books/publications - valeria luccioni
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·Valeria Luccioni "Il Bello e la Misura-il Concetto di Canone Proporzionale e le Principali Correnti Filosofiche Occidentali",
Editorial Hijos del Hule,Colección Cronos,Barcelona 2017
The creation of a proportional canon for the representation of the human figure has always interested artists of every era in order to encode in ideal forms the beauty of the body represented.
But how does the concept of canon change over the centuries?
How do currents of thought affect human way of perceiving beauty and conceiving the body by translating it visually through precise rules?
A review of the main proportional canons will further reaffirm how art history and philosophy are intimately connected.
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·Valeria Luccioni "Il Gesto del Corpo:da Articolazione a Movimento,da Comunicazione ad Espressione"
After considering the origin of the movement from an anatomical point of view, that is looking in the analysis of its organic functionalities, the roots of movement and gesture, one can then proceed to examine the multiple implications to which such a deepening aim can land.
By analysing the etymology of the word,'gestus, one can see a connection not only with the concepts of movement but also with action.
My talk will then focus on analyzing various philosophical personalities that during the twentieth century helped to develop the idea of the body seen as an expressive subject able to draw around itself one's own space and therefore its own action.
Finally, I will go on to mention some of the figurative works that are exemplary for me of the importance of some specific gestures within the artistic creations, in the various historical periods.
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·Valeria Luccioni "William Blake-Poeta e Pittore dell'Uomo"
William Blake's conception of the human being and the life cycle is the basis of all his artistic creations and is fundamental for the understanding of his whole world.
Brief references to his biography allow us to understand the character and reasons for his isolation from the surrounding environment and the time he lived in as well as the way in which this solitude will favor the faculty of introspection and the coherence of his ideas and actions.
Of some of his most significant works, in addition to highlighting their contiguity with literary works from a content point of view, their aesthetic value is also described, thus freeing them from poetic creations and interpreting them as absolutely independent from them; so it is possible to recognize the value attributed to the line, interpreted as the main agent of the pictorial work, as well as the great influence it exerted on its artistic conception. the reference to Michelangelo and the personal knowledge of Füssli
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·Valeria Luccioni "Mark Rothko,Epistolario,Scritti sull'Arte"
Marcus Rothkowitz is unanimously recognized as one of the most influential and important artistic figures of the 20th century.
Along with Clyfford Still, Barnett Newman and Ad Reinhardt, he was a prominent exponent of contemplative and mystical "color field painting".
The definition was coined by the critic and theorist Clement Greenberg in 1962, to designate the opposite pole, in the context of American abstract research, compared to "action painting".
My intention is to present Mark Rothko's artistic personality through what emerges from his epistolary and his writings on art.
From a hundred texts composed between 1934 and 1969, that is, a year after his first solo exhibition and a year before his death, you can follow the evolution of aesthetic thought throughout his artistic career and it is also possible to trace the profile of his life as a painter but also and above all as a man.
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·Valeria Luccioni "La Figura di Dioniso"
The starting point for a psychological reflection on Dionysus, the god of wine, madness and tragedy, will be the myth of his birth, which is reported as a result of the stratification and intersection of various legends.
Starting from the reading of the various versions of the Dionysian myth in its vast polychromy, it is possible to discuss some aspects of the psychology of the god that endorse an archetipal interpretation: the god of the body and emotions, the god of women, the god strongly connected with the idea of death and depression.
The talk will then focus on the analysis of the tragedy of Euripides "Bacchanals", examining the psychological connotation of the main protagonists.
Finally, the real object of reflection will be the image of Dionysus in all its vast complexity and the concept of "dionysic" first as opposed to the concept of "titanic" and later dialetically related to the concept of "Apollonian", referring, of course, to Nietzsche's book "The Birth of Tragedy", in which the relationship between Dionisus and the sense of the tragic is carefully examined.
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·Valeria Luccioni "Don Giovanni"
Don Giovanni is a legendary character of the European tradition who is considered a symbol of libertine life.
His myth is based on an invitation to dinner addressed by an unrepentant play boy to the gost of a deceased man,who, to his atonishment, accepts and drags him to hell.
His figure had a very rich life in the comedy of art, but his configuration in the regular theater began with "El burlador de Sevilla y el convidado de piedra" by Tirso de Molina, who represented the prototype of the lustful man overwhelmed of one's own instincts and punished by divine punishment.
In addition to the many incarnations that saw the light from Tirso's work , his character lives a further evolution in the sophisticated dimension of twentieth-century culture, when he progressively loses his original dramatic intensity to become a point of contradiction between secular ethics and hedonism.
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·Valeria Luccioni "Le Signe Comme Synonyme -Le Libre Arbitre et la Genèse de la Création Artistique"
A short essay that, describing the evolution of the vision of the human body from the Socratic era to the present day, considers how the dynamics of gestures can be related to the genesis of artistic creation.
The connection between the graphic and pictorial sign and the expression of human gestures according to an existentialist interpretation that presupposes that the sign is the result of the unlimited range of human expressive potentials is emphasized.
Citing, among others, Merlaeu-Ponty, Husserl, Kierkegaard, Marcel, Artaud, the body, made independent of functional constraints, is invested with a new look.
From this point of view, can every gesture, as it is loaded with expressiveness since its genesis, be considered already artistic?
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·Valeria Luccioni "In Dettaglio"
To the magniloquent and baroque Rome, one prefers the hidden and obsolete one, perhaps completely unknown,in the desire to highlight how the essence of a city can also and above all be in minutiae, shadows, details, in fact.
To accompany this imaginary journey in memory, among the details kidnapped at the time, four free verses for each individual photo, as a comment on the unsoded image, or simply as a starting point for a further journey by the observer.
Moreover, in Frenche"voir" and "voyager" have the same etymological root and both read and see, after all, refer to the journey par excellence, the one within ourselves, of which the interpretation of the images is but a mere projection.
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