Paul Cézanne e lo statuto della pittura

Autori

  • Stefano Esengrini Università Cattolica del Sacro Cuore di Milano

Parole chiave:

Paul Cézanne, Giorgio Morandi, painting, watercolour, color field painting

Abstract

On the basis of a remark made by Giorgio Morandi on his own journey in the world of art, the essay aims to clarify the revolutionary significance of the method that underlies the plastic representation in Paul Cézanne and the contribution it has provided to the definition of the statute of painting in the twentieth century (color field painting). The analysis of the interpretations of Cézanne’s work by David Herbert Lawrence, Rainer Maria Rilke and Peter Handke thus has the merit of showing the nature of the need for truth that guided Cézanne in the choice of oil or watercolour as material capable from time to time of explaining the fundamental difference that exists between the movement with which a being discloses itself into the wide open and its presence as a fact here at hand.

Riferimenti bibliografici

Beccaria, A., Giorgio Morandi, Hoepli, Milano 1939.

Beccaria, A., L’ultima visita a Giorgio Morandi, Ogni uomo è tutti gli uomini Edizioni, Bologna 2017.

Carrà, C., Tutti gli scritti, Feltrinelli, Milano 1978.

Fourcade, D., Le ciel pas d’angle, P.O.L., Paris 1983.

Giorgio Morandi 1890-1990. Mostra del Centenario [catalogo], Electa, Milano 1990.

Gowing, L., Cézanne. La logique des sensations organisées, Macula, Paris 2015.

Handke, P., Die Lehre der Sainte-Victoire, Suhrkamp, Frankfurt a. M. 1980.

Marteau, R., Le message de Paul Cézanne, Champ Vallon, Seyssel 1997.

Rilke, R. M., Lettere su Cézanne, Abscondita, Milano 2011.

Sciortino, G., Giorgio Morandi a Bologna e a Roma, in “La Fiera Letteraria”, Roma 25 settembre 1955.

The Paintings of D. H. Lawrence [catalogo], Mandrake Press, London 1929.

Zucchini, C., Visita a Giorgio Morandi, in “Il Foglio di Crevalcore”, Crevalcore 1968.

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Pubblicato

2021-08-06

Fascicolo

Sezione

Varia