfold; follow the herd, the leopard can not change its spots, good luck." Some saints, like St. Wolfgang and St. Lupus, are depicted along with wolves, is an allusion only due to their names. Alchemical iconography Metallorum talking about Lupus (the wolf that devours the metal lion → "free." This must be a procedimentodi refining impure gold, with the help of antimony, antimony is the "wolf gray "of the alchemical laboratory. The fact → that witches were often depicted riding wolves, or sometimes in the form of a wolf, be attributed to the ideal connection wolf → devil.
psychological interpretation of the symbols of the prevailing view that the dangerous predators might invade the civilized land of the soul as "wolves of the steppe," and man, that he met them in dreams, is required to channel a large amount of energy strangers, which can not occur without the triggering of considerable tension. While Freudian psychoanalysis could not leave without affecting the 'Wolfman', long the subject of therapy, the school of CG Jung is generally considered the images the wolf as allusions to the threat of uncontrolled forces that appear in an 'intelligent' and unconditional. It also indicates, however, that in this fable, "impetuous unconscious' may be duped by the child or the kid noticed, that the great hunter and he can certainly win. In medieval bestiary is once again an evil animal, the wolf's eyes → shine like lanterns at night, depriving the man of the senses. Even the devil has deprived man of strength to cry (pray) →, and his eyes shine clear, "because some works of the devil and are blind and crazy people look beautiful and holy" (H. Biedermann, Encyclopedia of Symbols, 1989).
3Anticamente this tree evoked mainly a symbol of fertility because of its vaguely phallic. The Middle East stories symbolizing the lover and was also the image of immortality because of evergreen leaves and wood considered incorruptible: where they had carved the arrow of Eros, the scepter of Zeus and the club of Hercules. The Persians catches you plant a symbol of fire because of its shape evocative of the flame and said he was the first tree of Paradise. These characteristics match those symbolic medicines through the leaves and fruits that contain, in addition to a high tannin content, a highly aromatic essential oil with which the Romans prepared perfumes. The reputation of the funeral cypress (Cypressus semperverdis) came instead from the Greek and Latin poets, as suggested by the Ovidian myth of Cyparissus, began to consider the tree of the dead. Cypress also entered in the symbolic compositions of the Renaissance, as the despair that the Cavalier Ripa describes as "Woman clothed with the cap, which pulls the white, in his left hand to keep a branch of cypress, with a dagger in the chest, will be act almost falling, and on earth there will be a broken compass "(A. Cattabiani, Florario. Myths, legends and symbols of flowers and plants, 1996).
Toteninsel 4, 1880
Oil on canvas, 111x155 cm
Basel, Kunstmuseum.
E 'note the fact that the painting originated. Marie Bern, visiting Florence in 1880 to study the painter had requested "a framework to dream ...." Böcklin began work on the first painting, then stopped, and began a second ended in the short term. Accompanied the submission of the framework in Marie Berne with a letter (29-4-1880) in which he wrote: "You can dream until advancing into the dark world of shadows will seem to perceive the light breath that ripples the sea, and be afraid to disturb the solemn silence with a word expressed in a loud voice .... " The painting, in its solemn monumentality, is a celebration of the heroic beauty (infiltrated the island of cypress trees) seen as a means of death; Böcklin once again confirms the concept that sees beauty inextricably linked and dissolution. The work (and its series) achieved incredible popularity, so that every middle-class house of German culture possessed a copy. The title is due to the dealer Fritz Gurlitt; Böcklin had instead defined the framework for the first "silent isle" and then "Island of the graves." Many artists suffered the charm of this work and drew cuts, such as Klinger, such as De Chirico and Dali, I painted copies. Among the many assumptions to identify the "natural model" of Toteninsel, the proposed reliability is that which refers to the Swiss Cemetery (known as the English) to Piazza Donatello in Florence, as can be seen from the notes of the restructuring plan (1865) by Giuseppe Poggi: "At the Pinti Gate of the cemetery of the Protestants will be isolated, surrounded cliffs and deleted .... " Was buried there in 1877, not yet one year old daughter Böcklin, Beatrice (Catalogue by C. Nuzzi, in Arnold Böcklin and artistic culture in Tuscany, 1980). Patrick
Silingardi 
CHRISTIAN RAINER
Episode 9:
a neutral figure, a communion in the suit and compromise the pass
"Several people have in their own component unknown, the unknown aspect or disturbing element that will identify the figure of the wolf.
Each of these people draws its wolf using the hand of a neutral black figure.
The figure is a neutral intermediary with the function of putting into communion all those distinct identities and their unknown side.
This is also a communion gives rise to a third kind or greater identity made up of many children.
A row of eight trees that will be visible only after the steps described above, is both the new nature that is created and the site that hosts it.
unconscious
"The metamorphosis of the individual forms depends, as in Goethe, a common shape or gestalt that noticeable on an intuitive level, is the basis of all the elements belonging the same series. "
M. Reithmann
In modes poor (us) and tied to the concept of minimal art and enlarged totalizzante1, Christian Rainer proposed action, a kind of "social sculpture". In a lucid and run a partition schematic conceptual and idealistic to find even a fleeting shape to the dark folds of the mind and a keen mental concept of subtlety. The hardening lucid and detached performance, where each of the visible fascination is subject to an 'invisible' chromophobe and essential, following the dictates of the transference, empathy and automatic writing.
The passage of a black figure and neutral acts as an intermediary, a medium; becomes the shaman transcriber of that subtle social common denominator that is the unconscious (here identified with the allegorical figure of lupo2). The black figure drawing, in fact, a "flock" of wolves implying the idea of \u200b\u200b"putting in communion, and shared an indescribable feeling. Hence the creation of a new identity-magnitude larger, composite, "transcribed" in a subsequent symbolic backdrop, a visual container on which stands the image of a row of brooding cipressi3. Touching the sublime and the depraved, the underlying theme is the ambiguity of a panic and tripartite nature: human, animal, plant. Succubi of the mysterious laws of metamorphosis and the likelihood, the intimate reason of existence of these "nature" aspire to a whole full of dreamlike, set up as an intermediate realm, "liminal space, a place" infrasottile and supernatural concerns utopia bökliniana4 perceptual memory. As romance frozen and lacerated icon in the action of Christian Rainer, not least aware of how objects are often inadequate and defective vehicle to allude to meanings of one spirit and indeterminacy, then leaves and returns fragile and fatal examples, fragments, notes unvoiced. A series of Polaroids and drawings of wolves, wolves drawn, ancient symbols of childhood wonder fairytale.
pontaneo an ambiguous reference to the modus operandi of Joseph Beuys, especially in the performance "I Like America and America likes me", Tate Modern, Room 4, May 1974. S
2 "Until the modern age, this animal of prey in Central Europe was considered very dangerous. No wonder → tales in it constitutes the greatest threat to mankind, which takes the shape of the enemy in animal form, and that wolves are considered bloodthirsty humans, having undergone a transformation (werewolf). In ancient Germanic mythology it is said that the powerful wolf Fenrir was chained, but in the final battle, able to break the → chains and devour the sun, until the father Odin → did not kill him in a duel, but was in turn killed. In antiquity, the wolf was considered a "ghostly animal," which made it look dumb. Herodotus and Pliny tell us that the members of the tribe of Scythian Neuroi turned into wolves once a year, however, after summing up the human aspect. Therein may lie the memory of a → totem-wolf of the tribe, and even Genghis Khan boasted of their descent from a "wolf elected," gray-blue, created by the supreme → sky. Although the wolf, as he sees 'night' can be regarded as a symbol of the morning sun (Apollo Lincei), about it overrides the meaning of negative image of the savage and satanic powers. Even in ancient China, the wolf represented greed and cruelty "wolf eyes" means distrust and fear before the animal of prey that occurs in a pack. In contrast to the above, there are stories in which wolves are breast-feeding and growing children. The feared predator may then, under certain conditions, become protector of defenseless creatures, though in any case prevail always the fear of the "big bad wolf." In Christian iconography the wolf appears first as a symbol of the evil enemy that threatens the flock of the faithful. Only the saints are allowed to change into "devotion, with their loving persuasion, the character of this wild animal - so, for example, Francis of Assisi, William of Vercelli (who saddled a wolf), and Hervé Saint Philibert of Jumièges. It is said that St. Simpert Augsburg has saved a baby from the jaws of a wolf and has forced the animal back to its mother →. The 'jaws' s → Hell "themselves are represented as the mouth of a dragon or a ferocious wolf. In Physiologus, dating back to early Christian text, the wolf is an 'animal cunning and evil', which approached the man paralyzed him and then attack him. The "wolf as a lamb →" is the symbol of false prophets and tempting, whose purpose is to "bring to ruin the simple." Some expressions in symbolic state: "putting the wolf in the sheepfold; follow the herd, the leopard can not change its spots, good luck." Some saints, like St. Wolfgang and St. Lupus, are depicted along with wolves, is an allusion only due to their names. Alchemical iconography Metallorum talking about Lupus (the wolf that devours the metal lion → "free." This must be a procedimentodi refining impure gold, with the help of antimony, antimony is the "wolf gray "of the alchemical laboratory. The fact → that witches were often depicted riding wolves, or sometimes in the form of a wolf, be attributed to the ideal connection wolf → devil.
psychological interpretation of the symbols of the prevailing view that the dangerous predators might invade the civilized land of the soul as "wolves of the steppe," and man, that he met them in dreams, is required to channel a large amount of energy strangers, which can not occur without the triggering of considerable tension. While Freudian psychoanalysis could not leave without affecting the 'Wolfman', long the subject of therapy, the school of CG Jung is generally considered the images the wolf as allusions to the threat of uncontrolled forces that appear in an 'intelligent' and unconditional. It also indicates, however, that in this fable, "impetuous unconscious' may be duped by the child or the kid noticed, that the great hunter and he can certainly win. In medieval bestiary is once again an evil animal, the wolf's eyes → shine like lanterns at night, depriving the man of the senses. Even the devil has deprived man of strength to cry (pray) →, and his eyes shine clear, "because some works of the devil and are blind and crazy people look beautiful and holy" (H. Biedermann, Encyclopedia of Symbols, 1989).
3Anticamente this tree evoked mainly a symbol of fertility because of its vaguely phallic. The Middle East stories symbolizing the lover and was also the image of immortality because of evergreen leaves and wood considered incorruptible: where they had carved the arrow of Eros, the scepter of Zeus and the club of Hercules. The Persians catches you plant a symbol of fire because of its shape evocative of the flame and said he was the first tree of Paradise. These characteristics match those symbolic medicines through the leaves and fruits that contain, in addition to a high tannin content, a highly aromatic essential oil with which the Romans prepared perfumes. The reputation of the funeral cypress (Cypressus semperverdis) came instead from the Greek and Latin poets, as suggested by the Ovidian myth of Cyparissus, began to consider the tree of the dead. Cypress also entered in the symbolic compositions of the Renaissance, as the despair that the Cavalier Ripa describes as "Woman clothed with the cap, which pulls the white, in his left hand to keep a branch of cypress, with a dagger in the chest, will be act almost falling, and on earth there will be a broken compass "(A. Cattabiani, Florario. Myths, legends and symbols of flowers and plants, 1996).
Toteninsel 4, 1880
Oil on canvas, 111x155 cm
Basel, Kunstmuseum.
E 'note the fact that the painting originated. Marie Bern, visiting Florence in 1880 to study the painter had requested "a framework to dream ...." Böcklin began work on the first painting, then stopped, and began a second ended in the short term. Accompanied the submission of the framework in Marie Berne with a letter (29-4-1880) in which he wrote: "You can dream until advancing into the dark world of shadows will seem to perceive the light breath that ripples the sea, and be afraid to disturb the solemn silence with a word expressed in a loud voice .... " The painting, in its solemn monumentality, is a celebration of the heroic beauty (infiltrated the island of cypress trees) seen as a means of death; Böcklin once again confirms the concept that sees beauty inextricably linked and dissolution. The work (and its series) achieved incredible popularity, so that every middle-class house of German culture possessed a copy. The title is due to the dealer Fritz Gurlitt; Böcklin had instead defined the framework for the first "silent isle" and then "Island of the graves." Many artists suffered the charm of this work and drew cuts, such as Klinger, such as De Chirico and Dali, I painted copies. Among the many assumptions to identify the "natural model" of Toteninsel, the proposed reliability is that which refers to the Swiss Cemetery (known as the English) to Piazza Donatello in Florence, as can be seen from the notes of the restructuring plan (1865) by Giuseppe Poggi: "At the Pinti Gate of the cemetery of the Protestants will be isolated, surrounded cliffs and deleted .... " Was buried there in 1877, not yet one year old daughter Böcklin, Beatrice (Catalogue by C. Nuzzi, in Arnold Böcklin and artistic culture in Tuscany, 1980). Patrick
Silingardi
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