“HEALING EPILEPSY NATURALLY? IT IS POSSIBLE!” : AMERICAN ARTIST ROSANNA MARTELLA TELLS IN A BOOK HER (IN)CREDIBLE STORY…

 rosanna martella pic

As a result of the sting of a wasp, I had an anaphylactic shock and nearly died. This was the catalyst that made me begin experiencing epileptic seizures. Following a macrobiotic lifestyle helped me to realize that I had always been allergic to gluten, which had weakened my immune system. The wasp merely brought my allergy to the forefront. I am grateful to the Universe for sending me that wasp and propelling me to heal. It totally changed my life for the better”.

Rosanna Martella is an amazing artist living in the Northeast (Great Philadelphia Area). As a sculptor and painter she is very active and was surprised when she found out she had epilepsy. She healed herself naturally and wholly, this is her story (“Healing Epilepsy naturally” book) and her guide to healing yourself from what doctors call “an incurable condition”. Rosanna Martella is a counselor and consultant who assist others in their journey with epilepsy. She has cured international clients from Egypt and all over the world. Let her wisdom and knowledge be your ticket to healing and peacefulness.

 rosanna martella

Rosanna says: “I tell my story how I healed my self from Grand Mal Seizures in the book “Healing Epilepsy naturally”. I had a shock from a bee stung… I became hill with epilepsy. I discovered after, not only I could not digest “gluten”, but I was allergic to fat. Wheat protein, oil and fat accumulate in the body, would reach a point that it will bring a seizure. I used the Macrobiotic ancient philosophy of diet and lifestyle to heal my self without the use of medicine”.

www.thehealthmode.com

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COLORS FOR MARILYN MONROE / GRAPHIC RE-ELABORATIONS BASED ON HER HISTORIC ”RED VELVET” PHOTOGRAPHIC COLOR SEPARATIONS NOW OFFERED FOR SALE

COLORS FOR MARILYN MONROE / ROBERTO ALBORGHETTI’S GRAPHIC RE-ELABORATIONS – BASED ON MARILYN’S HISTORIC ”RED VELVET” PHOTOGRAPHIC COLOR SEPARATIONS NOW OFFERED FOR SALE

A Las Vegas art collector and owner of the original, one-of-a-kind color separations used to produce the iconic “Golden Dreams” calendars from the famous 1949 Marilyn Monroe “Red Velvet” photo shoot, is offering them for sale. These color separations were originally created and owned by the John Baumgarth Company and were discovered as part of a corporate art collection in 2010. The collection is in pristine condition and archivally preserved and presented. It’s a great opportunity for art collectors.

The most glamorous icon of the 20th Century was captured for all time in a moment of youthful, exuberant sensuality – an unforgettable image that, more than 60 years later, communicates freshness. To reproduce the refined features, supple texture and luxurious tones that were so totally Marilyn, print artisans painstakingly created and corrected the many layers of film needed for the full color printing process to make the original Chromalin color proof – a masterpiece of printer’s art.

The Kodachrome photograph and twenty-one large format color separations (16” x 33”) offered for sale were used by Baumgarth to create the iconic image of Marilyn Monroe – she passed away 50 years ago, August 5, 1962 – featured in the first “Golden Dreams” calendar produced in 1951, before the identity of the blonde bombshell posing for the photos was known (the model wasn’t identified as Marilyn until 1952), and which went on to sell over eight million copies worldwide, making Marilyn the best-selling calendar girl of all time.

COLORS FOR MARILYN MONROE / ROBERTO ALBORGHETTI’S GRAPHIC RE-ELABORATIONS – BASED ON MARILYN’S HISTORIC ”RED VELVET” PHOTOGRAPHIC COLOR SEPARATIONS NOW OFFERED FOR SALE

The collection also includes the “Lure of Lace” and “Entrancing” images that featured Marilyn wearing negligees in order to comply with U.S. postal regulations banning the transport of nude images.

The Kodachrome photograph is framed and the color separations are mounted and protected in OP3 museum-quality acrylic frames so that they may be appreciated, when artfully suspended, from both sides. These are the original separations used to produce the large format calendars and the only known surviving examples, which are documented to have changed hands through a series of corporate acquisitions spanning several decades.

When Marilyn showed up to do the calendar shoot at Tom Kelley‘s studio on Friday, May 27, 1949, her need was dire and immediate; her contracts with 20th Century Fox and Columbia had not been renewed and she was out of work.  The photo shoot was commissioned by Baumgarth, who paid Kelley $500 for the publication rights. It has been reported that Marilyn received $50, which was exactly what she needed to get back her car that had been impounded. Marilyn only agreed to do the shoot if Kelley’s wife Natalie was present.

COLORS FOR MARILYN MONROE / ROBERTO ALBORGHETTI’S GRAPHIC RE-ELABORATIONS – BASED ON MARILYN’S HISTORIC ”RED VELVET” PHOTOGRAPHIC COLOR SEPARATIONS NOW OFFERED FOR SALE

Only two of the 24 images taken during the shoot, entitled by Baumgarth “A New Wrinkle” and “Golden Dreams,” survived and made it to print, with the others mysteriously stolen from Kelley’s studio. “A New Wrinkle” graced one Baumgarth calendar, but the picture that captured a nation’s imagination was “Golden Dreams.”

Neither the photographer nor the 22-year-old blonde actress and model could have realized what an historic moment they were creating. In her contract with Kelley, the starlet signed under the pseudonym Mona Monroe (right). When her movie studio, 20th Century-Fox, first learned that the nude pinup hanging in gas stations from coast to coast was none other than its rising star, it was something of a scandal. The press assailed her with questions. Was it true she had posed with “nothing on”?

The studio’s initial reaction was to deny everything.  Studios such as 20th Century-Fox had stringent moral clauses in their contracts that were designed to intimidate actors and actresses. No celebrity had ever posed nude and then had the pictures distributed to a startled nation. Biographers agree that Marilyn was instrumental in persuading the studio that their natural inclination to deny the whole thing was the wrong way to go. Instead, Marilyn used an upcoming interview with Aline Mosby, a reporter with United Press International, to break the story on March 13, 1952:

COLORS FOR MARILYN MONROE / ROBERTO ALBORGHETTI’S GRAPHIC RE-ELABORATIONS – BASED ON MARILYN’S HISTORIC ”RED VELVET” PHOTOGRAPHIC COLOR SEPARATIONS NOW OFFERED FOR SALE

“A photograph of a beautiful nude blonde on a 1952 calendar is hanging in garages and barbershops all over the nation today.  Marilyn Monroe admitted today that the beauty is she. She posed, stretched out on rumpled red velvet for the artistic photo 3 years ago because “I was broke and needed the money. Oh, the calendar’s hanging in garages all over town,” said Marilyn.  “Why deny it? You can get one any place.  Besides, I’m not ashamed of it.  I’ve done nothing wrong.”

The story ended up being picked up by every wire service and circulated around the world. The reaction was swift and immediate national forgiveness. Not only that, but the sensation of the pictures, her interview and all of the related controversy made Marilyn an even bigger star.

In December 1953, an astute young publisher named Hugh Hefner bought the rights from Baumgarth to reproduce the “Golden Dreams” image as the first “Sweetheart of the Month,” in the now historic inaugural issue of Playboy magazine. The success of that first issue enabled Hefner to continue producing the magazine and ultimately build his Playboy Empire.

In addition to the Red Velvet Collection, many of the original paintings in the Messenger Art Collection are being offered for sale.

Visit the website www.messengerartcollection.com and click on Masterpieces for Sale.

For contacts: ro.alb@alice.it

BERNINI UNPUBLISHED WORK ON SHOW FOR THE FIRST TIME IN CORTONA (ITALY)

An extraordinary Bernini unpublished work will be exceptionally shown in Cortona (Arezzo, Italy) at Palazzo Vagnotti, during Cortonantiquaria, from August 27 to September 11. The work – great example of exquisite beauty and historical and artistic value – shows Pietro da Cortona, according to Claudio Strinati ‘s researches.

Gianlorenzo Bernini and Pietro da Cortona represent the apotheosis of the Baroque in Italy. In Rome and Florence they realize the most important works. Pietro da Cortona, the genius of Baroque, whose portrait by Bernini is now back after hundreds of years, invites us to remember the importance of the Medici Family, in the context of the magnificent Galleria Palatina in Palazzo Pitti. Here he realizes the cycle of paintings and stucco decorations of the rooms of the planets, surely the most important event of his genius in Baroque Florence.

Genius of the Roman Baroque, unsurpassed in the art of sculpture and architecture, Bernini created squares, fountains and churches of modern Rome. In the portrait presented at Cortonantiquaria, Bernini reveals his painter nature and character too. Bernini is a private artist, who paints for himself, portraying his friends, colleagues and himself. He refused to sell his paintings, preferring to keep them in his studio or at least give them away. Free from the constraints of patronage, Bernini ‘s paintings are a “safety valve”. In the painting, then you will discover a completely different Bernini. Small paintings are often born out for pure private enjoyment: a choice now normal, but quite exceptional in the seventeenth century, when artists had financial worries.

 According to the expertise by Francesco Petrucci in 2004, the work presented in Cortona is from a private collection in Rome. The attribution to Bernini is substantiated by reasons of style, as well as based on an important finding inventory. Typical of Bernini are: the pictorial way called “neoveneziano”, in use in Rome in the years 1620-30, the taste for the unfinished (see the collar), the pictorial materials, the liveliness introspective and expressive power.

 

EXHIBITION NEWS

Portrait of a Gentleman (Pietro da Cortona)

Gian Lorenzo Bernini – (Naples 1598 – Rome 1680)

Oil on canvas, 35 x 35 cm

Opening to the public: from August 27 until September 11, 2011.

Opening time: Weekdays: 10-13 15-20; Saturday and Sunday: 10-20

Ticket price: Adults, 8 euros; reductions: 6 euros; Exhibition + Museum of the Etruscans, Cortona: 12 euros

Telephone number : (active from Saturday, August 27) tel. 0575/630610

  

BERNINI INEDITO A CORTONANTIQUARIA

Uno straordinario Bernini inedito sarà esposto eccezionalmente a Cortona (Arezzo), a Palazzo Vagnotti nell’ambito della mostra Cortonantiquaria dal 27 agosto all’11 di settembre. L’opera, di raffinata bellezza e notevole interesse storico e artistico, raffigura secondo l’identificazione data dal Prof. Claudio Strinati, Pietro da Cortona. Cortona, dunque, accoglierà il ritratto berniniano del più illustre fra i suoi cittadini. Gianlorenzo Bernini e Pietro da Cortona rappresentano l’apoteosi del barocco in Italia, fra Roma e Firenze realizzano in architettura e in pittura le opere di maggiore rilievo e bellezza artistica.

 Pietro da Cortona, genio del barocco, il cui ritratto a opera del Bernini viene restituito solo ora a distanza di centinaia di anni, nel ritornare attraverso il ritratto berniniano proprio nella sua città ci invita a ricordare come in Toscana, nella Firenze dei Medici, celebrò la grandezza del casato nel fastoso contesto della Galleria palatina di Palazzo Pitti. Qui Pietro realizza il ciclo pittorico e di decorazioni in stucco delle Sale dei Pianeti, di sicuro il più importante evento del suo genio nella Firenze barocca, ove cogliere le sue vorticose passioni pittoriche.

 Genio del Barocco romano, insuperabile nell’arte della scultura e dell’architettura, ha plasmato le piazze, le chiese e le fontane della Roma moderna con le sue sculture e ambiziose architetture. Ma Gian Lorenzo Bernini, il demiurgo dell’arte barocca al servizio di papi e re, è stato capace di usare con maestria non solo scalpello e filo a piombo, ma anche tavolozza e pennello.

Con il Ritratto presentato a Cortonantiquaria il maestro seicentesco svela l’altra sua natura, quella di pittore. Bernini pittore è un Bernini privato, che dipinge per sé, ritraendo i suoi amici, i colleghi e se stesso; che rifiuta di vendere i suoi quadri, preferendo conservarli nel suo studio o tutt’al più regalarli. E nella pittura, libero dai condizionamenti della committenza, Bernini trova una “valvola di sfogo” all’essere artista di papi e potenti, recuperando un’autonomia intellettuale e artistica, mai raggiunta nelle opere scultoree più note e celebrate. Nella pittura, quindi, si scopre un Bernini completamente diverso, a cominciare dal formato delle opere. Piccoli quadri che spesso nascono per puro godimento privato: oggi una scelta normale, ma nel Seicento assolutamente eccezionale che potevano permettersi solo i grandi artisti di successo privi di preoccupazioni economiche. In conseguenza di ciò, tra alcuni storici dell’arte ha finito così per prendere piede una convinzione, quella di un Bernini che, essendo un pittore libero, potesse fare cose di più scarso livello rinunciando alla qualità… dipingendo “con la mano sinistra” .

Nell’ambito della pittura tema ricorrente è quello del ritratto, che si tratti del proprio volto o quello di altri. Esso diventa una sorta di “journal in time” in cui l’artista fissa i volti e le emozioni degli amici, dei colleghi, della gente qualunque con cui vive, facendo tesoro del verismo di Caravaggio e della capacità di penetrazione psicologica di Velasquez che conobbe e ammirò.

In riferimento all’expertise di Francesco Petrucci del 2004, si può dire che l’opera presentata proviene da una collezione privata romana e prima ancora dalla collezione Barberini. L’attribuzione a Bernini è sostanziata da motivi stilistici, oltre che da un importante riscontro inventariale.

Tipici del Bernini sono in conduzione pittorica veloce di stampo “neoveneziano” in voga a Roma negli anni 1620-30, il gusto per l’incompiuto (vedi il colletto), la materia pittorica corposa che si sgrana in alcuni tratti sulla preparazione, la vivacità espressiva e la forza introspettiva; caratteristico di Bernini pittore è anche il fondo verdastro, certo di matrice toscana, comune a tante altre sue opere come l’autoritratto giovanile e il ritratto di ragazzo della Galleria Borghese, il ritratto detto di Poussin oggi nella York City Art Gallery (Yorkshire), l’autoritratto del Museo del Prado e vari altri ritratti.

Claudio Strinati ha proposto un’identificazione del personaggio con Pietro da Cortona, dal confronto con suoi ritratti e per l’età dimostrata dal personaggio in rapporto all’esecuzione dell’opera attorno al 1630. 

 

 

INFORMAZIONI SULLA MOSTRA

 

Ritratto di gentiluomo (Pietro da Cortona)

Gian Lorenzo Bernini – (Napoli 1598 – Roma 1680)

Ritratto di Gentiluomo (Pietro da Cortona?)

Olio su tela, cm 35 x 35

Provenienza: Roma, Collezione Privata

Inaugurazione: venerdì 26 agosto 2011 ore 17,30

Apertura al pubblico: da sabato 27 agosto sino a domenica 11 settembre

Orari: Feriali: 10-13 15-20; Sabato e Domenica 10-20

Costo del biglietto: Intero, euro 8; Ridotto, euro 6; Biglietto congiunto Mostra + MAEC (Museo dell’Accademia Etrusca e della Città di Cortona): 12 euro

Numero telefonico della mostra: (attivo da sabato 27 agosto) tel. 0575/630610

 

SUMMER EXHIBITIONS IN LONDON: FROM VORTICISM TO AESTHETIC MOVEMENT

 Small Guide to artistic events in London: from Tate Britain and Victoria & Albert Museum to National Portrait Gallery. Without forgetting the new Brancolini Grimaldi gallery dedicated to photography.

 

London offers great opportunities to people who like to plan a “full immersion” in the art world. During my recent travel to the capital of the United Kingdom, I visited some of the most important exhibitions currently in progress.

My “artour” starts at Tate Gallery and Tate Britain, unmissable location on Millbank for those who want to approach the most varied expressions of contemporary art, and not only that. I found two “special exhibitions” particularly interesting: the 150 works – paintings, drawings and sculptures – that describe the extraordinary adventure of Joan Miró and the complexity of his avant-garde art, with a strong political impact and a “revolutionary” meaning. The exhibition is open until September 11.

Another big and impressive exhibition is dedicated to the phenomenon of “The Vorticists”and “Vorticism”(name invented by the American poet Ezra Pound). Its exponents – Wyndham Lewis, Henri Gaudier-Brzeska, Jacob Epstein, William Roberts, Helen Saunders, Edward Wadsworth – were the protagonists of an avant-garde movement which was influenced by the tensions of the early twentieth century, with desires and expectations of renewal. The subtitle of the exhibitions is: “Manifesto for a modern world”. It’s worth while visiting it; open until September 4. I noticed, in the works showed, several nuances and textures that I often find in the pictures of my “lacer/actions” artworks which are actually “whirls” paper raised by modern advertising.

Once more in Tate, I suggest making one “Walk through the Twentieth Century”where, in a series of rooms, it is possible to follow the development of British art in the 20th century. Exposed, among others, works by Whistler, Barbara Hepworth, David Hockney. If there is some time left, two exhibitions are interesting to visit: the Clore Gallery, to have a look at the art of “Romantics” (works by Turner, Constable, Blake) and the exhibition “Watercolour” (open until August 21 ) that shows the development of the water-colourist technique in its expression of versatility.

From Tate to National Portrait Gallery where, until September 18 (admission free), it’s possible to see the artists who have triumphed in “BP Portrait Award 2011”. It is the most prestigious artistic competition dedicated to portraitists (this year 2 thousand 300 authors have joined it). The same National Portrait Gallery, founded in 1856 contains the world’s largest collection of portraits, dating from the Middle Age to nowadays. It’s advisable to see the spectacular work by Paul Beel, winner of 2010 who has portrayed scenes of naturist beaches in Corfu (Greece). The “National” promotes actively subject-portraits with workshops for young peopole, family events, meetings and shows as the “Late shifts” on Thursday and Friday (18 o’ clock, free admittance).

Black and white colours in the photographic exhibition of Clare Strand, which is taking place at the beautiful space of Brancolini Grimaldi, in the central area of Mayfair (Albemarle Street 43-44). Although, during my morning visit, it was still a work in progress, I could admire photographs and video installations of an artist who works on the details of things and everyday reality. Actually, the bi-chromatic language is efficacious to transfigure objects that usually surround us whose meaning slips away or objects that are not considered since they are “usual”.

Gallery Brancolini Grimaldi has been recently opened. It represents different artists that operate in the field of photography. This “english branch” joins the experience that has been acquired in Italy by ladies Brancolini and Grimaldi with similar spaces in Rome and Florence (www.brancolinigrimaldi.com)

Finally – to show how London has always been the centre of innovative trends and cultural phenomenon of global importance – here is another interesting proposal that comes from Victoria & Albert Museum, historic complex in the area of Brompton: “The Cult of Beauty” artistic celebration of the Aesthetic Movement,active in London from 1860 to 1900. Open until July 17, the exhibition is a reproposal of reflections on one of the most original and surprising phenomenon of “a world that was changing”, which was concerned with art, literature and costume. Disparagingly defined as an expression of “decadence”, Aestheticism is now conceived as a force that preserves its power of innovation. The rebellion against capitalism and utilitarianism, and the conception of Art as a value, are concepts still present in modern debates.

Through its tribute to Leighton, Rossetti, Burne-Jones, Whistler and, obviously, Oscar Wilde, “The Cult of Beauty” proposes the message of the philosopher Hume: beauty exists only in the eyes of those who contemplates it and it’s established by a “personal taste” that becomes more and more precise “enjoying” things of beauty. In London in summer 2011, where the winds of Vorticism and Aestheticism are blowing, there are possibilities of being educated by the beauty of art.

ROBERTO ALBORGHETTI

 

 

In the pic: facade of Tate Britain, with the promotional canvas dedicated to “the Vorticists”.

 

GRANDI MOSTRE A LONDRA TRA VORTICISMO ED ESTETISMO

  

Piccola guida agli eventi artistici londinesi: dalla Tate Britain al Victoria & Albert Museum, passando dalla National Portrait Gallery. Senza dimenticare la nuova galleria Brancolini Grimaldi dedicata alla fotografia.

 

Londra offre sempre grandi opportunità a chi vuol pianificare una “full immersion” nel mondo dell’arte. Nel corso di una mia recente spedizione nella capitale del Regno Unito, ho potuto visitare alcune delle più importanti esposizioni attualmente in corso.

Il mio “artour” inizia alla Tate Gallery o Tate Britain, imperdibile postazione sul Millbank per chi vuole avvicinare le più varie espressioni dell’arte contemporanea, e non solo. Due le “special exhibitions” che mi hanno particolarmente interessato: i 150 lavori – dipinti, disegni e sculture – che raccontano la straordinaria avventura di Joan Miró, qui colto nella complessità della sua arte avanguardista, dal forte impatto politico e “rivoluzionario”. Da visitare: è aperta fino al l’11 settembre prossimo.

Altra grande e suggestiva esposizione è quella dedicata al fenomeno dei “Vorticists” e del “Vorticism” (nome ideato dal poeta americano Ezra Pound), i cui esponenti – rappresentati da Wyndham Lewis, Henri Gaudier-Brzeska, Jacob Epstein, William Roberts, Helen Saunders, Edward Wadsworth – furono i protagonisti di un movimento d’avanguardia che recepiva fermenti e tensioni del primo Novecento, con desideri ed attese di novità. Sottotitolo dell’esposizione: “Manifesto for a modern world”. Vale davvero una visita; è aperta fino al 4 settembre prossimo. Ho colto, nelle opere esposte, parecchie sfumature e strutture che trovo quotidianamente nelle immagini delle mie “lacer/azioni”, che sono effettivamente “vortici” di carta sollevati dalla moderna comunicazione pubblicitaria.

Sempre alla Tate, suggerisco di fare uno “Walk through the Twentieth Century” dove, in una serie di sale, è possibile effettuare una esplorazione dello sviluppo dell’arte britannica nel secolo XX. Esposte, tra le altre, opere di Whistler, Barbara Hepworth, David Hockney. Se avanza del tempo, interessanti anche le tappe presso la Clore Gallery per un tuffo nell’arte dei “Romantics” (opere di Turner, Constable, Blake) e alla mostra “Watercolour” (aperta fino al 21 agosto) che traccia lo sviluppo della tecnica acquerellista mostrata nella sua versatilità espressiva.

Dalla Tate alla National Portrait Gallery, dove fino al 18 settembre (ingresso libero) è possibile visionare gli artisti che hanno trionfato nel “BP Portrait Award 2011”. E’ la più prestigiosa competizione artistica dedicata ai ritrattisti (quest’anno vi hanno aderito circa 2 mila 300 autori). Del resto, la stessa National Portrait Gallery, fondata nel 1856, custodisce la più grande collezione mondiale di ritratti, che datano dal Medio Evo fino ai giorni nostri. Da vedere la spettacolare opera di Paul Beel, vincitore del 2010, che ha ritratto la scena balneare di una spiaggia naturista a Corfù (Grecia). La “National” è molto attiva nella promozione del soggetto-ritratto, con workshops per giovani, eventi per le famiglie, incontri e spettacoli come i “Late shifts” del giovedi e venerdi (ore 18, ingresso libero).

Tinte in bianconero, invece , per la mostra fotografica di Clare Strand, in corso presso il bellissimo spazio espositivo di Brancolini Grimaldi, nella centralissima area di Mayfair (43-44 Albemarle Street). Anche se, nella mattinata della mia visita, erano in corso lavori di sistemazione, non è comunque mancata la piacevolezza di avvicinare le immagini fotografiche e le videoinstallazioni di un’artista che lavora sui dettagli delle cose e della realtà quotidiana. Effettivamente, il linguaggio bi-cromatico risulta decisivo nel trasfigurare gli oggetti che usualmente ci circondano e che, spesso, ci sfuggono nel loro senso o, peggio, non vengono considerati perchè, appunto, usuali.

La galleria Brancolini Grimaldi è stata inaugurata di recente. Rappresenta diversi artisti che si muovono nel campo della fotografia. E’ il “ramo londinese” che si aggiunge all’esperienza ed alla storia che le signore Brancolini e Grimaldi hanno acquisito in Italia con analoghi spazi a Roma e Firenze (www.brancolinigrimaldi.com)

Infine – a dimostrazione di come Londra sia sempre stata fucina e laboratorio di tendenze e fenomeni culturali di rilevanza mondiale – ecco un’altra interessante proposta che arriva dal Victoria & Albert Museum, storico complesso nell’area di Brompton.Si tratta di “The Cult of Beauty”, celebrazione artistica del Movimento Estetico attivo nella Capitale inglese tra il 1860 ed il 1900. Aperta fino al prossimo 17 luglio, la mostra è una riproposta di riflessione e di approfondimento su uno dei più originali e sorprendenti fenomeni d’arte, letteratura e costume del “mondo che stava cambiando”. Definito in senso dispregiativo come espressione del “decadentismo”, il fenomeno dell’Estetismo va ora rivisto come una forza che conserva una sua carica innovativa. La critica e la contestazione mosse al capitalismo ed all’utilitarismo, e la visione dell’espressione artistica vista nella sua natura eminentemente “estetica”, sono argomenti più che mai vivi nel dibattito odierno. Nel suo omaggio a Leighton, Rossetti, Burne-Jones, Whistler e, ovviamente, Oscar Wilde, “The Cult of Beauty” propone quello che è il messaggio del filosofo Hume, quando dice che la bellezza esiste solo negli occhi di chi la contempla ed è stabilita da un “gusto” personale che si affina sempre più “gustando” appunto le cose belle. E a Londra, in quest’estate 2011, dove soffiano forti i venti del Vorticismo e dell’Estetismo, non mancano le possibilità per educarci alla bellezza dell’arte.

ROBERTO ALBORGHETTI

 

Nella foto: facciata della Tate Britain, con la tela promozionale dedicata ai “Vorticists”.