Free Beauty Salon Blueprints

PAUL BIRD THE MAGIC OF PERSPECTIVE AND FUNCTION OF MATHEMATICS

Paolo Uccello, in an age of great painters such as that in which he lived and worked, the first Italian Quattrocento marked by the achievement of a painting technique already superfine but still retains the innocence of vision, the wonder in the face of things in the world, the fantasy that turns everything into a beautiful dream, stands out for its ability to create an atmosphere enchanted and rare, today we would say surreal compositions crystallized in the magic light of a mythical, enchanted, that in the scenes so to speak of action, the most important of its production, the three main planks of the Battle of San Romano (one of the few However, survivors, much has been lost because of this painter) and appear illuminated by a light as a storm about to blow that seems to stop the characters in the act on which the glittering flash of light they block the way of a snapshot photo (comes to mind the theory of Cartier-Bresson: stop the moment pregnant), conferring an air of solemnity and eternity and, precisely, legendary, as I said earlier. Not at all realistic painter, then, but for that very surreal for excellence its ability to create their own works in mythical and magical aura that goes beyond the reality and transformed in the dream. If it is true, as told by Vasari, ch and should spend much of his time in the study of perspective, it did so only to deny, distort or better, return in an unnatural way that very perspective in which he not only deep thinking in his time, but many other artists working in painting. On the question of the use of perspective in the light was magical and surreal De Chirico, including contemporary painters, it is invoked, to do with it, in a certain way, the sample. If, as Borges says in one of his most intriguing paradoxes, each author creates his own precursors, there is no doubt that De Chirico had created (say, rather, more realistically, elected) to its precursor own Paolo Uccello. At first glance it is difficult to realize, because the pictorial results of one are very different from those of the other. But we can put disappearance De Chirico who has long studied the great Paul on the yield perspective, and that studying it, he understood that in order to create that surreal, frozen in time and definitely he has put in his dream best paintings, what he has voluto definire “metafisica”, il segreto stava nel distorcere la prospettiva, nell’usarla come elemento di straniamento dalla realtà. Gli esiti pittorici sono molto diversi, come ho detto, perché De Chirico usava l’ironia in quanto la contemporaneità non consente di abbandonarsi all’incanto della favola e il suo atteggiamento è quello di chi, di fronte alle brutture della modernità, pu ò solo difendersi irridendo il gusto di coloro che, mentre non esitano ad accostare una fabbrica industriale ad un castello rinascimentale, mettono alla ribalta, come se fossero statue classiche, dei manichini di sartoria (parlo, lo si è capito, de “Le muse inquietanti”). And I do not think it is a case which, by the character of Paolo Uccello, we speak of "dummies" (to stay in the speech of those who are the "precursor" to whom), because their composure and icy, though committed as they are in a battle full of trumpets and banners, bristling with spears and crossbows, estraneizza them, so to speak, the context in which they occur.

But the world is that of Paolo Uccello's tale, a world that draws abundantly harmony, to return that he does not hesitate to resort to mathematics and geometry, for mathematics and geometry was entrusted the work of creation. Let's look at the layout of the weapon depicted in the three sequences of the Battle of San Romano: it's all built on mathematical rules. The weapons must be matched to groups by number: for example, if three springs and three boats are yellow, red contrast with three boats, or if there are five seats, five are the baldric, so the plumes and helmets, and faces uncovered and horses, always opposing groups and the corresponding two and three, three and five. The scene, in three different times when the battle unfolds, it is always placed in a interlocking geometric shapes included in a lattice geometrically defined yet, as the forest of spears raised above that form a right angle corresponding that, placed inside of a perfect square, broken spears on the ground. The colors then, lying in a pot, absolutely unreal, like horses yellows and reds and whites and blacks or runaway rampant in the commitment of the battle but always graceful and elegant attitude, and de-ver fallen to the blue ones ground under the impetus of the clash between the two factions, competing in a decisive way, together with the lack of blood and bloody death that brings the war (there is one dead, but it crushed on the ground that it seems more a ' armor abandoned in the dust that a real man), to create the fairytale atmosphere, over the real and mythical scene depicted by the artist. A painting of pure beauty, in short, which translates into high poetry and that only a painter like the mild Paolo Uccello said Doni (because he loved to paint animals but especially birds), an artist "with his feet resting firmly in the clouds" (the definition , happy, is by Ennio Flaiano) could achieve.

I realize that he had spoken only of the Battle of San Romano. Other things to Paul, at least those come down to us, be counted among the minor works, though at all irrelevant, as the female portrait preserved in the Museum Garden Boston or hunting in the forest of ' Ashmolean Museum di Oxford, e soprattutto il San Giorgio e il drago della Nati onal Gallery di Londra, altra opera favolosa per l’impianto, per l’atmosfera e, ancora una volta, per il sovra realismo della scena. Addirittura l’opera di salvazione della principessa prigioniera del drago da parte del San Giorgo vi appare superflua (concorrendo quindi all’effetto di straniamento o di stupore) perché la principessa tiene al guinzaglio il drago e quindi appare evidente che è lei a tenerlo sottomesso. Ma forse qui è da vedersi un significato simbolico ed edificante: la figura del drago rappresenta il male, e l’immagine della donna che l’ha ridotto his control (the one who, at least in Paul Bird, was ideally continence, clemency), wants to remind us that evil is in human nature itself can not eradicate forever, but we must learn to keep it brake to put it on a leash, to overcome it. And St George wants to kill us but the figure of the unrealistic and obstinacy. With today's eyes, and putting it in jest, would say the men, because they do not realize that the woman already has thought to put a leash the animal nature and human evil.

Dionisio