For the sculptor Giacomo Manzù the years 1942-1945 coincide with a voluntary exile in Clusone, a small town in Val Seriana. When he arrived from Milan, where in the 1930s he had made friends with the protagonists of a shrewd frond to the culture of the fascist regime (above all the group of 'Corrente'), Manzù found in Clusone an environment suited to his shy character, but at the same time stimulating for his expressive research. From here he was also able to entertain some selected correspondences, useful to understand his position in the artistic-literary field of the time. These letters represent his scritture del dispatrio, sent significantly to colleagues (Scialoja, Negri), critics (Brandi, Argan), but also to writers (Quasimodo, De Libero) and publishers (Scheiwiller, Ballo), privileged interlocutors of the artist. Through an analysis of these documents, mostly unpublished, we will try to reconstruct an important passage in the artistic career of the sculptor, who from Clusone and through the project of the Great Piety (never concluded) gave rise to a decisive turning point in his sculptural research and in his strategy of self-promotion. In fact, the road that would lead him to Rome and to his consecration as 'sculptor of the popes' originated here, in the mobile condition of a self-imposed exile and in his willingness to engage in interdisciplinary dialogue.
Per lo scultore Giacomo Manzù gli anni della Seconda Guerra Mondiale coincidono con un volontario esilio nella cittadina di Clusone, in Val Seriana. Arrivato da Milano, dove negli anni Trenta aveva stretto amicizie con i protagonisti di un’accorta fronda alla cultura di regime (su tutti il gruppo di ‘Corrente’), Manzù trovò a Clusone un ambiente adatto al suo carattere schivo, ma al contempo stimolante per la sua ricerca espressiva. Da qui poté anche intrattenere alcune selezionate corrispondenze, utili per comprendere il suo posizionamento nel campo artistico-letterario dell’epoca. Queste lettere rappresentano le sue scritture del dispatrio, inviate significativamente a colleghi (Scialoja, Negri), critici (Brandi, Argan), ma anche a letterati (Quasimodo, De Libero) ed editori (Scheiwiller, Ballo), interlocutori privilegiati dell’artista. Attraverso un’analisi di questi documenti, prevalentemente inediti, si proverà a ricostruire un passaggio importante della parabola artistica dello scultore, che da Clusone e attraverso il progetto della Grande Pietà (mai concluso) diede corpo a una svolta decisiva nella sua ricerca scultorea e nella sua strategia di autopromozione. Infatti ha origine qui, nella condizione mobile di un esilio autoimposto e nella disponibilità al dialogo interdisciplinare, il percorso che lo avrebbe condotto a Roma e alla consacrazione come ‘scultore dei papi’.
(2019). Giacomo Manzù a Clusone: un epistolario del dispatrio [journal article - articolo]. In ARABESCHI. Retrieved from http://hdl.handle.net/10446/147280
Giacomo Manzù a Clusone: un epistolario del dispatrio
Raccis, Giacomo
2019-05-01
Abstract
For the sculptor Giacomo Manzù the years 1942-1945 coincide with a voluntary exile in Clusone, a small town in Val Seriana. When he arrived from Milan, where in the 1930s he had made friends with the protagonists of a shrewd frond to the culture of the fascist regime (above all the group of 'Corrente'), Manzù found in Clusone an environment suited to his shy character, but at the same time stimulating for his expressive research. From here he was also able to entertain some selected correspondences, useful to understand his position in the artistic-literary field of the time. These letters represent his scritture del dispatrio, sent significantly to colleagues (Scialoja, Negri), critics (Brandi, Argan), but also to writers (Quasimodo, De Libero) and publishers (Scheiwiller, Ballo), privileged interlocutors of the artist. Through an analysis of these documents, mostly unpublished, we will try to reconstruct an important passage in the artistic career of the sculptor, who from Clusone and through the project of the Great Piety (never concluded) gave rise to a decisive turning point in his sculptural research and in his strategy of self-promotion. In fact, the road that would lead him to Rome and to his consecration as 'sculptor of the popes' originated here, in the mobile condition of a self-imposed exile and in his willingness to engage in interdisciplinary dialogue.File | Dimensione del file | Formato | |
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