Interest and disinterestedness to Cicero

I am not a specialist of ancient culture or Cicero, but I remember very well my course of Latin language during my school years; but somebody, this is my husband, wanted that I write this assay; the First discourse against Catiline usually called to Latin language In Catilinam is a sign of dangerous moment to ancient Rome, and Cicero was used by senators to ovoid that Catiline take power; but it is important that Rome during 64 b.C. lived a moment very precarious, and Catiline was a danger and deeply felt is showed by first words of Cicero: “Quo usque tandem abutere, Catilina, patientia nostra?”, this is: “Till do will you abuse our patience, Catiline?”, naturally we must consider that word patience in Latin language is English to bear, therefore is serious form of our word. But we must consider also that much senators during this time were very next to Cicero, therefore very friends, but after condemn of Catiline these friends disappeared; this is normal to political behaviour, men join somebody when they have need, but after they will disappeared; in fact Cicero after condemn of Catiline was exiled in Cilicia by Caesar, because he was a danger to Caesar, whose Cicero was very opponent; Cicero during his exile written The friendship, book that said a human truly; this is when men need they are next but when they don’t need they are very distant, in fact it is very meaningful that this book is written by Cicero after condemn of Catiline, this is when Cicero made his task, when Cicero has been useful, and we can seen his regret during red; he shows episodes of true friends, and we can think he tough how much senators have had showed friendship to him but after they are disappeared; therefore ancient examples are very opportune to our time.

To my husband

Delia Mariani

                                      

Citizen realism of Canaletto

The realism is a cultural address that we can know among many cultural matters, literature above all Russian, French and Italian, also in painting with Caravaggio, Ribera, Velazquez, Rubens and others, but I want consider an Italian painter, Antonio Canal called Canaletto(1697-1768), Venetian painter, son of a painter, and very famous during 18^th century both in Italy and British, above all to his portrait of city of Venice; towns and other places or camp tower and moments of Venice during 18^th century; but I want consider that the realism of Canaletto is predominant because he presents true human gender to his painting, daily moments and true social classes, that we can recognize to cloth; therefore very much paintings were to English commitments, he reports therefore the life in Venice, moments very holyday Bucintoro goes back to wharf at day of Assumption(Fig.1), but also at day daily Saint Mark place(Fig.2). The realism of Canaletto is permanent and he used this address  during his stay in British, where he worked same concept to painting, human and social realism(Figg.3-4). We must consider that Canaletto worked in Rome with his father to scenery, because his father was scene-designer, therefore he shows real image of a city or other during his job in theatre, therefore he was habited to image of reality. To his drawings(Figg.5-8) he presents towns of Venice in drawing to show it to his commitment, this is what will be image of town; it is normal to painter, but this process to work manifests more that image of town is important therefore it is document of Venice that some tourist has seen. I think that Canaletto have to shows life in Venice to show it to British tourist, in fact much painting were aimed to tourists and Canaletto with some acquaintance as Joseph Smith entrepreneur and collections of book and painting and much influencing on British art merchant; therefore an agent to Canaletto and collection of his painting, therefore painter has showed the life in Venice with his moments and his human characters, may a presentation of human gender to aristocracy, this is motive to realism.

Alessandro Lusana    

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Noumenic reality

Le reality of Diego Stella, he is an Italian painter, today alive, (sometime I consider somebody alive, since Xenophon said “The dialogue of historical is with dead”), Diego Stella anyway is present and his picture is very interesting to his reality, because this isn’t a reality cruel as Caravaggio or Edward Hopper and other but his reality is a mixed between reality and noumenic think, this is between reality and imagine of reality, a reality filtrated trough think, therefore a reality that is clash between true and tough that Diego translates on the canvas; the Naked woman(Fig1) is document true of this interpretation, woman is true to her anatomy, very adherent to reality, but other is imaginary, nothing is entirely abstract or real but all is half, this takes between think and objective, therefore Diego is a half, a “mesos” of Aristoteles, half between visible and thinkable, effectively two reality, because also thinkable is a reality, because we can imagine it therefore this is real, therefore we can become it noumenic.

Realtà noumenica

La realtà di Diego Stella, un giovane pittore, ancora vivo(talvolta mi occupo anche di chi ancora respira, ma Senofonte diceva “Il dialogo degli storici è con i morti”), comunque Diego Stella è ancora presente e la sua natura pittorica resta davvero interessante riguardo alla sua realtà, poiché non è una realtà cruenta come quella del Caravaggio ovvero solipsistica di Edward Hopper ovvero altri, ma la sua realtà è mista fra realtà oggettiva e pensiero noumenico, ossia fra realtà e immagine della realtà, ossia una realtà filtrata tramite il pensiero, quindi una realtà che rappresenta uno scontro fra vero e pensato che Diego traduce sulla tela, la Donna nuda(Fig.1) attesta questa interpretazione, la donna è reale e concreta e irretente nella sua anatomia, ma il resto è solo immaginario, quindi nulla è solo astratto ovvero reale ma tutto resta nel mezzo, dove si prende sia il pensiero che l’oggettivo, quindi Diego resta un “mesos” aristotelico, un tramite fra realtà e immaginario, che sono due realtà, perché anche l’immaginario è una realtà dato che noi possiamo pensarlo quindi possiamo renderlo noumenico. 

Alessandro Lusana

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