Sometimes I feel that the time really flows accordingly to the concept of time of the Greek mythology. Sometimes I really feel that that eventually it could be true, at least as far as history of art is concerned.

We are descending from the Classic Greek Art, in which the human beings, and specially their bodies, were constructed after the artistic ideal, and the artistic ideal after the daemonic (aka supernatural) essence. The Greek artist conceived her composition as a sort of representation of the daemonic perfection, depicting bodies who eventually were actual representation of that ideal. And the idealistic art should represent a model to which the real human beings tend to approximate, in order to tend toward the upper nature of the daemons. The concept itself of KaloKagathia, the marriage between the Beauty and the Good, was symptomatic of this attitude: the ideal beauty should be paradigmatic of an ethic social behavior, thus pushing the ethic attitude to copy the perfection (ideal) of the work of art. In other terms, social should have been a sort of imitation of the perfection of the art. Notwithstanding Plato.

The Platonic revolution, assigned to the art the infamous role of copy of the copy, copy of the Nature which was considered copy of the upper Metaphysic world of the Eidolon (Ideas). This was so impacting that basically the art production which followed was conceived as an imitation, at least, of the Nature. Being inspired, the naturalistic artist should take inspiration from the beauty of the nature, a mirror of the divine perfection. On the other hand, the plein-air painting of the Impressionists tended to impress on the canvas the momentum, the impression coming our, again, from a Nature conceived as a source of inspiration.

The fault came with the Symbolism, at the end, a sort of Nietzschiean Return to the Origin, to the Source, finally. How should be considered the Symbolist attitude toward Nature then ?

After having read Alfred Kubin’s sole roman, “Die Andere Seite” I was walking in a street, in a small village in northern Italy.

People continuously walking around a tower. At the upper of the tower, a clock which seems to attract all the people, and the people not being able to escape that fatidic attraction.

I was in that street, the same street as the one described and illuminated several times by Kubin. And I felt myself while I was reconstructing that street, and looking at that tower as per my influenced by Kubin eyes. I was able then to force the outside nature to my own vision. And my vision wasn’t a copy of the Kubin’s one; simply, I was using his same vocabulary, using which I was able to (re)describe the Nature. Once again, Daemon Triumphavit …

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