Autore
Vinardi, Monica

Titolo
Bistolfi. Scultura come visione
Periodico
Ricerche di storia dell'arte
Anno: 2013 - Volume: 109 - Fascicolo: 1 - Pagina iniziale: 18 - Pagina finale: 30

From the Angel of the BraydaTomb, still full of Giulio Monteverdian echoes, between 1888and 1890, how does LeonardoBistol# get to the Pansa Sphinx for the cemetery of Cuneo? Hissculpture delves into a worldof evocations and presences, ofthe sublime hereafter and of theabsence of the concept of deathas inherited by positivism, infavour of the spiritualist idea.!e article explores some of thefundamental material that, incontext, had allowed the artistto arrive at a powerful synthesisof the 'new symbols' of the sculptural language at the turn of the20th century. On the backdropof Bistol#'s symbolist there arehis relations with the Lombrosofamily, with Cesare, the scholarof metaphysical themes, and withhis daughter Paola. Hers is theunpublished manuscript, writtenon the occasion of the sculptor'ssolo at the 1905 Venice Biennale,extracts from which are analysed.!rough pages of notebooks,hitherto unknown, within thefirst decade of '900, one may observe the advent of the creativemoment when a reality blendedwith images and sensations tendsto assume form, revealing the crucible of a continually transforming vision that makes a multiplicity of stimuli interact: from theartistic archetypes of the past todebts owed to the contemporaryquest of secessionists.



SICI: 0392-7202(2013)109:1<18:BSCV>2.0.ZU;2-F
Testo completo: http://www.mulino.it/download/article/10.7374/73840
Testo completo alternativo: http://www.mulino.it/doi/10.7374/73840

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