The badness of Moravia

I have took this title from three words of a Italian director Vanzina that has called Luigi Pirandello as bad, because Pirandello an Italian writer, was truly bad because he has represented hypocrisy of human gender on theater, this is he has told everyone who is human gender and what is human gender, he has told weakness and false behavior of human, in fact he has said very much times: “You are going to meet very much masks and some face”, this is you are going to meet very much hypocrites and very less sincere persons. Moravia, Italian writer has made same storytelling, in fact he has told about human gender and a middle class very false and hypocrite, he has told about real model of human, and Italian, middle class as The time of indifference, first romance, and endowed of a realism very true, where the hypocrisy and is may unique true thing of whole romance. This is a storyteller that is real and continues for much romances of Moravia, as Contempt, Boredom, Country house for Friday, and sexuality of man that is very comic representation of male gender, and his dependence to sex, because this romance is story of a screenwriter that depends for his sex that is speaker, and given orders. This history is very comic but was, at least, in Italy very true, because some past generation every beauty women was aim of sexual attention of men, and this real phenomenon, alone male, was hide under cover of hypocrisy, but it was very present. Every romance of Moravia is a real description of human, for hypocrisy, falseness and lies, everything for interest, gain or morality alone; then Moravia is bad because he had told human gender, some behavior very daily of human gender.

Alessandro Lusana  

 

 

Others models

Benjamin West and Italian painting

I think that I have found others models because very much near some figures to Roman sculpture, that West has studied very well and he has reinterpreted to his painting as Death on the Pale Horse(Fig.1) for composition whose he has resumed some Roman models during his residence in papal city; in fact he has resumed the horse on down of Fountain of the four rivers of Bernini and his collaboratores(Fig.2), for reclining figure on first plane with reise arm is figure of same fountain that has same gesture(Fig.3); for figure form behind West has reinterpreted a figure of Federico Zuccari(Fig.4), with other posture but same drammatic spirit; then West has found the horse on right of painting The expulsion of Heliodorus from temple(Fig.5). For this painting West has took his Roman memories and very masterfully he has reused and has translated in British some Roman conceptions. But I must add that he has adopted from Rome, same dramaticity that we can see to Baroque painting, and of painting from manner; then he takes all necessary to this painting and very masterfully he has mixted different styles.

Alessandro Lusana

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Benjamin West: an American in Rome

This title is strange for one essay because we expected to find very much model for a

painter, but we have to think that a painter finds and translated every model that is

 in his mind and he use again when subject and client allowed it. Then for

Benjamin West(1738-1820), and American painter that has visited Rome and Paris,

 after he worked to London, but the first model is for The death of Socrates(fig.1),

certainly lines and style is very young, but we have to consider that it is very youth

painting then we can excuse inaccurate style may to 1756, important in conformity of

my opinion, it is because west documents his visits to Athens school(Fig.2); we can

list some suggest form Raphael to Benjamin: architecture has arches, same

architecture, with differences for space and subject, Heraclitus is translated to figure

to right that crying, group to left next Socrates is group in same position in painting

of West, the figure to left whose we can see back is suggested from figure of young

going up staircase on right of Athens school, Phythagoras on lest of School has

suggested Socrates. The light very intense (Figg.3-7) is took from Mengs, and he

used also the light of 18^th century, but in Rome he certainly seen Mengs and he has

copied this method this hypothesis is supported by a monography about life and

works of West, this book is published at 1989(Benjamin West American painter at

English court, p.20) and he has copied Tizian, Guido Reni and Carracci, but he not 

forgotten Mengs because he has capied also him, then he has took style,  and author said 

that Mengs suggested to West worth monuments in Rome, and after Mengs advised 

make some drawings of ancient sculptures, then he certainly influenced West, and 

portrait of Mengs certainly West has studied. The portraits no escape the influence of 

Mengs, West took same light and the analytical precision of Dutch colleague, he 

followed same method very meticulous and Flemish, in critical jargon, and growth is 

evident, from the death of Socrates he has improved, now style is very better; but I think 

that West has kept in mind also some sculpture, in fact for his Apollo and Daphne(Fig.7) 

he has very studied same subject of  Bernini(Figg.8-9). Then West has took from Rome 

some ideas necessary to his painter, and he has translated it to USA and to Great British.

Alessandro Lusana    

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