Non ci si può accostare alla scrittura di Francesco Biamonti senza conoscere l'opera pittorica di Ennio Morlotti. Un caso pressochè unico di simbiosi fra parole e immagini.
Marco Grassano
L’immagine, la parola, il suono, il silenzio
L’accostamento e il raffronto che proponiamo tra un pittore e uno scrittore dalle comuni esperienze e dalle forti consonanze possono permetterci di comprendere meglio il lavoro di ambedue, ma anche – forse – di dare un’occhiata dietro le quinte che coprono l’eterno relationship between the verbal and the visual arts, including painting the place and the place narrated, as the subtitle of this initiative.
Certainly Morlotti and Biamonti met when their cultural worlds were already defined, and sensitivities were similar to trigger the fuse of a friendship that lasted more than thirty years, until the death of the painter. But it is also undeniable that the gravitational force of one additive effects on the development of the other, and vice versa. Beyond the confirmation of one another's choices, the work of both bears the mark of this meeting: a visible sign, a sign of images, color perception and reproduction landscape.
We will however be taken into consideration as noted Vasily Kandinsky about "an affinity between the arts and in particular between music and painting from this unique affinity is certainly the idea of \u200b\u200bGoethe that the painting must have its basso continuo" ( The Spiritual in Art, chap. VI). We will have the opportunity to hear the performance of the last movement of the Quatuor pour la fin du temps by Olivier Messiaen, "Immortality Louange à de Jésus", in which, as Biamonti beautifully said in an interview in 1995 with George Ribaldo, "There is this weakening of the sound of the violin, and this distant echo of the piano, as if the divine, to immortalize, should touch the shores of silence. "
the same occasion, the writer sambiagino had said: "The music is very, or at least modeled on some of its properties in knowing where you want to end up, how to resume after a slow, what could be going after. The prose is the same: we are going and slowly. I speak a bit 'by incompetent, but I need to write music because I get rid of heavy practical things, making the spirit soar and move the soul. " Even
Morlotti, painting, listening to music from an old record player that he kept in his study: "Look at my record ... I always listen the same. When I like something that is difficult to change your mind. Listen, listen to this piece of Schubert, I like that plan. It is a sigh of the soul, "he confided in 1992 to Catherine Bellati.
Biamonti select words with a particular attention to their sound. A particularly significant example we find in the poems of Valéry noted that Francis had lan-tic for a better understanding, especially in the first stanza of the poem L'été (on the page was visible in a display at San Biagio, prepared for the 'anniversary of his death). The writer had marked in the margin the translation of certain words: "ruffles" with "hive" "Cross" with "jug." But come to "Bourdonné", whose most obvious translation would be "buzzing" here is that among the possibilities provided by the Garzanti dictionary which is usually used, Biamonti has chosen a charming sound, "mormoreggia. It seems like a word Pascoli, brings to mind the verses of the Night Jasmine: "A bee late whispers / cells are already taken." Franco Contorbia has aptly pointed out the importance of pastures for the formation of language Biamonti, and also stressed the relationship between art criticism and that of Francesco Biamonti of Archangels: which he had reference in the introduction to his seminal book on Giorgio Morandi, released in 1964 (volume in the library biamon-tiana), the "deep love for Pastures" of its thirteen. But Maurice Merleau-Ponty and the philosophy of perception have relied heavily in writing biamontiana: think, for example, the note on a framework of bathers described in words the night - "the lady had stains that seemed to bleed "- owe the following account of the French thinker:" The objects of modern painting bleed, spread before our eyes their substance-za "(La prose du monde). Also in the interview with
Ribaudo 1995, Biamonti said: "The word is also a bit 'corroded, but should ultimately capture the silence, then that is the song of the Sirens. (...) The music's largest, that of the Sirens' song, and silence. But how to control and to hear the silence? Also here is a knowledge of the language: the reinvent a word that grabs the silence that is at the bottom of existence, the great loneliness. " Related to these are the reflections of Nicolas Bouvier, a writer-traveler and "iconographer" Geneva, born in 1929 (thus almost Coet neo-Francis) and disappeared in early 1998. Bouvier, in phrases in which we can recognize an interesting consonance col linguaggio biamontiano, lamenta la difficoltà ad esprimere con parole logore, deformate dall’uso, il senso delle cose. Se ci si prova, si raggiunge presto quella che lui chiama “una dogana di silenzio. Chi si avvicina a questa dogana vi rischia la ragione, il suo linguaggio si scarnifica, si sbianca, si ossifica, come un lenzuolo d’ospedale o uno scheletro. Se questa dogana è superata, tutto precipita nell’opaco, nell’innominabile, nel bianco: non c’è più testo, non ci sono più nomi”. Ecco che allora ci soccorre il potere espressivo primordiale della musica: “una vita senza musica non ha molto senso” conclude (L’Échappée belle, testo pubblicato posthumously in 2000).
de Stael, Concerto (1955)
the silence seems to approach the last part, which remained unfinished, another Nicolas De Staël: The concert. On the one hand the large canvas (3.50 x 6 m) there is a piano, a bass on the other hand, in the midst of music stands and sheet music, but there's no music, because it needs to exist , someone to run (I do not take into account the theory here, dear to certain decadence - is found, for example, in reverse, of Huysmans - according to which the best frui-tion of the work is obtained by reading the sheet music in aristocratic solitude), while in the painting can be appreciated only the vibration of colors in a space from which human presence is banned.
Biamonti, until 1959, had composed a few short narrative text, gaining a reputation in the cultural world bordigotta. RECEIVED and loved painting, but he had never written. It is likely (and also the beautiful memory of Nico Orengo in catalog invites me to think) that discuss passionately Morlotti inspired him to address the issue also on the page, with the for-za and finesse that we can appreciate in its texts art criticism and a glossary of clear-transcendence in Liguria (Montale, Sbarbaro, but also Boine).
Morlotti, Moreover, it was guided by his "native" in long trips between the bitter and sweet landscapes of the Far Western Liguria, who had impressed since his arrival, the intensity of light and the brightness of colors - the same "southern charm" that, for example, Provence exerted on the Impressionists. Liguria thus became for him a landscape of other landscapes on which to measure the real, as was the case for Lalla Romano, in the Diary of Greece, Hellenic banks in the end to see "a kind of Liguria," according to Biamonti himself remarked in 1998.
The French poet and critic Yves Bonnefoy, the beginning of his dense essay on the function of art entitled The look and eyes, quotes a famous passage in Proust, the volume ra-imprisonment, fifth station of the Recherche: "The only true voyage, the only bath of youth would (...) have different eyes, to see the universe through the eyes of another, a hundred more, see the hundred universes that each of them sees, that each of them. " Here, then, that provides Biamonti Morlotti "new eyes" with which to see (and paint), Liguria, and provides Morlotti to the memory of places Biamonti paintings (ie selections composition of real places "seen with new eyes") that substantiate the prose. Gli uliveti aggrappati ai pendii “come farfalle dalle ali polverose” di cui scrive Francesco sono quelli, materici, di Morlotti; analogamente, hanno provenienza pittorica le pietre vellutate dei roccioni, la luce ruvida nel cielo, il “fragile amalgama” di un insetto posato su un fiore… L’approccio di scrittura (o di descrizione) viene trasferito dai dipinti su cui la penna critica di Biamonti si sofferma ai paesaggi che ne popolano i romanzi, con effetti di trasparenza emotiva, di tensione e suggestione cromatica veramente sontuosi, come lo è il viola che il tramonto di inizio dicembre spalma, da quelle parti, sui pendii e sui crinali (e che si può osservare in alcune delle opere esposte, compresa quella choice for today's call for an appointment. Curiously, we find a similar tone in the description that Claudio Magris gives us a sunset on the pampas of Argentina: "At night the sky breaks into a flask of wine and spreads everywhere," another sea). Di Francesco
passages in which, to quote Paul Zublena, "breaks down into words and portrays the landscape with the eye of the painter," making a real "verbalization of the look" if they are on every page. Zublena itself or from the list rather than representative in his 2002 essay The melancholic gaze on the space-event. Biamonti, Morlotti and landscape painting.
Morlotti, Landscape (1964)
sufficient evidence to determine whether and how Biamonti Morlotti and knew the works of two great poets of the Greeks 900, Yorgos Seferis (Nobel 1963) and Odisseas Elitis (Nobel 1979), which have also devoted particular attention to writing to the landscape of their land (I seem to be especially significant Elitis the following verse: "and many olive trees / sieve into their hands that the light / light and it will lie on your sleep / the cicadas and many / most will not feel / like you no longer feel the beat wrist. "It seems almost see the knuckles and fingers gnarled branches like the mobile luminous shadows that animates the olive trees on windy days, and you feel like an echo in the memory of thousands singing compact of cicadas, as well as to become uniform and constant unnoticed. Elitis the Surrealists had translated in greek by Eluard in Lorca - and here Francis cites: "I remember a sad breeze through the olive groves" - but I can think of even the cicadas that Virgil, with their plaintive voice, "break the shrubs "around this verse of the Georgics, Carducci has built one of the most beautiful pages of his prose). Nevertheless show a strong interest in the words of Morlotti again to Catherine Her (1992): "Greece. For those who love is a passion. I went there just after World War II. There is light, one that every artist seeks. You have a nice look for the studio with the right light. That light there, there is only on that sea, under that sky. " This seems partly take Morlotti De Staël, who had written the coast of Provence: "The light is simply dazzling here, much better than I remembered." And again: "Obviously it is a great lesson that gives this light, where only the Greek stone and marble to withstand radiation. On balance, or Cezanne or Van Gogh, Bonnard or have used them otherwise than by spur psychic, I mean plane being: they could have painted that painting really does not matter where, no Greeks, is total, their sculpture takes and makes the sun as it is impossible do elsewhere: in all its simplicity. "
Maybe our two artists have found, walking, waves of color, small metal spears fringed dark shadows of the olive trees vangoghiani ( These patterns of shadows, in Morlotti, it's been a sort of black curves of prickly pears, that he wanted to call, exotically, "cactus").
The olive trees have always been fruitful evidence of poetic imagination. Legend has it that the capital of Greece took its name from the goddess Athena, who had won agli uomini l’ulivo (ed era stata, per questo, preferita a Poseidone, che aveva offerto invece il cavallo). Il barocco spagnolo Alonso de Salas Barbadillo, nel suo Viaggio di saggezza (che qui riportiamo vestito delle poderose parole italiane di Carlo Emilio Gadda), annota: “Degnatevi di volger gli occhi all’uliva, a questo essere così laborioso e paziente! (…) La sua fronda perenne è una continua promessa, una vivente speranza per i cuori degli uomini: è dessa l’insegna della pace, a domandarla e a riceverla. (…) Consideratene le facoltà, l’onnipresente valore. Contro uggia e tristezza, un verde allegro e festante, giocondo ammanto dei colli e della riviera. Allegro, e what is important, perennial. Against hunger and need, a precious food. Against the blind darkness of ignorance, light and splendor. "
But this tree so ancient symbol of the Mediterranean since the time of the gods cto-nii, has found "new eyes" to look at it, a new perceptive sensibility by the Impressionists, through the "line Ligurian poetry and painting (how many of its vibrant blue-green-gray to be found, for example - and I have a suggestion for Dino Molinari - even in a seemingly detached from the figurative painter Gian Franco as bands!), continues to this day. So the landscape architect, and refined prose writer, Paul Pejrone could write books on the All-Saturday, December 4, 2004: "Bright and silvery olive trees, however, continue their peaceful way of expert reviewers loved in a hard place: their silver leaves are a shot of cheerful color of the light rays of a sun is still strong. Under the gusts of wind and local small, vibrant and elegant, they move, what is most precious and beautiful? ". In
Morlotti, olive trees, rocks, cactus, but also facing the sky as if to form a barrier, a wall ("The pictorial space is a wall, but all the birds of the world you fly liberal-ment to all depth, "said De Staël's own painted Gulls, which Biamonti chose for the cover of Wind off). These barriers, such as hedge Leopardi, seem to suggest that there is something beyond the mind, a space beyond which we can reach across the deep blue of the sky.
Let us take suggestions from the large and sharp images Morlotti opened in the rich and dense words Biamonti. On both, the interventions that we hear certainly offer new insights.
(Introduction to the conference on Francesco Biamonti, Alexandria January 31, 2005)
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