A visible world also beyond Pasticciaccio

“Ille Raphael, qui: paventò vivendo il quale esserne superata la madre alma de le cose: e si morire morendo. This favoletta cannot be invoked: the pitafio of Pietro Bembo is good for the elegy: he did a great work in Voltarlo. Add: art criticism is sostava, come per secoli dimolti, al canone naturalistico”. Carlo Emilio Gadda celebrates Raffaello’s lover in the first book of his favorites, dedicating various apologies to him, for this one, which is number 109, compared to the character also in previous episodes, as in number 75, which tells: “quando l’aquila ebbe rapito Ganimede, si disse ‘che bel pollo'”, there is an allusion to the Lodge of love and psychology, with errors of divinity, which might surprise fanatics of a psychic letter. The author of Pasticciaccio was legitimate in all art, he compares the magma of his opera, with admiration and irony, as is the case of the famous story compared to the Marquise Casati (ribattezzata narrativamente Cavalli), to the opera of Giacomo Balla, who compares di prepotenza nel capolavoro San Giorgio dans la casa Brocchi.

NELL’EPOCA IN CUIalways more, its central shows it in the world by looking at the poets (as in the case of the mirabile Seicento painting and poetrycura di Emilio Russo, Patrizia Tosini and Andrea Zezza alla Galleria Borghese, centered in the omnipresent presence of Giovan Battista Marino, during the next February 2), has publicly elected a beautiful monograph by Eloisa Morra dal titolo The slowness of Gadda (p. 160, 26 euros). The author, who is passionate about Toti Scialoja (who dedicated to him in 2023 the ampio volume of the AZ series, always in a hurry Electa), is confronted with this one with the rich and too tortured weaponry of Gadda’s images, from the complexity of the description. of the writer’s poetry at Gianfranco Continent. “My work is logically, aesthetically and narratively “sbagliato”, fondandosi sulla stolta esperanza di “tell by blocking the current” to track the reader of the trace of his real existence”.

The use of the icon allows you to visualize secondly the exact surgical vision of the coarse caught by Anastomòsi, to describe an operation, here selecting the image according to personal needs. Nel Racconto Italiano di Ignoto del Novecento compare The vocation of San Matteo caravaggesca, my come immagine fotografica in un libro tedesco. The seicentesco maestro is the source of iconography of various male characters, accompanied by strength and violence (the traggono also inspired by Mantegna), while the innocent voted to the martyr for the different life (in which the author has projected elements of autobiography) which reflect the Castelfranco Palace by Giorgione.

GADDA IN ROMA frequents the wonderful gallery of the Comet, affiliated with the dynamic noble and imprenditrice Mimì Pecci Blunt, with the restless talent of Libero De Libero, remarkable poet and prose writer, and she compares herself to the library, with rare examples. In what spirit did you meet Toti Scialoja, mentioned with his suo The dome of the Excelsiorit was the writer Avava Chiesto who intervened on the novel for Romanesco. A beautiful quote from Attilio Bertolucci is in the text of the chapter dedicated to Gadda visualizzato and the great Lombard, located in the image of the folgorati northerners of the Barocco romano. “This great Lombard Borghese in the gray that should not be noted in Via Durini and in Via Senato and in its small town, in the disorder of the great Argentine space, this amarissimo sradicato, has saputo innalzare un monumento, alla city in which it does not take root, it does not coglie and it is everything I succeed, wonderfully. A baroque capolavoro di mano of a man from the North? Non sara la prima volta che Roma fa miracoli di tal fatta: la dome and the facciate del Borromini te le ricordano dovunque, qui forse non c’è di meglio d’un bon sang gothic pour dar fuori un barocco non stuchevole, non accademico, invent everything.

Eloisa Morra, who effectively takes on the work of the film screenwriter, recounts the notorious titles and the less frequent episodes The telephonedal collective film The bambole (1965), a game by Dino Risi, in leather Louise (a splendid Virna Lisi) comes from marito Giorgio’s (Nino Manfredi) concupita, I continue to rimandare the amplesso perché must finish Knowledge of pain.