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Dalla pop art alla pittura antica

Authors: De Palma, Maria Teresa;

Dalla pop art alla pittura antica

Abstract

Malgré leur nature fragmentaire et souvent inachevée, les textes de Celati consacrés aux arts visuels témoignent d’une étonnante cohérence et d’une non moins étonnante concordance avec la pensée esthétique de leur auteur, tant dans leurs lignes générales que dans leurs évolutions. L’article offre un survol des principaux écrits théoriques que Celati a consacré, depuis les années 1970, au problème de l’art et de la peinture : par l’analyse de ces textes, on tente de montrer comment les liens entre image et écriture littéraire sont indissociables chez cet auteur. Nonostante la loro natura frammentaria e spesso inconclusa, gli scritti che Celati ha dedicato negli anni alle arti e alla pittura rivelano, se letti nel loro insieme, una sostanziale continuità di fondo, e un’innegabile concordanza rispetto al più generale pensiero estetico dello scrittore. Il saggio si propone di ripercorrere i brani che, dagli anni Settanta ad oggi, l’autore ha dedicato ad artisti e pittori, dimostrando quanto a fondo la riflessione sull’immagine si leghi in Celati a una parallela meditazione sull’uso e sulla natura della scrittura letteraria.

Related Organizations
Keywords

pittura, Gianni Celati, Language and Literature, arti visive, P, Brueghel, arts visuels, peinture, Beckett

48 references, page 1 of 5

Baltrušaitis J., 1955, Le Moyen Âge fantastique : Antiquités et exotisme dans l'art gothique, Paris, Colin.

Barron P., 2007, «Gianni Celati's Poetic Prose: Physical, Marginal, Spatial», Italica, 2-3, p. 323-344.

Belpoliti M., [1996] 2006, L'occhio di Calvino, Torino, Einaudi.

Camporesi P., [1992] 2016, Le belle contrade, Milano, Il Saggiatore.

Carli E., 1957, Sassetta e il maestro dell'osservanza, Milano, Aldo Martello.

Celati G., 1977, «Prefazione», in Gabellone L., L'oggetto surrealista, Torino, Einaudi, p. 149-154.

10 Pensiamo soprattutto agli studi sul concetto di atmosfera, e a quella congiuntura con le riflessioni di Tonino Grifero che già Marina Spunta notava in suo contributo sul cinema celatiano, cfr. Spunta 2008.

11 Celati legge e conosce almeno la prima importante opera dell'autore, La trasparenza delle immagini (2005); ne fa cenno, quello stesso anno, a Massimo Rizzante, in occasione di un incontro tenutosi all'Università di Trento, e di cui si leggono le tracce nel saggio-intervista «Sulla fantasia» (Celati 2011: 72).

Celati G., 1986, «Samuel Beckett, le sorti dell'espressione», In forma di parole, 1, p. 259-268.

Celati G., 1996, «Prefazione», in Céline L.F., Guignol's band I-II preceduti da Casse-pipe, Torino, Einaudi-Gallimard, p. IX-XXXIV.

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citations
This is an alternative to the "Influence" indicator, which also reflects the overall/total impact of an article in the research community at large, based on the underlying citation network (diachronically).
BIP!Citations provided by BIP!
popularity
This indicator reflects the "current" impact/attention (the "hype") of an article in the research community at large, based on the underlying citation network.
BIP!Popularity provided by BIP!
influence
This indicator reflects the overall/total impact of an article in the research community at large, based on the underlying citation network (diachronically).
BIP!Influence provided by BIP!
impulse
This indicator reflects the initial momentum of an article directly after its publication, based on the underlying citation network.
BIP!Impulse provided by BIP!
0
Average
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