Mikhail Vrubel: A Russian Symbolist painter Mikhail Vrubel (Omsk 1856 - St. Petersburg, 1910) was a Russian symbolist painter. Belonging to a military family, he graduated in law at St Petersburg 1880. In 1881 he attended the Russian Academy of Fine Arts, there was as a teacher Pavel Chistyakova. After some years he lived in poverty in 1884, he was given the task of restoration of the mosaics dating from the twelfth century in the church of S. Cyril in Kiev, before starting this difficult work Vrubel he went to Venice to study the art of the Christian Middle Ages, and in Venice he met the Russian painter and appreciated the art of painting by Giovanni Bellini and created several works which, however, were almost all lost . In 1887 in Kiev presented his art projects to decorate the Cathedral of St. Vladimir newly built, but the jury rejected the proposal of Vrubel but allowed him to paint the side panels of the church. He moved to Moscow, he worked at the studio of the painter Konstantin Korovin, and through the knowledge of Sammontov Savva, entered the circle of Abramtsevo, always on the estate north of Moscow, he worked in a ceramics shop, here he created many of his masterpieces inspired mainly to fairy tales and his wife (whose face often appears in ceramics) Nadezda Zabel. Also during this period he devoted himself to the creation of the illustrations of important books such as Hamlet , Demon and Anna Karenina. Still held several jobs, including some panels are mentioned including Venice and Spain . Around 1900 he realized his paintings più famosi come Pan (1899), La principessa cigno e Lillà (1902). Nel 1905 dipinse i mosaici all'interno dell'hotel "Metropol" di Mosca. Vrubel, considerato da alcuni fra i migliori pittori operanti tra la fine dell'Ottocento e l'inizio del Novecento, fu certamente il massimo esponente del simbolismo russo, destinato ad influenzare anche alcuni pittori importanti del XX secolo. Ecco infine un elenco delle sue opere più famose.
After the Concert: Portrait of Nadezhda Zabela Vrubel (1905).
Angel with a Censer and a Candle (1887).
The Bogatyr. Hero (1898).
Courtyard in Winter (1903-1904).
The Demon (1902).
Demon and Angel with Tamara's Soul (1891).
The Demon Fallen.
The Demon in Flight (1899).
Demon Overthrown.
The Demon Seated (1890).
The Demon Seated. Sketch (1890).
Flowers in a Blue Vase (1886-1887).
Flying Demon.
The Fortune-Teller (1895).
A Girl against a Persian Carpet (1886).
Guido.
Hamlet and Ophelia (1883).
Head of Demon (1890-91).
Italian Night (1891).
Lady in a Violet Dress (1901).
Lamentation.
The Legs and Scull (1895-1896).
Lilacs (1900).
A Man in a Russian Old-Style Costume (1886).
Morning.
Nadezhda Zabela Vrubel as Princess Volkhova (1898).
At Nightfall (1900).
A Night in Naples (1891).
Orchid (1886-1887).
The Oriental Tale (1886).
Pan (1899).
The Parting of Sea King and Princess Volhova (1898).
Pearl Oyster (1904).
Pietà (1887).
Portrait of a Businessman K. Artsybushev (1895-1896).
Portrait of an Officer (1889).
Portrait of Artsybusheva (1897).
Portrait of Nadezhda Zabela Vrubel (1898).
Portrait of Nadezhda Zabela Vrubel (1904).
Portrait of Pyotr Konchalowsky.
Portrait of Savva Mamontov (1897).
Portrait of Savva Vrubel (1902).
Prophet (1898).
Red Flowers and leaves of Begonia in a Basket (1886-1889).
Rose (1904).
Roses and Orchids.
Sappho (1880).
The Sea Princess.
Self-Portrait (1882).
Self-Portrait (1905).
The Seraphim (1904).
Sitter in the Renaissance Setting (1883).
Six Winged Seraph (1906).
Snow Maiden (1890).
Spain (1894).
The Swann Princess (1900).
Tamara and the Demon (1890-1891).
Tamara's Dance (1890-1891).
The Thirty-Three Bogatyrs (1901).
Venice (1893).
The Vision of the Prophet Ezekiel (1906).
Walking on water.
Water-Lilies (1890).
White Iris (1886-1887).
Yellow Roses.
The perennial hope of Pedro Pedreiro
is still a very current song by Chico Buarque de Hollanda dating back to 1966: Lose Pedreiro , the text speaks of a man who then would have been called "proletarian" or a person belonging to a very low social class, a penniless that always the problem of how to make a living and spends a lifetime waiting for a change, something that would drastically change his life better, perhaps a pay rise or, at best, a lottery win. De Chico Buarque's song was sung in Italian by Roger Whittaker in 1967, the title was such, as the text on the other hand, redesigned by Giorgio Calabrese and the same Jannacci. Here is the first part:
Pedreiro Pedro is waiting for the tram and thoughtful, maybe tomorrow
will have to wait for the good of those who are good and who is penniless
Pedro Pedreiro remains pensive
and thinking time goes
people lags behind
waiting waiting waiting
aspettando il sole, aspettando il tram,
aspettando l'aumento dell'anno passato
per il mese che viene.
Come è facile notare dalle parole della canzone che si ripetono con insistenza, l'aspettativa di Pedro è destinata a durare tutta la vita. Più avanti, parlando sempre delle aspettative di Pedro, il testo dice: « Pedro Pedreiro aspetta il carnevale / e la fortuna grossa col biglietto della lotteria / tutti i mesi »;qui mi pare si chiarifichi il vero sogno del protagonista, una improvvisa (e molto improbabile) vincita di una somma in denaro che porti un migliorameno decisivo nella grama vita di Pedro e lo renda finalmente felice, convinced that it is in the disproportionate share money (and only that) lies happiness. It seems to me that today, compared to the year in which this song came out, the time is not changed at all, indeed, around the city you can meet a lot of "Pedro" (at least in Italy) who continue to hope for a huge win the lottery or some other stupid lottery, and almost always this expectation, if not all, lasts a lifetime. But we continue reading the text:
[...]
Pedro Pedreiro also expected the death
or the day of return to the north
Pedro does not know but maybe, maybe at the end
aspetta qualcosa più bella del mondo
più grande del mar.
Ma perchè sognar se dà
la disperazione di aspettare ancora.
Pedro Pedreiro vuol tornare indietro,
esser solo muratore
senza aspettar,
aspettare aspettare aspettare,
aspettare il sole, aspettare il tram,
aspettare ancora quel famoso aumento,
aspettare un figlio che dovrà aspettare,
aspettare il premio della lotteria
aspettare la morte
aspettare un port
expect to wait no longer,
wait at the bottom
nothing but
hope afflicted infinite exhausted
it gets its trams.
He said a very famous Italian character that, sooner or later in the life of every human being has a 'chance, a passing train, and which must be taken on the fly, because maybe it will not ever again, but this train for Pedro has not gone and will never go away, so will spend his life in constant expectation of something that over time will become nearly indefinable, if Pedro has a son, he too will the fate of his father and so on for generations and generations that will be cut off from any possibility of wealth because of the few holders of power and money selfishly excluded always exclude whole classes and social well-being and the opportunity to improve their lives. The excluded will not stay that groped endlessly to get what they have the lucky few with very few means at their disposal and with negligible chance of success, thus remaining at the stake for eternity.
Carried to finish the video for the song "Pedro Pedreiro.
ten poems in February says a famous proverb: "February, Little February months short and cursed, "and another reads:" February of each month is the shortest and the least friendly "and does not end here, since there are plenty of them and almost all negative. But because it was made in February this ugly nomination? The explanation is simple and is to be found in the thinking of peasant society that long ago was predominant in Italy in February is really the last winter months and, in his twenty-eight days if the weather gets cold or both mild, the gain is little, in fact, a February drive, perhaps after a January that it was the same, could not be appreciated by the population, while if too hot a climate prevailed in February, was the strong likelihood that nature to awaken in advance, so that any blooms have occurred could be easily compromised by a not unlikely marzolina frozen, compromising future crops. As for poetry, February is not among the most praised month but still a fair number of poets wrote something on the second month of the year.
a boring, meaningless and gray February morning sees the poet Vincenzo Riccardi Lantosca through his window and could not do anything, he decided to stay home to write poetry: "It's a February morning / dull, unpleasant , dreary, / crying between the axle and glass / window of the tremulous Rovaio. / / And I rhymes appear, / who, obedient meter, / run forward, backward, / as the spacecraft chassis .
Vincenzo Cardarelli, both in her prose, which, especially in his poems, has always shown particular interest in subjects related to the seasons and months of the year, the opera entitled February is proof that the month winter is in these lines compared to a lively and mischievous boy, who informs us that the crazy is coming in March: "This month is a guy / annoying, irritating / that mess up the house / remove the blood, announces the mad March / mutant and perilous. "
A positive view is that told by Diego Valeri in End of February, is the certainty of those who have faith and sees a future that is joyful annunncia with spring imminent " Season benign and bright, / that all is waiting and divine message, s the heart is believed to close / true to his and his alone. / / ... Tomorrow Tomorrow we will see, / dark curtain fall, / the face of the purest joy, / rice of the supreme good. "
A meditation is thin and bitter February evening poetry written already advanced in age by Umberto Saba: In a serene evening in February, the poet looks at the sky and see the moon appear, then his attention shifts to the people in particular on young people who roam the streets without having a clear goal, this vision leads the writer from Trieste to a conclusion that may seem bleak, but to read it well, you get the impression that it is a comforting thought, given that according to the Saba thoughts of death (which is generally considered ugly) helps to live, " the moon rose. In the avenue is still / day, a night that quickly drops. / Indifferent youth s'allaccia; / heels to poor goals. And it is the thought / of death which, in the end, it helps to live .
setting is hermetic poetry February Leonardo Sinisgalli and consists of only three verses which referred to a whistle issued a mason in the early morning (when it clearly starts to work), this sound, Sinisgalli said, "resurrected" in February, which was before the trees, still bare, is thickening, "Before cues from the green branches / each year rises in the morning / the whistle of the mason. "
In Rome, on a cold February evening, the poet George Vigouroux, attracted and fascinated by the vision of the new moon, being in a particularly evocative of the eternal city for a few moments, lives a life not her own, outside of time, trying some beautiful things, " Love and dream are mixed / fear of death with an elixir / evil, so already live another life / future trembling youth, / reborn from my ashes today, / and you almost opens fire wings. " But the illusion did not last long and now returns to the poet the consciousness of himself and his real life, " already I find myself locked in the cocoon / anxious of this life, / that would be a great joy a word / that would prevent my heart to freeze / / remote as the moon up there, / the bezel veiled in February. "
Alfonso Gatto's poetry is dedicated to flowers that herald the spring, the violets, the fact is curious to find, in the verses of this poem, the reference to a lively boy, as was that of Cardarelli, who beat his feet and his hair ruffled and moved by the wind, here are the first two quatrains of Violets February " D'whiteness made of light snow / - snow in February - violets / wake green light to the window / drawing on the hill the houses / / one by one blue white pink / rattling windows that the threshold / beats up a boy, craving / tousled head wind that fools. "
February is called a "traitor" by the poet Maria Luisa Spaziani describing a day of south wind with the sky a bit 'cloudy, with a decidedly carnival, only in the final state the grounds of the adjective unedifying reported for the month of February: one speaks of the Tree of Judah (the apostle who betrayed Jesus), commonly known as the Judas the most bizarre feature of which is that its flowers, pink or lilac, growing directly on branches and bark of the trunk, here is how to explain the "whole frame spine" of a verse of poetry: "Today Scirocco yellow confetti / verzica already zest, capers in / clouds are clowns. It is for black / her only the ambiguous drowsiness, / all the stem thorns in the dark enigma / sewage oozes his ruddy, / that last burst, ominous seal / spring, the tree of Judah . Richelmy Augustine in the first verses of February makes a careful description of the few signs that in future this month witnessed the arrival of spring, " a glimpse into the slope / hill lake pale / non-leaves no greenness. / Only the hazelnut / fusticelli between the branched air / pendants have stretched the pale yellow / jeweled and redness of the stigmas . Then he lists other signs, those that announce the end or, as the poet himself, the death of winter, " Later, forgot the water's edge, / is a remnant of the snow. It's a boy / who fell asleep every day in the sun withers. / - Ah, winter, you die! '.
Mario Baudino outlines a particularly cold February, with snow and ice, the latter, has arisen on the surface of a river, becomes the object of play for a person not well identified, of which the poem speaks in third person: "With the ice the river has played / play coy / but the first crunches have convinced / that was urgent / return to the waterfront and street / because he would soon be won / intrusive in the spring / intolerable, insipid .
February ITALIAN POETRY IN TEN
"Sunt Lacrymae rerum" Vincenzo Riccardi Lantosca, by the anthology: "Poesia italiana dell'Ottocento", Garzanti, Milano 1978.
"Febbraio" di Vincenzo Cardarelli, da "Opere", Mondadori, Milano 1981.
"Fine di febbraio" di Diego Valeri, da "Poesie vecchie e nuove", Mondadori, Milano 1952.
"Sera di febbraio" di Umberto Saba, da "Tutte le poesie", Mondadori, Milano 1988.
"Febbraio dolce e amaro" di Leonardo Sinisgalli, da "La vigna vecchia", Mondadori, Milano 1956.
"Luna di febbraio" di Giorgio Vigolo, da "La luce ricorda", Mondadori, Milano 1967.
"Le violette di febbraio" di Alfonso Gatto, da "Tutte le poesie", Mondadori, Milano 2005.
"Febbraio traditore" di Maria Luisa Spaziani, dall'antologia "Poesia italiana del Novecento", Garzanti, Milano 1992.
"Febbraio" di Agostino Richelmy, in "Poesie", Garzanti, Milano 1992.
"Febbraio" di Mario Baudino, dall'antologia "Melodie della terra", Crocetti, Milano 1997.
