Momentary present: the past is always present

We are involved from our daily busy because we certainly don’t think a truth, because also the indifferent toward the philosophy is dominant, but if we think some minutes to who are we, certainly we can find a thousand of qualities and certainly scant defects, or nothing, because unconsciously we readily lie to ourselves constantly, always finding justification that are opportune to our wit thereby the psychology. We can’t think that the present is momentary alone, because between a second it is the past, and the past is major time of mankind, why? Simple because we can know it through the read of a book, thereupon it is very easy, but the future? We can’t know the future, it is cause of foreseeing, that are a historical document, because from ancient Greek they existed, and they insured the customers with previsions that some historical man of ancient Greek translated, as the Salamis fight in 23 September 480 b.Ch., when the foreseeing, this is Pythia, oracle of Delphi temple said to Athens: “You must cover yourself between wall wood”, but was Themistocles to interpret this prophetic words, in fact the Athens fought in ships, therefore they has gather between wood wells. The present is alone momentary because the historical words: “We are the our past is true, we are past, as early as this morning we are the past, but it is also from a second, the present is alone momentary. We are the past of ourselves, as a document of our generation and of our time, because we are the past, and the future? We don’t know it and the foreseeing are very well to idiots, because the foreseeing don’t preview never when they die, it is strange, but it is enough ask it: “When do you are going to die?”, the answer is a call phone to police to menaces, that the foreseeing has not had previewed. The alone way to stop a moment is a photo, sculpture, painting, certainly we can add to it also the records, but the records are momentary because after the death of bearer, these records disappear; hence also the records are momentary. Unique acknowledge that we have now and also to future is past, our autobiographical past and the past of mankind; and taking a think of Hegel(1770-1831), that rightly defined the eternity as a moment, because the eternity is gather of moments, from this the eternity is every moment, because every moment is eternity; we can take this philosophical reality and we can defined every moment alone as momentary present, because after second it is past, thereupon we are alone past; the future is unknown, whereby we are alone past.

Alessandro Lusana  

 

Philosophical nonconformism

From a scripto about of Actualism of Giovanni Gentile(1875-1944) he said and defined the spiritual life as: “Whole the spiritual life  what other we can think that it is if not the position of determined moments and stable of same wit?  Spiritual concreteness is always to be in precise form, exacts, limited?” These words are very educative for conformist, because they are going to search always the common position that has security because if everybody makes it is the right; hence he has searched a dimension that is common, this is search of determined moments and fixed of with, this of brain; it is the safety that gives the certainness that something is not right but it is less, or nothing, harmful, because all make it, all think it and thereupon I am in the right, because it is common action; it is conformism and stop. The conformist works in limited space of wit, these are the “precise, exacts, and limited” of Gentile, fundamentally he is an unsafe, because he find his safety in united of works of gather, an psychologist would explain it is the compensation dynamic, this is the safety that is necessary to calm the grief and worries, thereby the nonconformist is who avoids this dynamic, who avoids this safety because is useless, why? Simple, because I can see from external the other behaviors or behavior, because the conformists follow the same precise form. The non conformist is explained involuntary fro same Gentile, although he didn’t called so: “Since neither the multiplicity, neither the determination of spiritual reality is excluded from the concept of progressive unity of with during its develop”; Gentile has explained the nonconformist, the aske is: “how?” Simple through the some word, it are: “during its develop”; it seems alone an unfinished proposition, but it is really a truth of nonconformist, because the develop of wit, that is in unfinished proportion that we have read has an substantive that is the secret of with, this is the develop; John Locke(1632-1704), was an British philosopher, and in his book Essay on human intelligence he said that the with is projection of brain in interior form; hence we enriching the brain limited the unsureness and limited the worry and griefs and we can annihilate the conformism, because we have other sureness, this is the capacity of analysis that is an other dynamic compensation different from that has the conformist, that follow the crowd because in it he find the sureness, nonconformist has the safety in his wit, this is in his brain, in conformity of opinion of Locke; whereby the develop of wit is to annihilate the “precise and exact and limited forms”, of Giovanni Gentile. The last philosophical reference is Socrates because he, differently from all philosophical schools during 5^th century b.Ch. in Athens, he wanted the develop of with through the brain, he didn’t give a truth but he given the method necessary your truth, it is evidences that Socrates has had reached a spiritual develop very important, in fact he wasn’t conform to common teaching but absolutely different, truly different, because he wanted that you find your think, in fact he hasn’t never spook about the ideas word, but Plato, that was his pupil has though it and has written about this word.  

Alessandro Lusana

 

   

 

 

 

 

Athens schools: other student

Raphael has followed his mother, very boring because he studied philosophy and hated the art history and generally the art, actually he doesn’t bores the painting, sculpture and architecture; but that day was birth of his mom and he has accepted of accompany her to Vatican Museum; he known perfectly that his mother would be stay there ores, but he would have bear; in front of Athens school, of Raffaello(1483-1520), he stayed in front the frescos and he asked to his mother who was the philosophers, this is, where was Plato and Aristotle and other; he asked it while he gazed the frescos, but he turned toward his mother and he seen a figure dressed with a chiton and he very amazing asked to this guy: “Excuse me but…”, and the guy shut immediately him, and he indicated a figure bearded that going in school and the man with bearded indicated toward the sky and spoke to other figure, to beside, that indicate with open hand the word; Raphael asked, when the bearded has finished his discourse: “Excuse me, where we are?”, the guy gazed him and: “In Athens school”, and Raphael: “But in what year”, and guy: “Every year, you little time ago was there”, and he indicated the space out the fresco where Raphael seen his mother, and he called insistently, until the guy: “She can’t hear you, therefore quit now because you must hear the Socrates that is there”, and he indicated  the left of room, where a man with beard, as philosopher in ancient Greek, the spoken to a group, Raphael approached to Socrates, and he gazed the face of philosopher because this face remembered that of his father, that was died when he was 15 old, that he remembered very good, anyway he was involved from discourse of Socrates, above all when a young, whose name was Antisthenes, asked to him: “What is secret of your philosophy and your knowledge?”, and Socrates: “My secret is the logic, elementary logic, I find the illogic contradictions in other thinks and ask why? It is motive of hate the Sophist and other, because I want to aid to search your truth, but a truth that is logic, major my teaching is the logic; I proof the my knowledge through the logic and show the irrational thinks of other, in fact after they accused me…”, and Antisthenes: “In fact after you has had condemned to capital sentence”, Socrates smiled and: “No, it isn’t motive, the principal cause was the politic action, because the Athens people have to find his calm, whereby somebody have to die, and Socrates, although innocent have to die, so that Athens was calm and riotous, it politic dear Antisthenes”. Raphael turned toward the staircase, and he seen a man that was seat there, and he asked to guy: “Who is there?” and the guy: “Heraclitus”, and Raphael: “can I speck to him?” and guy: “Certainly, I will arise you to him”, and the guy anticipated Raphael, and after the same beckon to Raphael, he very soon approached to Heraclitus and asked: “Good morning I am…”, and Heraclitus: “I know you perfectly, and good morning in this time but very soon you have to good afternoon and good night”, and Raphael: “Yes it is the teaching of Heraclitus, this is you, panta rey, everything passes”, and Heraclitus. “Good, you have studied well my think, and Paul, because his name is Paul”, he indicated the guy: “has said me that you are a student of philosophy”, and Raphael noted and: “You have the contribute very much to…”, and the guy interrupted because a voice of woman called Paul, and the Paul took the hand of Raphael and: “We must go out”, and Raphael asked: “What, why?” and Paul: “Because mom called both, this is me and you”, Raphael looked the Heraclitus that beckoned to go away and he added: “Because she is very boring when is time of dinner”, Raphael seen and he asked herself what was the motive. He come to the voice and he met his mother, he goggle your eyes and: “Why are you here?”, and Laura, it was the name: “Because I have searched you in every corner of museum and after your father has said that you was here”, and Raphael: “But dad is died and Paul: “Out here I am died, but in this school I am very life”, and he indicated to Laura and Raphael the exit, and Raphael: “When can I meet you again?”, and Paul: “Tomorrow, because you have to follow the Aristotle’s lesson”.

Alessandro Lusana    

   

 

 

The impressionist sculpture: Medardo Rosso

The Impressionism painter we know well because it was that first deny, for technical motives, of academic painter, hence nothing that can interest, because it is known perfectly; but the sculpture is different, because translation of this sharp technique, through the quick brushstrokes is other matter and above all difficult to representation. Medardo Rosso(1858-1928), Italian sculptor, has translated in sculpture this style, that he could know from 1889, when he moved about to Paris, and in 1902 he become the French citizen; he could see the Impressionist painter, and the real subjects the impressionist painters used; he translated this realism, that in painter was landscapes, because the light was in plain air, Medardo hasn’t used the light, but alone the definition of forms, that are very sharp and imprecise, he has used the quick technique of Impressionism for the human portrait; he has took alone the brushstrokes, but for human and not certainly to landscapes; to confirm it is sufficient the confront between a Impressionist(Figs.1-4) painter and the sculpture of Medardo(Figs.5-7); the same approximate definition of form, same imprecise touch, that in painter is through the brushstroke, but in sculpture it is possible through the matter that sculptor uses, in this case Medardo used above all the wax, chalk, bronze and terracotta, all almost the soft materials necessary to give that effects of confusion that Impressionist given to their paintings. The subject of Medardo are common people, I don’t think that it is a ideological choose but alone a monetary question, because a model, woman or man were too expensive, instead the common people(Figs.8-14), were certainly more forthcoming; other great innovation, regard to Impressionism was that Medardo hasn’t used the landscapes, it is more than revolutionary is cunning, because on landscapes the translation of this approximation was very difficult, and the effects could be more partial, and also on the human bodies the light could not have same effects, because the iridescent effects is very limited, because the change of the light on body are very irrelevant, and in sculpture the change of light are very impossible translate, because the moment is very soon and the matter doesn’t allow these identification of these changes. We can appreciate the use of the style of impressionism, that then was a very good idea because nobody has made that before. The momentary embrace of a mother is moment to an subject(Fig.10), hence Medardo has translated the real use of Impressionism, but he has translated also this concept to human behavior, thereupon the subject is real both to Impressionism painting and also sculpted, I repeat, without the ideology, otherwise the Impressionist painters today could be eco-fanatic, but both the Impressionist and Medardo evidently have had scant money to pay models, but we must consider that the landscape want not the payment and common people neither, whereby other the style, that in art is essential, there is also a economic question, that never is considered, but is basic to work of art. The last notation about the correspondence between Medardo and Impressionism is a step of his declaration, when he has said that the face and the space around are symbiotic because one interpenetrates in other being the symbiotic matter; this concept is alone an impression of Medardo certainly, but if we consider attentive this concept it is the same concept that the Impressionism used for the light, that was symbiotic with environment, the light was the basic factor of union between the human and natural matters, Medardo could not mentioned the light because in a studio it is impossible, he sculpted in home and no in plain air, but the similar concept is evident, and I think that one is from other.  Other consideration directly from Medardo is in his written, that shows the proximity to Impressionism, this is the nearness to light that for Impressionism was a fundamental element, it said: “The light is true essence of our existence, an artistic work that hasn’t affinity to light hasn’t motive to exist. Without light it lacks of unity and space, it is become irrelevant, without valor, wrongly thought, made alone from matter. Nothing on this word can detaches from round, and our vision or impression, is the outcome of reciprocal or valor given from light…”; the element of light is central in this think, equal to painting of Impressionist.    

 Alessandro Lusana              

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Confessions: Matisse

The my vocation to painting is in 1890 when after a medical operation I past some time in home of my oncle in Bohain, and there a fortunate meeting, because I known the director of a works of cloth, that was lover of painting, I followed him and I failed in love to painting; the my first painting is the Died nature with books(Fig.1), and I have signed it with my anagram M.H.;but then I worked in a laywer studio, but when it was possible I painted always, and after the boring work and for me useless, I gone soon to my room and I drown until later, and after I have decorated the ciling of home of my oncle, Emile Gerard. In 1892 I gone to studio of Gustave Moreau(1826-1898); but I could gain some money thank to copies of Poussin(1594-1665), Chardin(1699-1779) and other. I painted also in plain air, in conformity of French language, this is in open plac aout from studio, and the Guardin of pigs(Fig.2), is influenced directly from Corot(1796-1875). The painting The read(Fig.3) I have felt strong the influence of Corot, because the light and the color is again, as the Guardian, ocher, but the predominant note of these painting is the realism. The realism that has accompanied the lesson of impressionionism in the Port of La Palais(Fig.4), and this lesson of tecnique brushstroke continued also to The table to lunch(Fig.5), but I have exasperated this lesson to paesage of Corsica(Fig.6), and in Corsica I have tried the lesson of Impressionism because  I have seen the light and I felt very freedom from academical definition, hence I have tried every impression that I have had, in fact I was upset because there everyting shines, everything is color, everything is light. For my sculpture as the servant(Fig.8), I have took as model for the style from Rodin(Fig.9), although I have took from classic scuptures of Italy, where I have visited often. For the Madaleine(Fig.10),I have took from Impressionism brushstroke and I have translated it in sculture as made Medardo Rosso(1858-1928) in Italy, that has impressed to sculpture the tecnique of Impressionism. The gulf (Fig.11) I have felt the influence very strong of brushstroke of Pisarro(1830-1903)(Figs.12-14), I have took his correctness and coherence to shape lands and the figures. Instead to Luxury, calm and voluptuesness(Fig.15), I have took from Signac(1863-1935), his brushstroke has involved me and I have used his tecnique to my landascapes, this is the divion of colors in point of brush, and I have divided the colors through the short touches; in fact Signac bought this painting, that I have exposed in Salon de Indépendant in year 1905. After I have gone to Collioure, in far south of France. The woman with hat(Fig.19) is mine adesion to divisionism, this is the nect division of colors, pure color brushstroked on the canvas, without mixture, as it is solit on painting, it is a lesson of impressionism, that used pure colors, and I have took it both from the impressionist pianters and from the Signac. The joy of life(Fig.20) is the begin of Fauvisme, this is the fears whereby the abstact represenations, distant and distincted from academic representation, but although it is very against academic it took from the academical style, how? The pure color is from Signac, the divionism is same source, the line is different because the character have to be different, otherwise it be same academic work. The recumbent nude(Fig.21), I have followed my sculpture address, because the style is similar to The servant(Fig.8), but I have took also from medardo Rosso, in Italy and I have founded the sculpture fauvisme, the style I have took from my The joy of life(Fig.20), and I have translated in tridimension matter the figure of painting. It is basically athe against academicism that has fashined, but this with and concetion is begun fro Impressionism, we have alone followed this intention.The my painting more famous, this is The dance(Fig.22), commissioned by Scukin, a Russian collectionist, that has bought much my painters, and he wanted a painting with subject of dance, I have took suggest from a dance that was made in Moulin de la Galette, the name of this dance is farandola(Fig.23).

 

 

Alessandro Lusana

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The visitors

The museum of Borghese Gallery, in Rome Italy, opened the doors in 8:30 am and until to 10:30 nobody entered because other busies were important; but from 10:30very much wives and husbands were in museum, some student that gazed a painting and spook to painting; somebody has looked this student and approaching to him, asked: “Excuse me but do you are speaking to?”, and student wearing a black hat gazed the painting and answered: “I am speaking to Caravaggio”, and the visitor: “No you are speaking to the David and Goliath of Caravaggio(1571-1610)(Fig.1), but not certainly to him because he is died in 1610”, the student turned to his side and: “She doesn’t see you”, and the visitors soon gazed a figure that becomes material and a man with a cloth of 17^th century and a long mantel bowed herself and seen to eyes of lady, that very astonished gazed this man, and asked: “Who are you?”, and he: “Michelangelo Merisi called Caravaggio, died to 1610”, and the lady, whose around very much visitors were gathered, said: “Do you better than other explain because this Goliath has your face?”, and Caravaggio: “Because I wanted foresee my destiny, because in Rome pope Paul 5^th has condemned me to capital sentence, and I wanted represented me as I am going to be after the sentence”, and the lady: “But thank this painting the pope has forgiven you”, and Caravaggio: “Yes, hence say that the art isn’t useful is error”, the lady smiled and turned and gazed the Virgin of Palafrenieri(Fig.2), and asked: “This painting were in Vatican why it is here now?”, and Caravaggio: “because the cardinal Scipione Borghese, the nephew of pope Paul 5^th, judged this painting very shameful, so ugly that he has made the sacrifice of welcome to his gallery, true a saint man, and other figure from group gone ahead and in front to lady, this is Raffaello Santio(1483-1520): “Saint very scant, because he has robbed my painting with Deposition(Fig.3), originally this painting was in church of Saint Francis to Prato in Perugia, he tried the purchase but the monks refused and he made robbed it; he is very steal; and other figure come ahead and Caravaggio presented him, lady I want present to you Antonio Canova(1757-1822), sculptor, author of Paolina Borghese in other room(Fig.4), the lady followed the Canova and she gazed the sculpture, and turned to Antonio she commented: “It is beautiful”, and Antonio: “Thank you very much”, and lady together the group: “Who is she?”, and Canova: “She is the minor sister of Napoleon, and wife of Camillo Borghese”, and the one member of group: “Why it is so precise?”, and Antonio: “What?”, and the visitor: “Why? It is so short natural?”, and Antonio: “Because the neoclassicism is perfect always, because the naturalism in Neoclassicism isn’t never, we sculptor of that period and cultural address have took inspiration from ancient sculptures and never from the natural, because the nature we have ennobled in our brain through the imagination, for example while I sculpted some my pupil read the Odyssey of Iliad of Homer, because I wanted imagine the heroes and the figure, although Home and Virgil didn’t describe them”, while he is spoking  an figure gone ahead and Antonio welcome and presented to lady: “He is Tiziano Vecellio(1488-1576), a painter and author of Profane and Sacred love(Fig.5), and the lady: “Where is your painting?” and Titian: “Follow me please”, and in front of paining, Titian: “The nude female is identifiable as the pure love, the true love, that nothing hides, hence the divine love, and the female dressed is the natural love, the human love, and the child, Eros is middle love, this is the middle between the terrain love and heaven love, because it is in both”. While the time was past and the museum was closing, whereby every figure disappeared and the visitors gone away. The follow day, other visitors, and now the museum was very full, and one visitor approached to other and asked: “Excuse me lady but what means this painting”, and the lady: “I can said to you what has said yesterday Titian”, and the visitor accepted and actually he called others and the lady repeated what Titian has said to her, and in the group she seen also the painters and sculptors that the after day has explained the works, she seen also members of hers group that has seen the after day, and she explained to painters, that didn’t read the mean of painting of Titian, to sculptors, to her group and the new group until the close.

Alessandro Lusana              

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Ea petit: interview to Hegel

George Hegel(1770-1831) seat to his desk and he was writing, he raised the eyes and gazed a woman in front of him, he lowered the eyes and spoke: “Usually late, you are a woman and it is enough to justify it”, and woman: “You are always punctually polite, you stress that I am late, but you make it very much politely, compliment. Any way you have failed because I am allegory of Aesthetic, and no a woman”, George raised the eyes and spoke: “I am gather lessons about your nature, this is the aesthetic , and I am correcting some error of Heinrich Gustav Hotho, that has transcript my lessons on aesthetic but sometime he has transcript badly”, and aesthetic: “Yes lord master, you seem the master of elementary level that corrects the assignments of pupils”, George gazed hers and asked: “Beyond a fuck you, what do you want?”, and aesthetic: “I known perfectly that you would be angry, for this I have used this expression”, and George: “I know you very well, and I know what amuses you”, and aesthetic: “I know me perfectly, but anyway I am here for tow causes, the first is break your balls”, and George: “In fact you are managing completely”, and aesthetic: “I know it”, and George: “And second?”, and aesthetic: “I not a clue, but something I am going to have an idea”, hence George: “You are here because…”, while entered in room a waitress of George and asked: “Excuse me, I want ask if do you want something”, and George: “Yes! A sword to decollation, because very soon a will have a execution, capital execution”, the aesthetic smiled and to waitress: “A tea thank you”, and George: “The sword, don’t forgotten and a tea I too”, the waitress turned and gone away, whereby the aesthetic: “What is your think about the aesthetic?”, and George: “Why do you ask it, you know perfectly it”, and aesthetic: “I yes, but the read of this essay may not, thereupon, since somebody, a breaker balls, I know him and he is very boring”, and George: “It seems that you know him very well”, and aesthetic: “Yes, he think always to your Aesthetic and he has three masters and read from 36 years”, and George: “What is his name?” and aesthetic: “Alessandro”, and George: My God! He has written around me and he has written 1008 essay, you are right, he is very boring, anyway, what do you want?”, and aesthetic: “Your explication of lessons about aesthetic”, and George: “Some ask?” and aesthetic: “What do you think to absolute spirit?”, and George that was beginning drink his tea, gazed the aesthetic and: “I think that translation of the human brain in matter; this is, the human intellect that form the shape, or shapes, the absolute spirit is the brain, human brain, that gives the form both in poetry, in painting, in sculpture, in architecture, in art craft and in music and other”, and aesthetic: “it is improbable that is other, you have mentioned every art”, and George: “Quousque tandem abutere, Catilina, patient nostra…(Until do you will abuse of our patience Catilina)”, and aesthetic: “So what now Cicero?”, and George: “I have forgotten the rhetoric, and Cicero was master”, and aesthetic: “Do you think that Cicero has translated his with in The first catilinaria?” and George: “Certainly, as the sculptor and other artist given the shape, the rhetoric is an art, and the rhetoric is in opinion of Cicero and exercise that must movere, delectare, persuadere”, and aesthetic: “What is”, and George. “I must explain it to you alone or also our readers?”, and the aesthetic. “Both because I haven’t understood nothing”, and George: “Cicero, that was born in 106 b.Ch. and died in 43 b.Ch., and he turned to whom is written it essay, I say it to him doesn’t remember, this is you that are writing”, and the writer answered: “Ok. Can we follow or you must drink other tea?”, and George to aesthetic: “Movere is provoke the emotions in hearer, and Delectare it is to like, give pleasure to hearer and, finally, Persuadere is convince the hearer”, and aesthetic: “I think that with an oration alone it is impossible”, and George: “In your opinion Catilina is guilty?”, and aesthetic: “Certainly, he wanted kill Cicero, hence he guilty, and stop”, and George: “You think it because you have read The first catilinaria, and stop” and aesthetic: “Yes! Fir this I think it”, and George: “But we know it because Cicero in 8^th November of 63 b.Ch. in the temple of Jupiter Stator in Rome”, and aesthetic: “It is motive!”, and George: “hence Cicero has took the three sakes, you believe to Cicero because he has Delectatus, Motus and Persuasum you”, and aesthetic: “Yes!” and George: “Do you know the truth about the accuses of Cicero that he told in the fist catilinaria?”, and aesthetic: “Yes!” and George: “Why?”, and aesthetic: “Because Cicero…”, and George breaking the woman: “Cicero has said it, but we have heard alone Cicero, do you have heard also Catilina?”, and aesthetic. “No, but I think that isn’t…”, and George again breaking: “You don’t think that it is important, but in tribunal the judge must hear the prosecuting attorney and defense lawyer, and you must same thing, as every historic man”, and aesthetic: “If the defense lawyer isn’t?”, and George: “You must doubt of accuse until you have a secure proof; but it is the ascertain that I have right, because Cicero as Michelangelo, Beethoven and other artist, has given to their works the soul, it is the absolute spirit, this is the identification in something  that is owner activity, the possibility to create something; the spirit is the brain that leads the hand of sculptor, the hand of architect, the hand of music the hand of writer and artisan, we become the work that we are forming, but every thing is the first moment the brain“.

Alessandro Lusana