Beauty is truth, truth beauty

Beauty is truth, truth beauty

"Beauty is truth and truth beauty" is the verse ending the "Ode To A Grecian Urn", a poem by John Keats published in 1820, memorable manifesto of the Romanticism in which the English poet takes the meaning of his poetry - and more in general of the art - to the extremes. The following year, at the age of 25, Keats died of tubercolosis in Rome, while he was trying catch up with his friends, the poets Shelley and Byron, who had chosen Italy as the land for their expatriation. On his grave, hiding to the very end, he had wanted an epitaph rather than his name: "Here lies one whose name was writ in water."
Still, nobody would forget him, his splendid, short-lived, and yet intense existence of young lover; not even his few clear and prophetic works and, most of all, the chiasm - so unforgettable for its simplicity: "beauty-truth, truth-beauty".

A one-to-one relationship between beauty and truth, maintained by poets and philosophers and artists after him, at least until the twisting of the conceptual and contemporary art for which the ugly and the nonsensical are often better than the beautiful and balanced. The issue, tackled from the opposite side, is very clear to Heidegger, who believes that the absolute role of the poet and of the artist is to disclose the essence of things, that is, to tell the truth; the German philosopher prefers the truth, until admitting that the truth of things coincide with beauty.
But beauty is "difficult", as Ezra Pound writes, echoed by Rilke, for whom "beauty is the beginning of terror", and Yeats too when he maintains that "a terrible beauty is born", because as Beauty has something to do with the Truth, it is always "unbearable" and "terrible" in its disclosure and in disclosing our status of humans: because it relates us - by differentiating - with the essence of things, that is, the world; it makes us deal with our limits, with our being excluded by the nature, with our being evanescent compared to eternity and to god. And it is in this hiatus between ourselves and the world, this separation, and this endless tending (Streben) towards the absolute, prefigured but impossible to achieve, that the feeling of grief (Sehnsucht) so dear to the Romantic artists arises, a start and goad for those artists willing to represent reality and its completeness. "Beauty is difficult", as the artists - painters and sculptors - following the tradition know better, whose main goal is not the content but the Shape of things, loyal to the idea that beauty can pass through the shape and, subsequenty, the truth through beauty.

A great painting, the one by Roberto Ferri, who draws inspiration from the 17th century tradition, enhancing the relationship between lights and shadows, although inserting modernity features into the ancient technique, a dreamlike introspection with a strong surrealistic component which reveals the depths of the subconscious and its innermost meanders.

Agostino Arrivabene's style is more nordic, digging into the mythology to reproduce - in new shapes - its figures: his powerful Zeus arises from the ground, breaks off it, he rises from the underworld magma, he is born and gives birth, he fertilizes and self-fertilizes, in a divine metamorphosis, a perfect inextricable bond between nature and mankind. This is the strength of a myth, to disclose things by casting a shadow over them; the myth of the live flesh of knowledge and wisdom into which a refined and learned painter such as Arrivabene digs, for whom ancient and contemporary are one and the same; a painter capable to reproduce the beauty of the appearance also on a very small board, a few centimetres large, that is, the immediate understanding of the deity, even if depicted from behind, in its salvific magnificence: a sort of refined paganism, of shown-off pantheism, or rather a magical panismo, when the symbol - before the logos and the science - was the only drug to heal the soul of men from the darkness of the evil.

Alex Folla - the most flashy pop and contemporary champion of the "save painting technique" - disrupts the heroes from the Greek mythology forcing them into a most strict contemporaneity; hence, Odysseus in the foreground is a skipper wearing a bathing suit and flip-flops while scanning the horizon, while on a vascular painting background Achilles and Ajax are playing dice. Or Achilles as a modern gymnast or martial-arts athlete, and in the end Patroclus, a bare-chested bony young boy, who has just taken off his Star Wars mask and uniform.

Elisa Anfuso - whose young women are meticulously arranged on the canvas, as a result of a representation almost to the limits of hyperrealism - requires a distinct dissertation: the Sicilian painter, tacking from time to time the regions of symbolism, investigates the issue of the double that becomes one, as suggested by the hendiadys "truth-beauty": by reflecting themselves into the duplicity, her figures enhance the identical, that is the unum where - as taught in the medieval scholastics - the bonum, the verum, and the pulchrum connect.

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Alex Folla

Alex Folla - the most flashy pop and contemporary champion of the "save painting technique" - disrupts the heroes from the Greek mythology forcing them into a most strict contemporaneity; hence, Odysseus in the foreground is a skipper wearing a bathing suit and flip-flops while scanning the horizon, while on a vascular painting background Achilles and Ajax are playing dice. Or Achilles as a modern gymnast or martial-arts athlete, and in the end Patroclus, a bare-chested bony young boy, who has just taken off his Star Wars mask and uniform.

More about Alex Folla

Beauty
is difficult Ezra Pound

Beauty
is difficult Ezra Pound

Ulisse

Oil and gold leaves on canvas

Dimensions:
Width 145 cm - Height 145 cm
(57x57 inches)
Year: 2020

Euros 13.500 + VAT

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Patroclo

Oil and gold leaves on canvas

Dimensions:
Width 145 cm - Height 145 cm
(57x57 inches)
Year: 2020

Euros 13.500 + VAT

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Roberto Ferri

Roberto Ferri - A great painting, the one by Roberto Ferri, who draws inspiration from the 17th century tradition, enhancing the relationship between lights and shadows, although inserting modernity features into the ancient technique, a dreamlike introspection with a strong surrealistic component which reveals the depths of the subconscious and its innermost meanders.

More about Roberto Ferri

A terrible beauty is born William Butler Yeats Easter

A terrible beauty is born William Butler Yeats Easter

Il traghettatore di ombre

Oily tempera on canvas

Dimensions:
Width 63,5 cm - Height 74 cm
(25x29 inches)
Year: 2020

Euros 17.000 + VAT

SOLD

Persefone

Oily tempera on canvas

Dimensions:
Width 80 cm - Height 90 cm
(31,5x35,4 inches)
Year: 2020

Euros 21.000 + VAT

SOLD

Agostino Arrivabene

Agostino Arrivabene - Agostino Arrivabene's style is more nordic, digging into the mythology to reproduce - in new shapes - its figures: his powerful Zeus arises from the ground, breaks off it, he rises from the underworld magma, he is born and gives birth, he fertilizes and self-fertilizes, in a divine metamorphosis, a perfect inextricable bond between nature and mankind. This is the strength of a myth, to disclose things by casting a shadow over them; the myth of the live flesh of knowledge and wisdom into which a refined and learned painter such as Arrivabene digs, for whom ancient and contemporary are one and the same; a painter capable to reproduce the beauty of the appearance also on a very small board, a few centimetres large, that is, the immediate understanding of the deity, even if depicted from behind, in its salvific magnificence: a sort of refined paganism, of shown-off pantheism, or rather a magical panismo, when the symbol - before the logos and the science - was the only drug to heal the soul of men from the darkness of the evil.

More about Agostino Arrivabene

For beauty is nothing but
the beginning of terror,
which we are still just
able to endure Rainer Maria Rilke Duineser Elegien

For beauty is nothing but
the beginning of terror,
which we are still just
able to endure Rainer Maria Rilke Duineser Elegien

Nemesi

Oil on wood

Dimensions:
Width 38 cm - Height 43 cm
(15x17 inches)
Year: 2020

Euros 8.000 + VAT

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Zeus sorgivo splendente di radianza

Oil on wood

Dimensions:
Width 38 cm - Height 43 cm
(15x17 inches)
Year: 2020

Euros 8.000 + VAT

SOLD

Elisa Anfuso

Elisa Anfuso - whose young women are meticulously arranged on the canvas, as a result of a representation almost to the limits of hyperrealism - requires a distinct dissertation: the Sicilian painter, tacking from time to time the regions of symbolism, investigates the issue of the double that becomes one, as suggested by the hendiadys "truth-beauty": by reflecting themselves into the duplicity, her figures enhance the identical, that is the unum where - as taught in the medieval scholastics - the bonum, the verum, and the pulchrum connect.

More about Elisa Anfuso

Beauty is truth, truth beauty
that is all ye know on earth,
and all ye need to know John Keats Ode on a Grecian Urn

Beauty is truth, truth beauty
that is all ye know on earth,
and all ye need to know John Keats Ode on a Grecian Urn

L'altra Eva III, 1

Diptych - Oil on linen

Dimensions:
Width 120 cm - Height 180 cm
(47,2x78,8 inches)
Year: 2020

Euros 18.000 + VAT each

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L'altra Eva III, 2

Diptych - Oil on linen

Dimensions:
Width 120 cm - Height 180 cm
(47,2x78,8 inches)
Year: 2020

Euros 18.000 + VAT each

Inquire
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