arte vera? - pop art (real art? - pop art)
Dopo anni e anni in cui la pittura (e non solo la pittura; per la musica le cose vanno ancora peggio) è vissuta, si può bene dire, scissa in due grandi tronchi non comunicanti e tra loro incombaciabili, la pittura per il popolino, o per il grosso borghese, per coloro che di arte non sanno e non capiscono nulla, e la pittura per quella scarsa èlite intellettuale capace di apprezzarla e di stimarla; dopo anni dunque, noi ci troviamo ad una svolta, forse decisiva; una svolta in cui gli elementi figurali (che siano bottigliette di gazose, o francobolli, uccelli impagliati, o strumenti meccanici, rottami di automobili o lampadine elettriche, poco conta) riescono a suscitare un interesse di carattere estetico anche a degli artisti appartenenti alla categoria "highbrow".*
* Gillo Dorfles, Nuovi riti e nuovi miti, Torino 1965, pag.183
(After years and years in which the painting (and not only the painting for music things are even worse) is experienced, you may well say, split into two large trunks, and not communicating with each other do not fit the painting to the populace , or the big bourgeois art for those who do not know and understand nothing, and painting for that little intellectual elite capable of appreciation and esteem; years after then, we find ourselves at a turning point, perhaps decisive, a turning point in which the figural elements (which are bottles of soft drinks, postage stamps, stuffed birds, or mechanical devices, scrap cars or light bulbs, it matters little) fail to arouse interest in the aesthetic of the artists also belong to the category of "highbrow" .)*
* Gillo Dorfles, Nuovi riti e nuovi miti, Torino 1965, pag.183
andy warhol
* Gillo Dorfles, Nuovi riti e nuovi miti, Torino 1965, pag.183
(After years and years in which the painting (and not only the painting for music things are even worse) is experienced, you may well say, split into two large trunks, and not communicating with each other do not fit the painting to the populace , or the big bourgeois art for those who do not know and understand nothing, and painting for that little intellectual elite capable of appreciation and esteem; years after then, we find ourselves at a turning point, perhaps decisive, a turning point in which the figural elements (which are bottles of soft drinks, postage stamps, stuffed birds, or mechanical devices, scrap cars or light bulbs, it matters little) fail to arouse interest in the aesthetic of the artists also belong to the category of "highbrow" .)*
* Gillo Dorfles, Nuovi riti e nuovi miti, Torino 1965, pag.183
roy lichtenstein
