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Beatrice Nicolini - Maria Bochicchio2023-04-05T19:13:55+00:00monthlyhttps://appesorivista.com/2023/03/15/la-bara-bianca/https://appesorivista.com/wp-content/uploads/2023/03/lappeso_melissa-brusati_la-bara-bianca.jpglappeso_melissa-brusati_la-bara-bianca2023-03-15T12:54:10+00:00monthlyhttps://appesorivista.com/2023/03/15/fiori/https://appesorivista.com/wp-content/uploads/2023/03/lappeso_fiori-1.jpglappeso_fiori-1https://appesorivista.com/wp-content/uploads/2023/03/lappeso_fiori.jpgL'Appeso_Fiori_Minoggio2023-03-15T12:49:00+00:00monthlyhttps://appesorivista.com/2023/03/15/gabriele-greco-simulacri-di-spazi/https://appesorivista.com/wp-content/uploads/2023/03/alberi-labirinti-perpetui.jpgAlberiMarta Renzi, Alberi, monotipo, cm 76 x 28, 2020https://appesorivista.com/wp-content/uploads/2023/03/spaziotempoarchitetura_det-bruma-opaca.jpgL'Appeso_SpazioTempoArchitetura_det_Marta-RenziMarta Renzi, Spazio, tempo, architettura (dettaglio), 2021https://appesorivista.com/wp-content/uploads/2023/03/lappeso_immaginariframmentati_marta-renzi.jpgL'Appeso_ImmaginariFrammentati_Marta-RenziMarta Renzi, Immaginari frammentati, 2022https://appesorivista.com/wp-content/uploads/2023/03/citta-lunga2_det-bruma-opaca.jpgL'Appeso_Citta-lunga2_det-Marta-RenziMarta Renzi, Città lunga n.2 (dettaglio), 2021https://appesorivista.com/wp-content/uploads/2023/03/alberi_det.jpgAppeso_Alberi_Marta-Renzi2023-03-15T12:47:26+00:00monthlyhttps://appesorivista.com/2023/02/23/leila-e-larco-di-cupido/https://appesorivista.com/wp-content/uploads/2023/02/alice-filippazzo_appeso-.jpgAlice Filippazzo_Appeso-https://appesorivista.com/wp-content/uploads/2023/02/alice-filippazzo-1.jpgalice-filippazzo-1https://appesorivista.com/wp-content/uploads/2023/02/alice-filippazzo.jpgalice-filippazzo2023-03-08T03:34:39+00:00monthlyhttps://appesorivista.com/2023/02/23/il-pettirosso/https://appesorivista.com/wp-content/uploads/2023/02/lappeso-pettirosso-gaia-santini-1.jpglappeso-pettirosso-gaia-santini-1https://appesorivista.com/wp-content/uploads/2023/02/lappeso-pettirosso-gaia-santini.jpgL'Appeso -Pettirosso - Gaia Santini2023-02-23T16:08:47+00:00monthlyhttps://appesorivista.com/2023/02/05/il-traditore-tradito-la-figura-dellappeso-tra-equivoci-e-trasformazioni/https://appesorivista.com/wp-content/uploads/2023/01/7.stampa4.jpgBargello, 1769In copertina: Esecuzione di un dipinto infamante al Bargello (Firenze), incisione, Napoli, 1769. Immagine tratta da La pittura infamante nei secoli XIII-XVI, di Gherardo Ortalli, Jouvence, Roma, 1979. Si trattava quasi sempre di pittura murale, destinata a breve durata e necessariamente esposta nei punti più trafficati della città. Alle affermazioni di Ortalli, che evidenzia in queste figure un primo interesse degli artisti nei confronti del ritratto esatto e quello per il dramma che era già consolidato nelle rappresentazioni contemporanee dell’inferno, possiamo aggiungere che il dipinto infamante, antesignano degli odierni murales, è forse una delle prime manifestazioni pittoriche a essere pensate specificamente per la città.https://appesorivista.com/wp-content/uploads/2022/12/9.mitelli.jpg8. Mitelli8. Tarocchini di Gioseppe Maria Mitelli, incisione su carta, Bologna, XVII secolo. Ricostruzione contemporanea di Edizione Dal Negro, Treviso [data non dichiarata]. Come per la versione fiorentina, anche i Tarocchini bolognesi divergono dalla tradizione: si compongono infatti di sole 62 carte, anziché di 78. Qui l’Appeso va incontro a un’interpretazione totalmente diversa ed è menzionato come “Traditore”. Difficile stabilire quale dei due personaggi ricopra il ruolo: se colui che impugna il martello, in procinto di assassinare ignobilmente una vittima ignara; o quest’ultima, rea di alto tradimento e condannata alla pena capitale della martellata sulla tempia. Fatto sta che dall’esemplare bolognese è confermata la natura pienamente laica di questo soggetto.https://appesorivista.com/wp-content/uploads/2022/12/6.visconti.jpg6. Visconti-Sforza6. Tarocchi Visconti-Sforza, miniatura su cartoncino, Milano, 1450 circa. Immagine tratta da I tarocchi: il caso e la fortuna. Bonifacio Bembo e la cultura cortese tardogotica, a cura di Stefania Bandiera, Electa, Milano, 1999. Conosciuti come tra i più antichi mazzi di Tarocchi, i tre esemplari riconosciuti sono oggi dislocati in sedi differenti (Università di Yale, Pinacoteca di Brera, Biblioteca Pierpont-Morgan di New York, Accademia di Carrara). L’unico esempio di Appeso è custodito a New York. A differenza del modello di Carlo VI, presenta già una gamba reclinata dietro l’altra. Tale gesto, come abbiamo visto, sarà all’origine di una serie di speculazioni inverosimili.https://appesorivista.com/wp-content/uploads/2022/12/3.etruria.jpg3. Etruria3. Antiche Minchiate Etruria, incisione su carta, Firenze, 1725. Ricostruzione contemporanea a cura di Pietro Alligo, Edizione Lo Scarabeo, Torino, 1996. Le Minchiate, così era chiamata la versione fiorentina dei Tarocchi risalente al XVI secolo, differisce dalle carte canoniche nella struttura e in diversi soggetti: il mazzo si compone in effetti di 97 lame, sfuggendo alla precisa definizione di “Tarocchi”. Ciononostante, l’Appeso si mantiene fedele alla tradizione. Anzi, la presenza dei sacchi colmi di monete, riferimento al furto commesso, richiama fortemente la prassi locale della pittura d’infamia.https://appesorivista.com/wp-content/uploads/2022/12/5.estense.jpg5. Estense5. Tarocchi di Carlo VI, miniatura su cartoncino, Ferrara, fine del XV secolo, oggi alla Bibliothèque Nationale di Parigi. Immagine tratta da Il Castello dei Tarocchi, a cura di Andrea Vitali, Edizioni Lo Scarabeo, Torino, 2010. A seguito di una errata interpretazione, si pensò che questo mazzo fosse stato dipinto per re Carlo VI di Francia da Gringonneur. Studi successivi provarono una manifattura italiana, di stile probabilmente ferrarese. A differenza dei mazzi milanesi, più posati ed eleganti, qui si evidenzia una certa vivacità dei soggetti, Appeso compreso.https://appesorivista.com/wp-content/uploads/2022/12/7.stampa.jpg7. Bargello (Firenze)7. Esecuzione di un dipinto infamante al Bargello a Firenze, incisione, Napoli, 1769. Immagine tratta da La pittura infamante nei secoli XIII-XVI, di Gherardo Ortalli, Jouvence, Roma, 1979. Si trattava quasi sempre di pittura murale, destinata a breve durata e necessariamente esposta nei punti più trafficati della città. Alle affermazioni di Ortalli, che evidenzia in queste figure un primo interesse degli artisti nei confronti del ritratto esatto e quello per il dramma che era già consolidato nelle rappresentazioni contemporanee dell’inferno, possiamo aggiungere che il dipinto infamante, antesignano degli odierni murales, è forse una delle prime manifestazioni pittoriche a essere pensate specificamente per la città.https://appesorivista.com/wp-content/uploads/2022/12/8.delsarto.jpg7. Del Sarto7. Andrea del Sarto, Studio per figure di appesi, 1530. Immagine tratta da La pittura infamante nei secoli XIII-XVI, di Gherardo Ortalli, Jouvence, Roma, 1979. Custoditi nel Gabinetto dei disegni degli Uffizi fiorentini, gli schizzi del celebre pittore testimoniano l’impiego degli artisti di corte nella realizzazione di rappresentazioni infamanti. Racconta Giorgio Vasari che i soggetti designati erano i capitani fuggiti dalle truppe assedianti di Carlo V.https://appesorivista.com/wp-content/uploads/2022/12/4.marsiglia.png4. Marsiglia4. Tarot de Marseille, ricostruzione contemporanea a cura di Alejandro Jodorowsky e Philippe Camoin, Camoin, Marseille, 2007. Ancora un tentativo di restaurazione cromatica a opera dell’erede della secolare casa di mastri cartai Camoin e del noto regista. Al di là delle reinterpretazioni in chiave divinatoria, il mazzo riprende a grandi linee il tipo di immagine con cui il popolo francese ebbe a confrontarsi – e che con ogni probabilità stimolò i primi occultisti.https://appesorivista.com/wp-content/uploads/2022/12/2.smith_.png2. Smith2. Tarot Original 1909, Edizioni Lo Scarabeo, 2021. Tentativo di ricostruzione cromatica del mazzo concepito da Arthur Edward Waite e realizzato da Pamela Colman Smith, Edizioni Rider, London, 1909. Massone come Crowley ma fervente religioso, Waite investe la figura dell’Appeso di un’evidente sacralità. Si noti il nimbo attorno alla sua testa, il traliccio che replica la “Tau” delle croci paleocristiane e l’eloquenza dell’edera nel proclamare la vita eterna del giovane martire.https://appesorivista.com/wp-content/uploads/2022/12/1.thoth_.png1. Thot1. Il Tarocco Thoth, Edizioni Lo Scarabeo, 2004. Riedizione del mazzo ideato dall’esoterista inglese Aleister Crowley e dipinto da Lady Fieda Harris, attorno al 1940. Membro del circolo massonico della Golden Dawn, il suo è il mazzo di riferimento per tutti gli appassionati di occultismo e magia. L’interesse di queste logge nei confronti dell’Egitto si riscontra nella presenza dell’Ankh, che funge da cappio al piede dell’Appeso. 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