Beautiful Life and Still Life: Silence as an Aspect of Perception of Art
Abstract
In the first part of the article Kiepuszewski considers the specific feedback between the rhetoric of art criticism, dominated by the topos of silence, and the way the public image and the official biography of the artist are created. In the second part the author analyses how Giorgio Morandi's work was received by film makers. Morandi's Natura Morta was one of the “characters” in Federico Fellini's La Dolce Vita (1960). The analysis of the way Morandi's paintings became a part of the film allows us to reconsider the status of silence in the work of the artist, and it uncovers minutia absent from the discourse of history and art.
Keywords:
Federico Fellini, still life, silence, Giorgio MorandiReferences
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Authors
Łukasz Kiepuszewskikwartalnik.filmowy@ispan.pl
Adam Mickiewicz University, Poznań Poland
Adiunkt w zakładzie Teorii i Historii Sztuki Instytutu Historii Sztuki UAM w Poznaniu. Autor książki Obrazy Cezanne ’a. Między spojrzeniem a komentarzem. Obecnie zajmuje się problematyką wizualności w myśli Fryderyka Nietzschego.
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Copyright (c) 2009 Łukasz Kiepuszewski
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