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NVCUIilI VNIUOC
NUAIA VNIC
ncsauJ.ahrgc vuoNVXnu
aP erecnP?rI
NVfldOUnA
INTNUVNICVWI V
YSTInANETATUAH O nUINAd
fluadau
srofinb NoCI
TrlJ.ff,dg
yirHcrors wrNouar uororn
plsea3€ e[ u€Ii€Jot{ suas ur ,,gzeenalap" as nu
In1aJeAeJ '- oreld
-urexa r$ relnSurs 'pur:r:d ftspaJe urp 'alsa r6ndpd ap ln.rr?el
nc Jnposrda
- a\ietuaza;dar o E[ plsrse 'pur1 ur 'prJD 'aueru$np
aletuJe ur rrrolspd tr$er:n ur aluour : ,,eJelLrazeJda-r" o-llug ,]de1,,
aJecerJ Er,uJoJsuEJl r-rn3r; ralsr:t In-raJe^€J 'ter;losap r$ trla;d-ralur
'1r1rc alnqarr ac rr$.rg;sau lxat un-.nurrd eJ ar.unl urrd purcprgA
'prrn;prd ?s ?JaloIIqlq ulp rt6erele^€l aueuror ep rnJalunu 'pJIpe
'?aueruase 'rato(rn| '1a ad lrlsrtu?z €-l aJ rnJnlxal eSoleue atsa
eatrrnl gc'a:ctnb;dug arr:o ur rS ia-rd aJuo nf, 'azaJtsuouap gs
?eJA Ia :p.relduaxa r$ pcrlerue-r3ord alsa aro(rnI rnl ?rnlualv
l,,eeJ eac v:lol{grl" rlsuoc at u;
a1 rode 16 ruls runc rsr ,",i;'ii;,""";':fiti11t",trt": X;:lt;:";i
Iur-rs rloap aeJ nu csauo8rrd lru aJeo ert5ace ruolr(grn gc 'uoasapr na
lnzela r€ur ure ac Baac ap 'leiurparcu! lnlor nJ lurs ?c Jerqt? euncy.
:-rnSurs
at$eouncar 'csaraJe,rec ngs 1n-totn! arSalorod as aJ gr?puJ
'llrlJlp :orercads un 'ppropul etel'eta aro(rn| 'ripcnq ug
a)ez saluBAJaJ at$arunu tunJ ',,oJqela-r 1;n<'
IJ aps apsndpd
- -
'nrzJJt ea:d
nc eunardrug 'ruelnqrrre lnrtpal loJ ?suJ ?JE
,'rel?Jnru ap rrndrqc alarq atSru
Ietunu rc 'rie.rp,rape rde;e lurs nu rzrcn r-r5 rlSaSdorrs 15 .r.rogop r-arec ad
ert$ace fc Bru"es er rS 'atofrn) uop aroruas 'el-erjlurtunl ar-ar6a.rdg.
:rnlnre$ndgd 1nse13
aro(rn| uog epne 'so-ra;reg ad sundp.rrs e-1 16snrJrsrelt ala8ar
ad tBcaturds e-1 '1nu8ery loreJ ad tnrdecap ?-l ar gdnp erqy
alursur ruIAnJ
6 errcrul DoN euIJorE
NOTE
1 M. de cervanres, Iscusitul bid.algo Don Quiiote de La Mancha,
traducere
de Edgar Papu ;i Ion Frunzetti, Bucure;ti, 1987, vol' III, p' 261' ( 'Detengase
u,r"r"L^.."'d, seflorDon Quijote,y adviertaque e.stos-que derrib-a, destroza
u -"r" no son verdad"ro, i.roror, iitto ,tn"r figurillas de pasta." M. de Cer-
{,;r, ii ingrnioro Hidalgo Don Quijote de li Mancha, (1605, 1615), ediqie
ingrijite de M. de Rique, Madrid, 1980, p' 783'
" 2'C"*^nt"s 1987, vol. III, p. 163 (;Ahora acabo de creer 1o que otras
encantadores que me persiguen no hacen
-,r"tt"t veces he c."iio: qrr. .rio, me las
t; ;;";e las figuras iomo ellas son delante de los oios, p'y 1l:8." 785')
y truecan que ellos quieren'", Cervantes 1980,
-t
-ud.'n en"las -les
cboses. IJne arclt1o.logie des sciences
M1 Fou."rrlt, Les mots et
humaines,Paris, 19L6, p. 60 9i urm.; K. H' Bohrer, Pliitzlicbkeit' Zum Augen'
schein d.es iisthe'tischen'scbeines, Frankfurt a' M', 1981, pp' 86-707'
4 De aceea este, probabil, gi unul din episoadele cele mai comentate ale
V"ti, ,.""rrg'i' Haleyl .The Narrat6r in 'Don Quixote": FJ-retablo
J" M".t. Pedro" in: El Qiijote de Ceroanres, Madrid, 1984, pp'.169-287;
"a4;;.
n"* Et Saffar, Beyond Fiition: Tbe Recoz,ery of the Feminine in the Noaels
;ler;;;;;;,iler(ely,1e8a, pp. 115-120; G' Torrente Ballester, El Quijote
-- iueso v olros
iomo trabaios riiiir:ot, Barcelona, 1984, pp' 183 qi urm'
;f;;;;tn"l' .Co.,qu. -. Pagase el sefrordon Quijote alS.1ll parte las
fr..fr".", q.1. *. i.rh..io qu.i"i" con.tento..." (Cervantes 1980, p._785).
iocul de.iyinr" intraductibil. ln traducere romineasci: .Si-mi
;i;;; "r.".pro"p" o parre micar din striciciunile pe care mi le-a
,;;;i"i-o."'q"l;ore
ia.rr, tot m-ag..trrlqumi.n..." (C"t"antes 1987, vol' II, p'263)'
Ei
6 Cervantes 1980, P.522"
Z -ffpCUUnA: La'forma de la cosa ("')'8" latin se llama qpas'"
(S' de
Covarrubias, Tesoro de la lengua Castellana, M{1d' 1674, a'v')'.
-- s Ai"i-ii'in conti.ru"r.: E]. Mi.h"lski, Die Bedeutung der Asthetiscben
Grenze pi a* Methode der Kunstgeschicbte, Berlin, 1932'
('tSt 'd 'g951 sarue,rra3 ,,oretue
o13rs un asraloru urs erJetse enb rBredsa rlpod es uerg alueurf,oa ap pnrrnb
- .,(
enuarled 11 ap enb otsand 'oun31e oluarurloul JaJEq eqeso ou'rse ;1.''EJagnu
EI ap opetE d 'o:a(n8e 1a .rod ozerg Ia opol oprtatu 'alueurloA erqos serd
ap'oqcrp Erl as oruot 'sand'egetsg"):eVZ 'd 'y1 '1o.r.'2g61 sarue,t.re3 g1
'(OSt'd'996,1 satuertral),,"' oueru Esa'r.rogas'peurol-'
IZVZ'd
'II'loo'2951 seleluoS 71
'(ogt 'd '086r
sarue,r-ra3) ,,"'seuJolrJehl o(rp soueu svsouJar{ seJlsan,t ap eun
- "t;q,"o
uop orpuodsoJ iEJouas EJlsanA'euanp etaJcsrp'.ratsauaru eq 9nb send
-
'sauro1uey41 olund
atsa e o(rp osep EpEu ratseuaur €rI uoN-'
- oJalleqEt ;ogas trogas rtu :ZVZ'd'II 'lo^ '2951 selue.r.:a3 91
'GZV'd 'gg51 sarue,r.ra3),,"'so11rsef, sorrr uer ue3uel se1 enb auar,r
-uor otuof,'sepe.lop se(e.l uor une I tuetua,r orca;ed a1 19 e anb o;a(an8e 1ap
u?geurell al oruof,'pepuele ns opot ua EgEtsa seJuolua anb'euny EI ep znl el E
'9tt .t'ezaget e1 aro(rn| uop 9r^lo^" ' " : ltz 'd '11 '1ol '2961 saruerrra3 g 1
'GZV'd <086,I saluelra3) ,,e.ran; ep rod e(ed e1 ueq
-eqre apuop.rod re(ed un ap o;a(n8r p" :OnZ 'd '11 '1o,r'7951 saruea-la3 g1
'glt,,.d 'gg51 salue,r.reJ:6eZ 'd'11 '1oa'2g51 satue,r.la3 g1
'(vz'd
'II 'lo^ '2951 satuea-leC) ,,"'ad aleoc u!glewezal'flelrr Erseauetuo; Ea;af,np
-Erl uI 'Gzv'd 'qg51 satuea:aO) ,,ugrlgg un31e a.rqos soqcad e ersand' 71
'6€l-Oll'dd'Zg6l'g'topoa srqaod iur
,,seruloll {rolrar{S ur saopurl)N Jo srltorures 'aloquod sjoureN urerde3" sr1o3
-JEI i 'H r$ 1oaqa5 'V 'qI tuaf,el rzat 'JeJalrl artoru eJ larlsaral eriecrluwas
e;dsag 'gb'd'9951 saruea;eJ:gez-le7 'dd '11 '1oa '2951 sarueua3 11
'Ul 'd'0g6l srlu"n:ao :g€Z'd '11 '1o,r '7g5,1 saruea-ra3 g1
'ru;n 16
gb 'd '0g6l satuelra3 f 'u.r.rn rS le7'd 'II'lo^'lg6l selue^raC 6,
lL srNrvNI rNIAnf,
rnrnsvuQ arv
rNrcvhrl
r
' ezeatlt teut II e 1? ra J - I n ie ds i a p acar d 1r s p"rl"jlfftff l|ji{r[j
pdun tr_'pchutJ r: 'nrieds Ealrar p un srz-nudoja ap.rir.r! as n.,
(.o1ocurp ap eatetac" r$ .olocurp ap rurppr8.) rrieds qnop alaJ
arlul 'JsareJ rnlnturlEsnrel IE rlace uud arSa$rrys 16 rnJnsrpere4
InrJeueos urrd aprqcsap es Erlqrg :pleriuasa r$nlot atsa erbulrsrp
IeluaprJro Inlntuo ?rrolsr utuad 'fllJIJIp tep .qrusacau arierado
o gcrldrul a8urlsrp a1e lpzeataFalu eia aueun rarieurSerur rarr
-olsr ln8unl E-aO 'eJrJtaurrs rur8Bur luJs 16 eateta3
JnsrpeJu4
'lnsrPer?d :?nlnl
-ndacug rrrnSr; gqerl,raur-(aunderdns as rroaun) aundo ai gJeap,
?atpte.J 'tnlnrt4ts e p-rn3rg ',,lriarl.. e eac ad r$ -rep ..rn1nrledi.;
Eeunrlf,eJracl IELUnU nU ?lJrp eL eJe) 'LUlrJ nOu rnun [uJoJUot
arrP?ller luls raiuatsrxa ewEJp urrd etecoJsrp alaJrard :arrolsr
-alia
-rsod o gzeensnln IE 'rnlnrr6rgs 1e lrru un
frapr in$erg
,'raurr ap erdo:de ?A as nurcgc ,ewreds r$ ,tnuat ap
crruru re-u rcpc 'eal6rur1au erSauo3zl .a;rugqr:dau ur:d grrrgrur r; ran
ea.rrSgdord rJ ?A ar?ru r6 rnlnutuoq ra rcruern rJ ro^ lgt ,gllf,:;ltlJ
rf adwncs arrard ap a_y1uod,urqru ap r",,r"o';;;:l:::jl,[tfi;ttt
'rIJ?s ep lJlatuer aund roa ri-r6 ,nruorurlue nc adtuncs alarr-ard yqopod
-rur rol ril 'prel ;oterr8urruau r$ gunrrry ap olru?g ,o1ico;oua51;
:crdoln rnJrurtu aJe aleri
-uasa olel?p 'elBrluaJuoJ pr.urxer.u o-Jlur .asuudn3 e(ap rugs .eies1
rnl ?aueJ ur arede unc eSe ,urlesnral rnlnoN ?eunrzrl uf
'rcarqo-11igte7 e'a-relnue B[
?uJd,Eer?runsuoc trcqdrur'a.rn"dns
-etd ea :ps€oJarnp arie:ado o atsa loqrurs-rripra3'ea_rar6eg
crdotn rnlntxat ? erJotsraJd
?lzapt ?el€la)
16 IMAGINI ALE ORASULUI
.Soluqia
giiti o.ferl, Poate Pentru prima oari, posibilitatea de
Drrncrpru a uroprer. Este e"piir alia iea mai nuanfati.a statutului
'"."ietii ideale", in manifestdrile cdreia,,intermundiul" utopic
imbracd formele cele mai diverse.
Ce vroia oare si spund Campanella cind pretindea ci.Pasirea
pfr*";,. a -eteqii Soi.clui ,,este adevdratd" i Nu era acela un fel
a;;"J;i,. cu maximi clarltate cdCetatease gise;te intr-o lume
arhetipald?
3. GIOTTO
Izgonirea diaaolilor din Arezzo
celor care gi-au pierdut acolo bunurile sau chiar via1a. De aceea vi
voi spune pur gi simplu cum, amintindu-mi de faprul ci sint pictor,
am imitat prin culori aceasti situalie, luminind cimpia gi locurile
invecinate, in parte prin strilucirea lunii 9i in parte prin aburii 9i
scinteierile, mult mai vii, ale incendiului. Pentru a reproduce cerul
senin gi instelat al nopqii, cu o luni clarl gi lucitoare, am luat alb de
plumb aleruri de albastru azur, iar pentm zonele unde lumina devine
mai vie gi imobili, am adoptat albul de plumb f5ld azur. Casele, flu-
viul, arborii, unde nu ajungea lumina focului' le-am luminat simplu,
cu lumina lunii. Zonele unde razele ei erau acoperite de aburii incan-
descengi ai focului, le-am luminat chiar cu acegti aburi gi am reluat
totul cu indigo fin gi lac pentm obiectele cele mai indeplrtate, cind
aceasta mi s-a pirut necesar32.'
Am dat acest lung citat din mai multe motive. Existl in mod
curent pirerea cd, aici,,sorte se refugiazi in tehnici, punind din
plin in evidengi propriile sale limite'33 - ceea ce imi pare a fi o
flagranti deformare a semnificaqiei textului.
Cred ci adevdrata semnificaqie a pasaiului citat este cu totul
alta. Prin aceasti rel^tare, Sorte intervine in mod con$tient in
miezul problemei mai vechi a ,,reprezentirii ireprezentabilului"'
Ne vom aminti ci aceasti problemi apirea deia la Pliniu, care
dedea detalii tehnice cu privire la picturile .strilucito^re" ale
lui Apelles (cele patru culori, stratul de verni intunecat); ea
revenea la Erasm, fiind vorba despre Dtirer gi de reprezentarea
,,monocromd". La Sorte, intengia de a demonstra ci se Poate
picta gi Dquae pingi non possuntn (,,ceet ce nu se poate_picta*),
itinge urgtad de modernitate incontestabili. Succesul acestui
demers .rra fi g"tatttat de tehnica picturii in ulei3a. Cred ci nu mi
ingel afirmind ci textul lui Sorte n-a fost niciodati apreciat la
justele lui dimensiuni. Unul din meritele sale deosebite consti
in a fi subliniat posibilitatea (fictiva) de a lua vederi in direct de
la spectacolul n-opqii in fliceri. Dar daci citim cu atenlie textul,
,e lirir^ ci el eite rodul unui foarte bizar, dar semnificativ
amestec de observaqie directi gi de trimiteri culturale.
S-ar pirea ci o anumitd reminiscengd din ,,Infernurile" lui
Bosch, adririrate probabil in colecqiile veneqiene, Persisti inci
in mintea sa35. Elqine totugi sd precizeze cI ,,vijelia infernali*
era, de data asta, realitatea'insigi.
O a doua altzie e de niturl literari. Existi temeiuri puter-
nice si credem ci Sorte a contemplat incendiul de la Verona,
al cdrui martor fir; indoiale cd, a fost, prin grila literari a lui
Virgiliu35.
,,f?srad ep rrrntcrd e €Jn?lualsrs aJEpJoq? Eruud.. purrJ ?J a]
-?Japrsuoo urrueun poru uJ fuls txttli.J?d atdnsv apdoausqg
,8€... raroJI rnlnrpuactn alrjgtrreynorued atrot lrerpzrape
ap llt? ad g1e;nreu ap rlc ad ?rarueuJ o-.rlur 'eluaza:dar ealnd JoA as
gJ_ '("') arrur8erur rcs ef,rprral 'alocas atlnru rsru ap rqca^ alac
IaFsV
ad r5.rep rJ al a.lec ad (ealace
'Lnzgt 'apruce ad rewnu nu 16
"A lruorcrd
! ngns nc el€rtsazu! r' r" urnc rS ec adeo;de r$ alernleu
IS ll^ lJ :e runc rS
ec 'elnsuad nc el?luazardar sorerpnf ?apal urol al rJrucnl elsace;e1....
'pprrulrd eiuauadxa uJ eurqr.uJ as ps (amqert) lod frrrotsr erulno
r$ rarrp uJ uapal ap eaJenl ?J pupJurual (ales rrJplulal BaJarar.{Jul
uJ'(alelnsauo nf, at?od nps) aletrlreu nJ 'rralurrulle ap ernplzap
r$ o auo5 '?srns ro6n ap Inrsap pcseacrg8 as r[ ?s r6nror gsel
aJ?J rJgruJoJsu?Jl lrJaJns E JnloJ ,,t ipe$aJ? aleol rzalJrd ps unc.
:Ear€qarluJ pulJ uI ri purunl ap asrns rart roJal plocercads .ler3ap,r
-rrd arie,r-rasqo ep pund un-Jturp eareJduatuoo trielr8e ,purnlcou
ezrrd-rns :prnrord n?s rnlnsaralur Insuas ug pcryrldue a1 rS gzeet
-oq?[aeJ el aJeJ 'auo5 e1 r$ urrcr nrlrSJr6 rnl rurtsaaod ap atuau
-ale arfplalal ateol 'Jnrap,ra$ nc leurr?ur ?-s auos pqr ad.alau-re
lecnde e-l$ eaug pc rnlnrde; era1e u! !c rn8rsap l?Jrerual rJ EA aS
l€,t lll?Jaury
ap r$ n:ceseu-r ap ardeou pls?ac€ euosap gs eatnd J? alurlnc aJ
'eueour 11 1rudarp e-ap tuarnp au 'tury urrd ,rlr1ns ur.rd
1a;rsy
("') r.rr6ou re-ap ad pur8ur.rrs uru?l ap ad urn
'qun1 nc ealdrou urrd rS ("') gunpe-as rtu rio5
("') Itpcpg uud 'curue-ur areo13 arlu-atnl
(.'. ) ."1 rru-alarure .r1cnp51
'?unsgr rilgurJ.rr rS ruarueo ap trreglfs rcwo37
'llirrac InooJ ap er6acnlgrrs r.rgz u1 cra8r5 lrylog .apre uo8alecn
Inuroa1
'nzl|o r-?urru u-?seJ ,Etrr .sngrqdol61 ln-I
1"' ) unpfd acnp 15 a31nws ('.. ) eldurlc ar6alouguul
alun(u ap lnygd ?le^?u ur runc nes ,ugcpg nc af,aJJ
acrds ap erdurrc ad sor.rn; (atrrl un uncajd retrrool
iInzffe rtu-nptnprof,u! rcls JrI^ urp ln6r.radoce-a4
'resec,alurril?ul ed 16 c.rn gtu rS red urp a.rrgpr8 n rBS
("') ["tot1 ve epe) r$ lrcrulr:rod e1 rurSu u-a
"rorl
("') eururu-r6 a;el reu Burulu! ,uetu aladri ap crqef
calseule un funs?J rlnprz urid'eaace-rru-o1oo rS rc1 a
("') r:ruac ulp yn:op nc rA laou-as-npur5r.rry .rlrpn:r nqcg a
apurrdnc snedar lnurrrd purc lndurr ad e.ra retucoao J
r
:pptau7 ulp lop rnlnluJo e eued eurrrd tuprotuarua-r ?S a
'ezetodr. ralsa3B tJ
1nu1{1rds uJ ur^ auos rnl Inrxar r$ auarpSrr,r
rrJarJJsap e eugd Burrd aJlur elrlsa8ns aueo; alaluaprturo] p
It coJ ao run3o'r
38 IMAGINI ALE ORASULUI
16 cf. N. A. corwin, Tbe Fire Landscape: Its Sources and lts Deoelope-
ment from Boscb throupb Breugbel I, zaith Special Emphasis on tbe Mid-Cen-
\Washington, 1976' 9i
,rry b";rlt "neoioal","tezd' de"do.torag Universiry of
G. Unverfehrr" oP. cit.
17 Cf . W. Iser, Die Appelstruktur der Texte, Constanz, 1-979' ,
(Jne arcb^ologie des sciences
1g Vezi: M. Foucault,'Les Mots et les cboses.
humaines, Paris, 1965'
tsi"ri,K.Ertz,Jan Breughel der Alrcre, Kiiln, 1981, V'!t! lirrecent'
tvt. Oi"z padron/M. Rlyo-Villaiova, Los Gabinetes de Pinturas, Madrid, 1992,
pp.130-133.
' ' 20 Lib"rtalile pe care gi le-au luat cei doi pictori in tabloul de la Prado sint
evidente. Cf. C. Ripa, Iconologia, Padova, 1603, p' 448'
27 G. P. Lomazzo, oP. cit., P.299'
22lbidem, p.408.
23 lbid.ern, p.294.
24 Cf . perpiexitatea lui Gombrich , Norn't a.nd Form, ed' cit' p' 2-77 '
25 peniru^teoria celor -gapre guvernori ai artei" (cele gapte planete) ;i
teoria artei a6iLomazz;;;" roJd."' R. Klein, La Forrne et l'intelligible,
-Paris, 1970.
ii irr" semnificariv ci, la Perraulq peisajul in flicari - apreciat drep.t
s51s in cadiul unui e1ogi.1 final adus tehnicii
-capodopere< - "onrid"r"r
tromoe-l,eil.si ca pandant al unei naturi moarte: .Li-d'un soin sans 6gal les
i;i.J;.;;;;;;;;r15",les oiseaux d6cens se verronr.b6quetez./Et 1) d'un voile
peint a,r'"" art extr€me/l'image tromPera les yeux du trompeur.mesm.e'lD'un
ii;i;" ;";-;6 le chef d'Luvre iharmant/De sa ville 6teindra l'affreux
-" (Ch' Perrault, La Peinture, Paris, 1663, p' 1O)'
"-b."r..n.ttt."
i C. i"rari', Le Vite de' Pittori, Scultori ed Archittuori (7564), editat de
G. Milaneri, Florenla, 1881, vol. vIII, p.584: -Lancilloto s-a aritat s.rllucit
r" r"i;ili"."llo",r.iloi, a noplilor, a_lumi.rilor orbitoare, a diavolilor qi a altor
--
lucruri aseminetoare" (trad. rom. de $tefan Crudu, Bucure;ti, 1962',p' 493)'
2;i;;.;,r:r. c^2, a s" ved"4 de exemplu, T' Tasso, Gerusalemme Liberau
(1581,
- xIII, III).
'- Zs ei.i, ca qi'mai deparre, citim din Virgiliu, Eneida. (trad. rom. de George
Cogbuc, EPLU, Bucures,ti, 7980 --n.t..)
30 i. Sorr",'"Osservazioni nella pittura*, Venelia, 1580, editat de P' Ba-
,o"iii,tn-irotiti d'Arte del Cinquicento fra Manierismo e Controriforrna,
vol. I, p.289.
37 lbidern, PP. 289-291.
32 lbidem, PP.29l-292.
fp, g"to..hi, op. cit.,vol. I, p. 533' A se vedea, de asemenea' intr-o formi
:
mai moderatn, J. VLn S.hlorr"r, La Letteraturd artistica (1924), Florenqa,
1967, p.394.
34'singtentat si vid in "indigoul fin" ;i in -lacul" lui Sorte o transPunere
^
or**rir*-ului menqior,"t J" Pliniu in legituri cu Apelles (vezi supra
n.1).
35 Cum N.A. Corwin (op. cit. p.77) a semnalat-dej4 Sorte.se gisea in
rs:!-f" Vf""t"a, unde ", fi putrrt vedea gi cele 20de..peisaje incendiate"
chiar in crr.sul acel|',i an de citre ducele Federigo Gonzaga (vezi
",r-per"r.
supra n.13).
' 36 ln aceasrS privinqi nu purem decit deplinge o dari mai mult,pierderea
pirrr. a lui biorgione (.la tela grande " "gli" con Enea et Anchise") din
"..i.1
'eaug rnl IE lerour Inlduaxa ad
InluerrB
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'll'd ''rc 'do'urm
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r5 's1arqcr141 erlEf, ap pleuoriueur 'ruue1uo3 oappEJ rn1 e pueriaui,r,-eriraloc
sv 30J a(I Iunco'I
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el p) erzrllr al-npulp 'rca.r8 ad elr-l1 t-e rulued dwrr r3elacz ur r$ uero:l
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IruogzgJ *oua3osr m "lrqouur e rutuad
ap toqzgr_rnun l[If,argo rntrtsuo3 e n:tuad rseowruJ ap
Inrsap rso] r]
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ptnl?gruor e arer rn Inlal ?sul atsa Ia arJcs sorcrlap1ruda.rp ?-ap". .
- -
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(esed rnlsace eaiefetue.Jls tBJJBru e ,lnurrd lua-rede ,arerya3
'{ue e)ez eP rcqzgr
[a3e l€und B-s rnl€ts Jaun Eaiasnrun{ uluad rceq '€ublp[?J ra
InJOI uJ rnJpJ rJ ?s aJecl eluezaJder o aJeJ arnlEls o JEOO 'eroJJ
e[. rrEPoer^ ps.np rsoJ E-u rsru ea g) apetJ as .eued pll€ ap ad
'15 'n$n.re ap rS riaod ap alrJnpJ ra alrur8eur lsoJ n? tJ3 aa ps?otu
-nrJ ap tg? ?t€ponru lsoJ E-u (la aunds,eue[A Elprenap?:af,rl
-srlJe Jolauuloop_rc r$ ratre rr3rJo]sr ad p8r:tur rJ auraJl pllntu
ap ar?J Ezetuercd o aprqJsap rrolag .lound lsaJe ?[ suntv
'z,eepr. uJ apa^ o aJBJ ad ralac ?auauras?(< rJ .,,rur^ud
gzea|fg1v1 as urnJ(( nu o-letuazatdai e
Jn-rotord gc'e-rriuoruap
r? (nr^n'I el r.zptsv grl1e) xaual7 pand?V Erntsare €rado .1ua1
oplng elsa sxnaz Inou rJollag olerd uelorC rn1 erurdo u1
'rutnuBaut s-n/o
Inun €eJ€arc srru-rad l1 re,ro1_rriasnlun.rJ Ezalurs reurnu rc?, (eleJ
araurl etlntu reru '1apou ec 'docs lseJE ur puJnl reualg e aurSuuli
ESEorrrrEJ ?uolo_r3 urp raJal{ nJluad tetcrd rI Je anJ
lnldurar .crlaurru rnd
1ac 'srxnaT '-rn8rsap 'fge as rJoseJepeJd arturr4
JEop IaJ ep p\eJ rolearf,_l?nlJelalur rnpsacord e anzr.leuorintrtsur
ap lnrroJe ug tepacatd ne-I erer rrrotn? puJuriuoc grsrl pSunl
o pp rrollag 'arrselo rcttv e arJoet ap tseJrupru lrqplua^ ,(Vggl)
onaqqrtv<ilap a arcqns o17ap ,atollld 1ap yapJ es ear?ronl uI
rrolleg In[
"
ezetuered raun €aur8JEur ad
InloPI rs eualg
50 IMAGINI ALE TRANSGRESIUNII
'"1'
rt'irif'tl. t1:*.
13. MAESTRU ANoNIM, Uciderea lui Achile
NOTE
1 Cioyan Pietro Bellori, Le |ite de'pittori, scultori et architetti moderni,
ed. E. Borea, Tarino, 1976, p.15 qi urm' (trad. rom. de Oana Busuioceanu,
Meridiane, Bucuregti, 1975,io1I, p.56). A se vedea gi Cicero, De Inoentione,
II,' 11, 1-3.
2"..1a bellezza non quale gli si offrioa a gli occhi, ma simile a quella che
ved.eaa nell idea..." (Bellori, ed. cit., p. 59)'
3 -lnsi cea vie se pare ci n-a fost atit de frumoasl cum se zice, cici i-alJ
eerir ;.rrrr.,r.i cridcabile. Ba se crede chiar ci n-a ficut niciodati drumul pe
ir"., ..,."bi. Ia'froia, ci in locul ei ar fi fost dusi o stacuie, Pentru a cirei fru-
muse!e s-au rizboit grecii vreme de zece ani" (Bellori, ed'cit' p'-59)"
+ b,. panofskv,Id"ea. Ein Beitrag zur,Begriffsge.scbicbte der^ilteren Kunst'
tbeorie (tlZ+) (ia.d,. rom. de Amelia-Pavel, Bucure;ti, IJnivers, 1975, pp. 66-67).
5 Republica 586 b Ei Phaidros,243 a.
5 Ciiatul e rradus dupi versiunea francezi a lui M. Delcourt-Cuvers, Tra-
giques grecs. Euripide, Paris, Biblioth6quede la Pl6iade, \96,2, P-'-9?4'
' '7 A'r. vedea'exemplele citatc de R. Kannicht, Euripides IIe.lena (cit.),
,rol. II, p.27 ;i urm. gi i. P._Vernant .Figuration de l'inivisibile
.i.#g";i. "r"-"n"".J.
psychique du double: l-e colossos" in tr(yt.he--et pensde-cbez les
Grecs."Etrdis de ps)cbologie bistorique,Paris, 197',, vol' II, pp' 65-78'
8 Edilia critica 1ui G;iffin, Cambridge, Mass'' 1936, pp'69-75'
"
g pentru documentele figurate privind aceasti tema, se poate. consulta
H. Buchtal, Llistoria Troiani. Studiis in the Mediaeaal Secular lllustration,
Londra ;i Leyda, 1971, fig' 23a,26d,31 c, 5Oa-e, 56b-ct
- i o A-r" Kunst,oor de beeldenstorzr, Amsterdam,
Rijksmuseum,
"Jd."'."t^log,ri.xpoziqiei
1986, p.iz: 1"d""r.! 4" J 9.-lJ"rrison, cu bibliografie la zi)'
11 G. B..lt'lari.to, La Calleria, ediqia M' Pieri, Padova, 1979, p' 281 '
rolaruud ?eJEurruExa n3 rs zenbzgla/\ rnl elrqrsaJr? a3rlaJ
-oel JolaJ_erJJs EzrlEue nf, daJur ps uop $e ,eorldxa o B uluad
'prualqo-rd pJrun o-Jtur rcr€ arnlnsuoo as alcadse
?nop alsaf,V
-aruod erirugap 1s lerauaa ug lyulaeur ,,r.$t:,t"t::fiff;:lfJ
lnJlual u; zaseld -gs rrop 6e 'a;eluaurnJop alasJns Arlsn?qxe
etert e_prpg 'tn-rgde e areJ ug lrcoda 1e lenrrrrds InueluoJ urp
rrplard-raluJ lou raun alriprqrqrsod azarnurlap ?s pQzr8ap rcru rJ
'alzznd un ad BJ Inolq?r ezatert ps aundo-rd iS! nu nrpnrs isacy
t#"#,t"o, t o
.
1 1
- a r o n e E r ,', r ,.,, s are r a.r dr a r u r a p a
Ia .., a t?Jrt I #5
, i ererJrrsep ?{E o 16 plrqrsod areo atse rcW'ppupl
-at4ralu? sa,{ rEJnr.uJoJ E-s rs rnlnolq€l Ie lenz!^-elatu InJelreftJ
telrurrlep e-s ac gdnp gwzrnda piuasa ur ared pls?aov lerelaclao
flJgeulwJelur '?nurluoJ o IJI? auItuEJ earelardralur 'gseolsai
?JSEorq pl?porJlu a8un(e nu aJEJ rorcrd ap atnr
[eJ apqJv rnl
rueuasv 'leraua8 ug rr-rplardralur Insues arincsrp u; aund EtseJE
';,ltgluazetdar laun e aratuezaJdaJ" eJ 'plenztr eriBrn8rJuoc
r$gsug o-rnlrt_suoJ JE crnlnolqete glvnveJ ?r,!et pJ retuJrJp €-S
'puelqord rdarp gteluazetd alsa rJ ripsug ?Jrlsrue eataxtazaidat
:rrro8ale raun e er?ryrJsap eleuorilperr ar$aSgdap rolrlrrd e1
ap ?rerdar$e riueurolrad 'rrrplardralur eualqord aund e nrruad
telcrd rsoJ B aJ€J nolq?r un ap ?qJoA pulr; .ruauru ad pcseaurn
gs rde; ep rnqaJr JB-u_aJ nJJn[ 'psuarur-.rolpzundseJoJ poru
ug'alsa nolqel tsace ardsap EJntEJalr-I 'z,,pJnDrd e11ap erSoloaa
e1" ldarp €uue_sap o ou?proJg ?rn-I ?e[-IIAX IB lnloJas
-ad urp
rJuJ',,JoJrrnrord e plnlc_rd" o ?trtoJos luJlnr rdaip r; areoil
'psorure; reur ?aJ es erado , sautuaT,y svT r,,toy.torcrd Je rolcrd..
un 'rlauelAl eeperJ unc B$e 'rp,rape-rtug a$a zanbzgleLgJee
zenbzele^ ap spuxuaw spI rrt
IEBar teruod l$ ral.re e arJoaJ
s!8ay o7uuty
56 IMAGINI ALE TRANSGRESIUNII
"o^rrr".r"
comoendiu tuto.ot lucrurilor din lume, o vasti oglindd in
"i
."r.'r" vor vedea faptele cele mai strilucite ale eroilor din
mireaqa voasrri casi^regali gi efigiile adevirate ale fieciruia
dintre acegtia ( ... ), cosmi graiia iniregului pimint ;i a mirilor,
reprezentarea tuturor vieqiitoarelor. din ap1, de.pe uscat 9i din
vizduh, lucru a cirui miiesrrie va fi cu atit mai prequitd cu cit
va fi mai mare priceperea celor ce-l vor privi"4s. Decoraqia din
el cuarta bajo iet piincipe trebuie si_fi fbst o versiune simpli-
ficari a apesiui program iconografic. Dotarea silii cu cbpii g-i nu
cu original" imprJsia ci hotiritoare in ,,galerie" era
".i"r,ti""zi
,rr, ."i]t"t.a tablourilor, ci conceptul lor fundamental, comun'
Se oune acum intrebd.rea dacd o cunoa$tere a acestor tablouri
.."oiUU" "a"";.* la inqelegerea M'eninelor. Yel1zq'ez ^
fost evident "t
interesat de redaieaplcturii ca activitate 9i ca obiect,
totugi ,,ga\eria" ocupi o buni^jumdtate a spagiului pictural'
'a IlOLu IS aJeOAZr
atle ere'rnlnolqer rarirzoduoJ e eued eSeeJluJ o pzeatnSl! a:c;
(
' zanbzgp 6 ee JezrleltJo dolnv' s &t a lp utp p p u! q n un nJ, ?ux!
1nI
lourjl toltio5 Jnlnrarrrod € arerrJrun (a,reotea-rc t6 a$) pldrurs ec
tEJrldxa Jj areod nu Inolq€l'alelrlea_r-u; 'rclauuaW Je ariecr;ruu35
ap lnrnuriuoJ ezeazlnda nu_arelrrd alalaporu pc rrlrqers uly
'slnpLu utnlnta4s
- llgruesue ur aletcrd rolrur8eur
ale8a.r ia111ue1 ,nlirrrrrod
lnrper u1- uti1dy:uttd un1ntads'-.p^rlrur;ep -jrsajdi"ui
-opnasd Inlor rupJeprsuoJ us arnqarl o eturo+
eatnd eu e nJluad ',,lelf,rd 3o1e1ec.. un EJ Eteuurasep areod nu
U
zanbzgp6 rnJ erado 's,ra1ua; rS 11 ualcurrJ suerJ rnl alrJpJJnJ
ep arrqasoap ard5 'tndarur unq yl ap e$e tsoJ rJ ps pqrs6d atsi
rs alrqe4rrsapur nera alunolqet,(VZ4L) ouruop.T rn1 ecoda urp
pJuI 'J?punJas psur ?Je erelsaJe er;e:Souocr n_nuad nps
InsaJeluI
s 2 u z z
tt a x n t 8 p p t n u ti p, t p1odoa 7 a q
" ter n r tv
:,,x:l r::n:"1:, i ^
^1:":17,
r
It
19 srcru o'vwr
68 IMAGINI ALE TRANSGRESIUNiI
7962, p.156; M. Millner Kahr, .Yel6zquez and Las Meninas" ,in: The Art Bul-
letin LYII, 1975, pp.225-246 9i idern, Veldzquez: The Art of Painting,New
York, 1975, p. t+i gi urm. Vezi 9i S. Speth-Holterhoff, Les peintres flamands
de Cabinets d'Amateurs au XVII-" silcle, Bruxelles, 1957, p.59 gi urm.
41 V.: Mary Crawford Volk, .Rubens in Madrid and the Decoration of
the King Summer Appartements", in: The Burlington Magazine 942, 1981,
p.525.
42 V.: M. Millner Kahr, Velizquez: The Art of Painting (nora 40 supra),
p. 158 s,i urm.
43 M. Millner Kahr, ibidem. Vezi gi A. Chastel, .La figure dans l'en-
cadrement de la porte chezYelizquez" in: Fables, Formes, Figures, vol. II,
Paris, 1978, p. 145 qi urm.
44 Y. Bottine aq -L'Alclzar de Madrid et l'inventaire de 1686", in: Bulle-
tin Hispanique 58,1956, pp. a21452;50, 1958, pp. 3G-61' 145-179,289-326'
450-483. Vezi qi J. Brown (nota 10 supra) p.99 9i urm.; Moffit (nota 8 supra)
passim.
45 F . Zuccaro, pictorilor, sculptorilor gi arhiteclilor" in: Manierism.
"Ideea
Arti ;i teorie, tradtcere de Oana Busuioceanu, prefali gi texte introductive de
Victor Ieronim Stoichiqa, Meridiane, Bucuregti, 1982, p.297.
46 Carducho (nota 5 suprd), p.376.
47 Carducho (nota 5 supra), p.375.
48 Lope de Vega Carpio, -Rimas Sacras", LVI?n: Obras Poeticas, ed- de
Bleuca, pp.S++-l+5. Vezi gi E. L. Bergmann, -Ar! Inscribed: Essays on the
EkphrasiJ in Spanish Goiden Age Poetry" in: Haruard Studies in Romance
Language, XXXV, Cambridge Mass., 1979, p.44;i urm'
+g Vlz; de ex. Lukas Koc6, . Chris tusbild- Kaiserbild", in : B en e dih tinisch e
Monatsscbrift XXI, 1939, p. 85; A. Grabar, L'Empereur dans l'Art Byzantin,
Paris, 1936 pi idem, Les Voies dans l'iconograpbie chritienne,Pans,1979, p.59
qi urm.
50 Vezi sonecul lui Juan Vald6s de Guevara, citat de Palomino (nota 2
supra),
' p.898.
51 iezi D. Klein, St. Luhas als Maler der Mariz' Ihonographie der Lukas-
Madonna,Berlin, 1933,passim; S. Ringbom, Icon to Narratiae. The Rise of the
Dramatic Close-Up in Fifeteenth-Century Devotional Painting. Abo, 1965,
p.329 qi urm.; R. Goffen, .Giovanni Bellini's llalf Length Madonnas", in
The Art Bulletin LYII,1,975, p. 505 9i urm.
52 Palomino (nota 2 supra) pp.905-906.
53 Sursa documentari se fisegte acum in D. Angulo Ifliguez (ed.),
Velizquez. Homenaje en el terce cententriD de su muerte, Madrid, 7960, p.266.
54 L. B. Alberti, ed. de C. Grayson, Bari, 1973, pp- 4445.
55 Vasari-Milanesi, VII, p.440.
56 Despre modul de contopire a Portrecului cu imaginea religioasi incepind
din secoluial XVI-lea" vezi M. Jenki ns, Tbe Sute Portiait: Its Origins and Eao-
lution, NewlYork, 1,947, p.26 Ei urm. Despre caracterul sacru al portretului
regal vezi Lopez-Rey (noia 21 supra) p.37 qi urm. ;iJ. Brown;iJ H. Eliiott,
Ahalace for king: Tbe Buen Retiro and The Court of Philip IV, New Haven-
London,198O, p.31 ;i urm.
57 Calder6n de la Barc4 El pintor d'e su desbonora, IlI, 1827b. Vezi gi
H. Bauer, Der Index Pictorius Calderons. [Jntersucbung zu seiner Maler-
meupborih,I{amburg, 7969, p.27 9i vm.
58 Calder6n de la Barca. Amor, bonor y poder, vol. II, p.876.
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'97 sltV-xnrag sap a1nzzC:ug',dlar4 alEAu<I IE^erpaI I el?-I ur trv Jo ereld
eql uo seloN 'uoltoadc a,rrleur8eruJ pu" sa3eurl leuorto^eo' 'uroqSura '5
rS rzal 'gZI-tZt'dd'e86t 'pyp"y{ 'srtaldu.roc sruqg'sgsaf
"O il]i* Jl, U
'I861 'syrd '?oY np trnrcd a7'uueyry'1.r6'tu'rn l$ zg'd 'g16l'w rriro*n11
saJuarJs sap anaay:ug',,uarqr19g.red ro.t np lrEJlJod a1' 'srroruaq.A r$
yaL'Olt-6gt 'dd'gO9t 'ale4'"'zatcps xwanrl 'auroaqcry'1 r$ 711-9g 'dd
'689I 'sge.I 'toy a1 nod srzl sa8rtano sasu@p sap uoqdycsaq ap pancay 'uarg
-ll?J 'V rzat'zatuetl Inrieds ruluad '89t'd '(z.tdns g erou) oqrnpJe] 09
'89€ 'd '(o.rdns 9 erou) oqrnprp3 69
t8 sID1U O'Vl4t1
88 IMAGINI ALE TRANSGRESIUNII
Pentru Pliniu cel Bitrin, nafllra statici era o specie joasi a pic-
turii. ln Naturalis llistoria se gisegte un joc de cuvinte intre
termenii rhopographin (,,pictura mici" ) gi rhyparograPhi"a ( "Pic-
tura murdari"). LJnul dintre cei mai renumiqi rbyparograpboi ai
antichitdqii, Sosos din Pergamon, ar fi creat - dupi Pliniu -
intr-un mozaic in trompe-l'eil, intigigind podeaua nemiturati
a unei sili de mese (asarotos oihos), o imagine imbinind natura
statici cu iluzionismull.
ln veacul al gaptesprezecelea, cind pictura de naturi staticd
cunoaste o noui inflorire, literatura artistici rimine retardatard'
Comentariul artistic savant revine constant la Pliniu ;i se arati
arareori pregitit si includi reprezentarea in trompe-l'eil,
respectiv natura moarti, in cadrul ,,marii picturi"2.
Priviti in aceasti conjuncruri, operaluiZurbardn ne prezinti
o problemi cu totul neobignuitd.: Ztrbar{n a pictat o serie de
imagini ale lui Isus3, care apargin, pe de o Parte, tradigiei ima-
ginii divine ,,neficute de mina omeneasci" (acbeiropoita),
ducind, pe de altdparte,pictura intrornpe-l'eilla apogeu (i1.24,
25, 29,34)4.
Ce semnifi ca\ie are acest lucru ?
Si ne apropiem mai intii de imaginile lui Isus datorate lui
Ztrbardn."S-au pistrat aproximativ zece. Ele se pot ordona
cronologii'doar cu mare dificultate, au apdrut insi cu maximi
probabilitate intr-o perioadl cuprinzind aproaPe intreaga ,catterd
a pictorului. Numai doud tablouri sint datate: primul, 1631
(il. 24, p. 96)s, iar celilalt 1558 (il. 25).
Niframa albd ca zitpada a legendarei Veronica este aproape
redusi la un fundal mat, intunecat. IJneori este bitutd in cuie,
uI '?ru€{pu ad terur-tdrur solsrr3 rnl IntaJuod repa,r atsa trJa;rp
aP {r lBrPeur r^rasqo as alelpp rrnolqel?nop elas puJzrl?uv
'untJaJs raJl urp rarJas alrJnoJqel arpor u!pfetueze;dar alsa snsl
rnl ?-?pulJaJns ern8rg 're InJluao uJ loJ€rnu urrd prn-lpde fur^rp
BaurSeur ruapaa aJaJo ps tjcuJ [aJ e6e ug ,pcrtlawoe? adeofii
praruprrr o-rtuJ preJnSpJsap atsa ?zurd 'uurSeurr erele u! pIJv
as ur(rrds ap arcund ror?c aJE lgSugrg pnop ap fsurtuJ a uoatle
przuoteA zaluzls auottpTl ,Ny{vsunz ao
ocsIcNvuJ .gz
L6 NyUVSXnZ rnT V ,yNvosr vrvuy^sov"
92 IMAGINI ALE TRANSGRESIUNII
;.
''
'" , tll."t:rll : .! ..i. :liiioi: lrGlir!';11-, *'{'e:11€ atlrrn;il'ii }j-t31tlat-l evt;]{:ii
iic,'r-.r':*taqi;. i. I il::l;irrne ii.ti:'il''ii!l'li',.5utli:'a'r* si singe
'.1,..,*i ,,'nr.,ri
:i,r-!,,r:{r'r. ir.rt.tiir;..ri,;! iii: r-:.aj':lpi''l:iarguiai dl ,"lliltr;r-'j l"'i-lrelard"
:. ,. :.".r,',.. ., i :l,t'.:-l-'."r' "li"afi"i{"
ttii-i r" u'i-i 11 i'r:,.; ;.1 : rrrac tir"':lu ii.o, *".t-t*ttu:;l autcrl d.e
t1-;:r!",iiir . "i-*ir,
jul t-'.'ii'lt{ll:t;, i{ra'l Pr{:{:!$
rriiri,:]. qi11i i,'{-)i"!:1.: rir: ol iror:}.ii-le 3
i
*" l,r, .;1.; : li^ lui i.-;:::fi.s, i-.t,Sirr,-,ie r.iinti* rlii"'':'ri-1!{. 'qi c'lni'i{iartUl
:: i:
.ljit,-.:irl.r.i i.i:.a,ja t-ii-::t.l
!.1 r-i :, A.r-",-r':ir'il ,i-il * 5e$l.tiiri+:-aqie r"lr:OSe"hiC5
T'r'';
,-1n..,.i,1'.',tzi, 1,,s C.e c i:,tir," 1.t 1-l'ill-l;' r.l-!1"r-r="rntl{l{j ';r'l "l';lt't':'iiiu}
-,iia nai:tf, nel'hisvliiita' rtlanigr-t
,rl:',eurr.,,u',-t,'.r,i',,"*l-,,,r,',.. 1, ur'. 'lf
,.i.., o-(,,1,,.,.,,-i-.,ielu: a i;fr.t r l-,.-rr-,r-,'iri-r* a lltintr-tlltlll';1Ui
: prlvifea
vrlt-{e sii,t s'1-sl
iu,, nt,, tr'l-,;il:, tl it:t1 i,:;:1, a5a -l:'-i: privltq-ti-*1 se
,.",;;J;10.,,o.;,,i ,'1.'g,, x,'*r.to-' '. 1:.''rqa grc.zza' Tm aecst mcd ejll
,' :":it{- o.:lt-rir';* i:-r'l I'll":r 'roi
i dd::r'pcrife'
;i ira.'jiri,: i-.1;-.,1r.'ctir,
rt.,:;;rt',t ir si i,ter:rf''li'e arti-n;ici ''1in 51:::r;a t.[]p:;!1"
;:,.::',:
.,1'.tlttur.urrn ':7g11,1i,r-;r,"
,.ri:burt lrlqcieasS, la lrinor;l i''f i-nfr-1ii'l'
.",.,1i"., g,n1,i:rrlr.: i3 r:j.fi'i'lti tale,.ae{lF*ri" 1i ,,e'l89ur:;icrI"'
ean-ij
un
arai.i.'l:'r'1,.,i:i-'ir-:i ^si-i' ,::i=rii ryi;li it':l'pcr-taii{',
iju r'-:il rl.ezvt''1$ Eopr'}:;
.u-t
lrn Ai-i,ti.1:iratr rei Si-tdn r"e{art-'a:r''l ri {'ict*
f;;;,;t.; Fii;..rr-,
iJir***tiou'u- it.errr't:t'0..,i .; ilgu:"er-'il e:lFrcsia ':1r'r suteni a !lir
'ii'igattitri' 'r1*
A n-nrra,r,*an ia *c'l'iilr:r.o"u ar i1 ''''' ';1' - s Ir i illrrr 't tsr5iui
;*e;;;*;"; t*., uri, viizt. ,1ru ii'o:"anira x'rtigticd spanr*li' t*::astd rsttx"ie
!irnirata ix
c5t.* (,:{.}.fi.itant ;irar.1, prrx{.ru a ,jcmo;rstra tral}afilat|3 n:tf
-.",-!dr.4 -Jrr!- r!--i-:." il ., l!lf !ll-i, '1 '", 1t1 ,e i- t "^ s( eI\':!ti"
'
r -" :Z .,,, ra, \i,1 ' "' jltr' rr''i'l'tls' i'i{"t,'rti' .' t'l '
i
"';"r;;'d;;l, ".io.'l:,*,a1r.*. ,p"rur*," tal'inuriinr iui Turbarin ir'-
,{*it";;;*;'nt,.. ,tt1r,ri \''er'.-rurii':J'r r;in Iadn' at?'r ii* pcp*nar ?n
35. JAcoPo
DE'BARBARI,
Naturd modrti
'raiurpaJJ ?aJrouur
nrluad Ii '(SZ'tt) SSqI urp rfrruo-ran eaur8eur, gzeansuouap
o urnJ e$e 'arrlsrl.le rriplrlsgosrad ea:ariuapr.la nrluad arnlrts
-ur as ra:uelord rS nrces docs rnun lapse ar$a{n1s pn,7-aduto,tl
uJ ?poral J 'Tepiuypan ea.qoa^ pl€Jnelsurar r$ plrouug ainqarr r$
atpod as (artv ap zry nhu) aJrlsnre ardacuoc rou ugd:rtrrid
-xa as€rrrrrJe o (SEqI) ocaqce4 orsrru€rC .raiuiparc'eq(nJs ug
1c1e psnd elsa - Bs .ElJe"
.luaruenes
- rnlnrotf,rd ,,er-r1sarp1A1..
1$ aurSewr aJlurp rarielar e rS ercus rrur8erur rnlnloeJa erdnse
rrielrpau apurr;o-rd laun E eJ€rurn er .lntusluorinJ, ,\etpn e-s
unc e$e 'aued o ap ad ,alsg .ro,,ral Je esai, r$ ,,rrur8eLui e-ra.. anurp
1n8erd uJ wp[JE eu u€r?qrnZ ep ry)ruoral alrur8eur n3
i eroes rr.rnlcrd InJpEJ uJ arznJr 16 arelrpa-r aJlurp
srlsruE rnlnco( ea;e-rcnlard ?sur aJe ariecrJruuas af, .(se .1r) arei
-Izonur,\ ap ?JrlsnJE pJJ?ru ?lseaoe nr:ndurl ap rur.u at$eounc
tal-adu,totl uJ fJrtBls €rntEu :purldap EUn elsa nu rBe .oreruE4ryu
nc gie;e-rdns rSeaace ed n1n-out1ltajtyr eareseld psug Jrnirlsuoc o
'LunJB 'ealelnoSl '6c?aapr nt lelar.{JoJ E JaJnC .rro-lenlar e oJeJC
1g 'rro-tnc?j e 1c,(g u?A :,,gJs?aueuro €urur ap prearcau au,B
-?Lur o" fzeeutuas tolcrd un purJ grep eurrd nrluad alsa nN
sailaxnts utp p'tnozd p.odoaT atnnPrqtv
" ':rK3r::t:T:"i{":li't^
ffit
F rll ffitrffi
t.? #
#Kr
;.#
#fr
.! fr ffiH
#l'
'.t'_1 &,
#i
#,ir-
ffiH is:r
:$iry
sot Ny.dvsunz rn'r v ,yNvotr vr\ruy^?cv"
106 IMAGINI ALE TRANScRESIUNII
t,a.id
luminiri de cearl aprinse in mari sfegnice aurite. Dupi ce liturghia a fost cititl,
doutr mici canaturi;u fost deschise cu evlavie Ei am znrig intr-o n\i" Ia lumina
unei singure luminiri, imaginea inrunecati a capului gi gitului Mintuitorului
atit de iriimitabil realizati" incit m-a cuprins un fior de veneragie indescriptibil.
Ochii aceia pireau str pitrundl in adincul sufletului, iar ansamblul era atit de
insuflelit, iniit tablouiputea si justifice, cu siguranql" venerarea supersdqioasi
areprezentdnlor corporale ale diviniteqii. Capul incoronat era acop.erit cu un
vll,iar tabloul ..a iptr-o rami din aur masiv, cu diamante gi smaralde
"r.tpri.r. (Lord Blayney, Reise durcb Spanien und Franh,reich,
de o valoare inescimabili"
uiihrend. seiner Gefangenscbaft in d'en Jabren 1810 bis 1814,Liepzig 1815,
'pp.78-7e).
' 28..La fel cum fac gi cu imaginile Veronicli, atunci cind prednd ctr insus,i
chipul Domnului nostru ar fi imprimat pe o niframi, care nu e de fapt altceva
deiit o scindurtr neagre pd:laiti pe care-atirni un vil, cu un alt vtrl deasupra"
pe care il scog cind vor se arattimaginea Veronicii; dar bietul om din Jena
nu mai vede nimic, cici vilul e de fapt o scinduri neagrl: asta inseamni sI arlqi
gi si vezi imaginea Veronicli" (Luther, tl(/ider das Papsttum zu R.om, zton
Teufel gestifti, 1545, apud E. von Dobschiit", [cf. _nota 6], p'.282)t O alti
polimice cu credinga inoera icon mai apropiati de epo.ca lui.Z'trbarin -
-
provine din Johannes Rainoldus, De Romanae ecclesiae idolatria in cultu sanc-
iorum (. . . ), Geneva" 1595, pp. 485487 . Cine vede intr-adevlr ceva acolo, este,
dupn Rainoldus, orb. Este remarcabil ci, ?ntr-un sens. oPus' aceasti temi se
tprilitta pe o bogati tradilie: intr-o varianti mai timpurie a legendei V.eronicii,
se spune ca imperat tl Tiberius a fost vindecat de orbire graqie niframei miracu-
Ioase: a se confrunta cu von Dobschiitz (cf' nota 6), p.245 9i K. Pearson
(cf. nota 6), p. 8.
29 A se cinfrunta cu Pacheco (cf. nota 2), vol. I, p. 191; Carducho (cf' nota
2), p.355; Palomino (cf. nota 2), vol. I, p.250'
30 Pacheco (cf. nota 2), vol. I, p.471'
31 Pacheco (cf. nota 2), vol.I, p.471: .Zevxts dixo a su comPetidor Par-
rassio levantase el lienzo, o el lo fuese a levantar, teniendo el pintado por
natural, pareci6ndole que debaxo de aquel velo estaba la pincura.'."
32 Pacheco (cf. nota 2), vol. l, p' 472'
33 Fundamental in aceastl problemi: H' Schulte, El Desengafto. Wort und
Thema in der spanischen Literatur des Goldenen Zeitalters, Miinchen, 1969.
34 Jos6 de darcia y Zambrano, Desperudor Cbristiano, dioino y eucharis-
rrco, Madrid, 7692, pp.241-242.
35 Supra, nota 19.
36Yizi Z. \fazbinski, "Le .Cartellino". Origines et avatars d'une 6ti-
quette", Pantbeon, XXI (1963), pp.278-283 9i H' U. Asemissen, Asthetische
Ambhralenz, Spielarten der Doppeldeutigheit in der Malerel, Kassel, 1989,
p. 19 qi urm.'Despre problema semniturilor de artigti integrate, vezi
V. I. Sto;chita, ,Nomi iti cornice", in: M. \flinner (ed'), Der Kilnstler ilber
sicb selbst, \0feinheim, 1991 (v. volumul de fa1i" pp. 163-188).
37 Cele doui panouri ale lui Van Eyck rePrezentind aera,icon, sint
amindoui semnat; gi datate.in rami, deci nu direct in sPaqiul imaginii.
Aminunte la H. Belting (cf. nota 7), p. 480'
38 Veronica lui EI Greco din coleclia Caturla din Madrid, datatd
1577-1578, este semnati in greaci: CHEIR DOMENIKOU (.4e mina lui
Domenikos..). Nu este de exclus o aluzie la imaginea sa ca,acbeiropoiton/
cbeiropoitona, chiar daci aceasti semnituri existi gi in alte tablouri ale lui
'(g; rrou rtdns'r)
rnlnlgeral e p:eot.ladns eaued uJ lrf,IuoJa1 ttutSetut E - JelualunJoP alel
-sjre tua,\ra.IJ - rar\rzod (rxaruoc ap tlrrgrulr{f,s epnn u1) IaJlsE Pu}zundsaloc
'r:no1qn nr reurSetur atarad trusace e ,,arulnf,' rda.rp greruaza:d al_sa ea :(79 'p)
amtoltrcl stltv utlrq"aqJ soutorpoid urp eurSed uJ lftluoJa1 rtutBetut ratlrzod
e:dnse lenads poru uI prdearpur as gJlseou eriuele lxatuor rseJe ul It
'Qe 'ti soutotpotd ut ti runrard'(SC 'U)
sralual ap Esnpo:da.l rsoy e r$ ulaqlllr(\-Plodoal rnladrcur:d erllaloc uJ EUP
as areolruEuasr auEoJ ElupuEA O 'IS l-08 [ 'dd '1 '1o,r '5751 'vot3utqse16 'uy
;o lraleg leuorleN 's&uuu1v4 u41m7 to an3o1nr3'-,(a1d_eq5 {sn1 ural rzea
t(oc 'f) rual orruaruog
Inl e rycruora1 eaut8eurt aria,rud er ul '8oe-662 'dd
'1 '1orr'tlrttaa4l tuu?aott ?P oPtory ut t777trs :ul (686[-88rr1 tg-gg'va1t
-ladsotrl',,slsq.ry IEuoIlo aO sE Eulru;?hl PUE ueulel I' 'uato;g 'V 'CI : EseaJE
a.rdsap tuaf,ag '(Z'd'OnI "euapoyrq'1t7pau1 utrluaaul pa tq3o1mz3 lp m1ot-
-czy\todwe5 'C t'") ,,ouepns oun runf, orcrdap oua:penb oun" at3auaurod
asualsg Eqorrpren9 nrluad rnlnrerualur Ersrl 'e6tt urp ?rul 'llru.lo;u1
aurq reru rueturs euerletr apricaloc uJ IEf,IuoJeA .rolrur8etut e\ua2atd a.rdseg
'tu;n ri rcZ'd'9g6l 'plrp"W'srtnlutd ap mta1r7 4 p splfapou aP
e1 ag 'f rzaa
'eyrdsg ua outslllolrxaPr l7'eraq3 oPu€ural t$ ue-ro1q 1on8rlt1",t?utyr
trl-I14x IE Inloras ur lorueds tnlnursruorioaloc eriertltuures a'rdsaq
'9i
't561 'sFEd 'sautapou't sdutal sap aqnpJ ?
antutadmgl4J 'nlalqq np uottptnplsul,T 'erqttots 'I 'A :uJ alunugtuY It
'296,1 'sallaxnrg
'a1cq1s oJ111y np stnair'utv<p slaurqpJ aP sPupurpll sanuted sa7'1;oq;ar1o11
-qredg'S 16 958t'ur1.rag'uaua1z5 aqllzaC'laturut'tg uo^'qI YaL VV
'BaI-IIAX IE InrBe^ urp EruJ ollrrnl l nPs orerc lE lnl
al? r?f,ruoJa1 elunolg?r'r.ln1gela.l elrJpIU uI'elezaie nPJa leJls? :rarirpe'lt apund
-sarof, r9rruo.ran ttut8eur e a.reseld ptsEatY '(ggg 'd '9951 'ope.r4 IeP oasny{
'pFp"I{ 'ut.oq.tn7 tarirzodxa 1n8o1errc 'a) nlqera.r rnun E ?rvolradns eaurd u1
reseld rso; e r$ prelncrrred arioaloc o-rtulP eal-IIIAX IE lnlotas I{ Erge ItIp sun(e e
Inolgel 'uapro el ep ellrf,arrol uJ pcrrasrg ?f,rru o-rluJ 3951 ug pruadocstP lsoJ
p prlopEIIEA ulp errulnf,sA ep oasntrAtr el ve p&lJe rprruora1 eaur8rurl '57
'19'd 'I 'lo^'(Z erou';o) o)eqreJZl
'utrsspd'(7etov ';c) Surrlag'1'1'rue^ 'aldacuoc atsace a;dsaq 17
'pledlruud eatetuazatdet $ ourllaltoc a.rtu1 piueparqra o
ptsrxe epun '(p:opre11 'Luenueqtv quoasPtrrN '9791) uotdttag u1nun.tatoatd.
ltlttitpry r5 ec 'rrcnro ezeqel arnt uJ lnlfg alse ln-ouile1r?r alec u1 '(1791o
'o3ecrg3 alnfrlsul uy) paa olqed Ir?S rutuad 1ux{tcut3 :?llqasoaP allualE
'txatuoc lsaf,E ur lruaru lrnolgEr alereolplurll 'ugregrnz ap Eat.rala:d gur:o;
o nr're e'eJ e ap rue^e E' pzEarrsuouap ,""!tXj!ru.::'j(ffjT3 lrlor$
arupswuav pup paazpary lo Touuo[',,<IuroJ aqcsrlogurls sl? ralapJaPunq
-.lqef" :snruslu?unH uaqrslnaP ueP rnJ 9991 sa.rqef sap Eunrnapag JaP
uo1:srrle3 pun Jarnq' 'a1un,4g'C :Batsere a.rdsap l"ruauePunC 'ryttuooA
e n;dnc ur e.rnrrr.r8 q
I$ (OOgt) ueqtunl4l el eP piautodotnV uy 6€
'rarod.a so'InodoIoloaHl soxlN
-aillqq :elso EJrufutues'ElsPeJE Er€P eP :co( ealop I? un ?^Jasgo as (1roa
,r.a11) sr.rpuelnog ericaloc utp prruony u1 pc lnrde; alsa lEtretuar eP uruaq
'(gtt 'd '7961'uotacuy4'poqt5 slq Pup oratC I7'laqra2tr'E 'H 'A) 'orarg IA
III Nlruvsunz Io'I v ,YNVOOMVUYAAOV'
Imagine ;i viziune
in pictura spani oI5, a Secolului de Aur
gi ?n devogiunea populard" a Lumii Noi
1. Tablou gi ztiziune
tn pictuta spaniol.d. a Secolului de Aur
Atunci iir"ra ft Greco a pictat Viziunea Sftntului Ioan la
Patmos (citre anul 1580, aflard astlz; la Muzeul de Santa Cruz
din Toledo), iconografia i'maculatei Concepqii era departe de
a fi complet cristalizatd2. Caracteristica cea mai importanti a
acestui tablou (il. -?S) este prezenqa Sfintului Ioan pictat doar
cu jumitate de corp in prim-planul tabloului, la stinga. Aceastd
soutltrd q urol xrllrllryts f auntzz\,zaodz\f-Ia! ogal(I '6e
e) tetuezerd a r6nsug ueol 'aued p\e ap ad ,uro1 rnl Ie alapa^
ap ynrq8un urp Eaunrzr,r gcsea,rrrd ?s lelraur a luol?Dads .aried
o ap ed 'rrlepatu r6eralace alaia; rJlap puoJ uJ ruls nu arBJ .eluel
-rodurr aiurcasuoc fnop er€ Inrd?{'i1oo tsace urp rBr.uJol gdeaoug
ps nolqet rnun ?rnlJal ec undnsard pruaprcco rotelcads rnrpJrJo
aJe artndacrad a[urpntlq?H 'p^rlerrJruruas alJeoJ alsa arlrzod
e lI sNnrzrl r$ aNrcvwr
174 IMAGINI ALE TRANSGRESIUNII
*.",
.s:
g;'
qry-.{a{-
.e sw
},ff'&
,'szalrjrLlrtu cs?u
(IJISnpP? a^Isacsns uIJd
runf, ?t?I 'arJotsl ?Seejlu! o tlSaJn?I as '1J1? aP
r$ 'ar6apuldspr 1-rS lnuo,rz e:atd u?rpuI tle un 'sorculparr ltusac? t?t?re
?-s r e:?orce{ p aparc t.l 'nolger rso3e puJzp^ 'nldurs uerpul un 'la
ala.reorcrd €l sorf,urpaJc un nc raurlor InJrJ^ u! adnlrpeng urp gr?olcaC
erug5 ad gzea6riglur o 'nlduaxa ap n.torcrd un 'alrlnqq csru as e6y"
:oPunw
oakaN lap syxtou4aw eles al? uJ zognw elsn€g u?nr arlp3 eP
'rrJoda I? l?urtuunl arr€o; Inlrrrds u!'6lli urp gJuJ giuapr,re ug
snd e(ap lsoJ € rnlntrtu eerven ul Jolrur8urul Inlog 'rur8erur reun €
r$ llu rnun E ruarpur arlurrd eJ€Jnelsur €Jrqelolalr dors ec Ba,rB
saJrlsa^od 'pvnqau lnre-r3 uJ ?srJJS 'e3a4 3[ ap osssT rnlnJot
-3oo rrrnq\rre ercteler o lnrpdE e nvrll rPur uB un 'gsdrpcody
urp uuas rnlaJetu lru3ads? gns (raleln3er.ul ? eaaf,E JEAaPE-JIuJ ?Ja
oSarg uenf rnlnuerpur Baunrzrt\ g) pzee JtsuoLuap aJarJts ?ls?aJV
'(psdrprodv up a:aza-rdsrop lntrorrdec urp erialo:d ur-rd es er.rolsr
uJ ?lr^pls 'orxe61 uI prnrf dE soJno€rnu adnlepeng urp rnlnutuoq
?f,retrAJ 'errepq rar?orJal eaur8er-u1) 51sfu1vcody lap azap olnydrc
pp v4catotd al uoc p!to$!q ?ts ua rpruqalat 'onxayy ua vpnatado
aiuautpsot8vyur adnypp'nC ap soxe ap arppry pttpt[ uaBnl vl
ap uaSou'tJ:elsa ArleJr;ruuras nltrl rnr?3 'lnJncsndo pcrlqnd r$g
(luaru 1e
zar1JuES 1an8r4i,,lnl€aJnEI?JE g" oru tsa:E ul',,elsllnrewl"
raiurpuat Inlunrrr pzeeq)rern 8f9I ynue 'ru;a; poru uJ'EalseJB
al€ol n3 'rzlridaouoD al?JnJBLuI Iaun lndrqr qns o8alq uenf
Inuerpur ep ptnzp^ EJEoTJaJ ad o-pugtuezetdat a[urSerur arres
ur ?eJnpoJd arec'alueg ap oJped InueJsrJue{ errpo ap snpuoJ
'ue3rxeru Jarlal€ un ap f,saqJol alaJeolzr 'aued plle ep ed
'rrcrlqnd rele8eg ary ps
?lrJaru JE f,rxatr I ur auarJnpeur?Jlsa raJeoroal eirrcde nc ealsa,rod
1rf,of,spu e-af, Iaf, gJ nealooos 'aridacuo3 ETEInJBuI ug arua$ord nc
puJZeJJ 'rrur3sr3uu1 ac durr uJ 'eJEolJaro;d pueo;red ro1 eurlrp
ap rS e-rnperuaJtsE urp Jol ?aJrls?urru ep rrpuJru 'rirwduorarq
rrrp8npc arlpf, ap sale retu 'tzguloe-I eJrJeurv flBor uJ etezl1erl
-JauroJ nrra adnlep€n.g urp alorueds raJ?orf,al ap rrn,re.r3 rcrru
eP IIrx eP nez (oo9l rnlnue lnrn( uJ ?3 lmsounc rde; un g
lurSerur aJlurp Brelle nes
Ereun eriBua-rdns nrluad grdnl gter?Aepr o 'as-arpd 'gzealntap
as'zaqcue5 1an3r61,,rnln1€aJneleteg* pugurirede'puecrxaru
pleuoriBg eaurSeur ardsap lxel Inlnturrd lnue '8t9I IS (o3arq
uenf rn1 rrunrzrl lnue) lggt I1u? ertuJ 'sorroqel 16 lual alJ?ot
PleroPur ?rpJ lsoJ ? suas nlqnP ug areuodur ap sacord lsecv
tZL sNnIzIA IS sl.Itcvt{I
I24 IMAGINI ALE TRANSGRESIUNII
NOTE
1 vedea Aug. M. Lepicier, L'Irnmaculie conception d.ans l'art
A se
et I'i-
--
conograpbie, Spa, 1 956'
of the Immaculate
fe'r" ,r.ai"'1,t. Levi D,Ancona, .The Iconography in; Monograpbs on
C.;;;;;" in the Middle Ages and-Early Renaisianie"
con-
;;;;;;;i;;y)nd Fine Arts, tII,1e57 ei 3' st"tto"' e.La Immaculada
lconografia' I (1988)'
;;;;;.;'.1 Arte Espafroi", i,,'Cuadimos d'e arte
pp.3-127.
3 A se vedea cu trtlul de hmurire analizaconsacrati de citre
David Freed-
berg iablo,rlui lui Crana.h reprezenrinduJ pe Frederic cel lnqelept in adoraqia
in The Piuter of 1989'
F;;?.;;;i 0517), lucrarea sa .lmaggs,.chicago'
si tnmrt lucrarea mea
pp.197-198. Pentru un context mai larg imi permit la
Visiorary Experience in Spanish Golden Age Art' Londra/ Cam-
b2;rt;ng and.
bridge Mass., 1995.
postrimerias del Hombre, Madrid,
+-p"dro ie ofra, primera parte de las
lgol,-i.iig, apud.,ilariadel i'ilar DivtlaFern6ndez, Los Sermones y el Arte'
Valladolid, 1980, P. 98.
-i Cer", C"lierari Conceptos scripturales sobre el magnificat, trad. Jaime
Rebullosa, Madrid, p.35,apud, Stratton (v'-n-2), P'36'
de
6 Fr. Sorian o, 5rr-6r' prid,'o'o en' el Coniento de san Francisco
Cron)io,-r, la fiesu de la'Inmaculada Concepti6n de la Virgen'.Nuestra
126'
irniona, Granadi,1616, p.91. apud Divila Fernindez (a se vedea .4)' ,p'
n'
acester
se oicta/ficea pe sine) ar fi fost formele coresPunzitoare
;;"ffii.';tf.i;i; il"i.. perfect (pinxit/fecir) .ei
imperfect
i;;;;irr/i;;;;;;) fo* s'ubliniatd inci de Pliniu: forma de
Y;:;|;i;;;li ;;i, "mai modesti decit perfectul. El susqine ci
i;i;il
;;rtirrii";; ?i i"i."qio""t, in Aniichitate' semnitura la
imperfect, pentru a ardta cd -9P.jr1 lor nu e termrnata $r
ca
oerfectionar." rorJ.auna posibili' Numai trei opere' continui
iii;il:;;il;;;;;;;nul
" orgolios qi mindru f'?f.'' Acest pasaj
ai" pii"i" citat pi
"o-""r,r"t
in multe scrieri teoretice ale
"'for,
n.""ii.lii, d"l" poiiriano6t la Pino67 sau' P-entru.1^-i:"Ti qe ".?
il;;;i"ii a" .po." lui Murillo, pini la Ridolfi6s, Fr. Junius6e,
;;; d. d"tilo. oopn "it" imi dau'r""-", nu esre insi niciieri
vorba
" de forma prizer"tt p-rezent'
sau participiu
n""rir" op"."i lui Murilb reltefeazd, aspectul surprinzitor
.a, dir, p"rru sute de tablouri, numai o parte foarte restrinsi
".1" o duzini
rne"", este semnati' Cele mai multe tezolvd
-';;i -
;;l;;; /'; i rfi, ;, b t au p in xi t b n g e b
evazivd,,in care
(s
" "u
!1, i"'l;:. -T l"t f'''
d".totipto-is "Murillo
"-"l."te'tolula
Ao"r" astfel suspiciunea unei repulsii a pictorulut fagd de Pro-
a$a cum o trata epoca t". C,t atit mai mult
iese
;ifi;;;il"i ui
il;j;il; ;;;
;;ri if i
",.,"ob
i qn.'iti a i n scripqi ei autop-ortretul
(sau
io,",dorr.r. Aici nu se afli numai inlocuirei im-perfectului
p*i..*i"i) "u parti"ipiul- prezent,. ci si cel alAceasta formei obignuite
oinso-Dinsere cu i"iti^ a[p;'g*d'piigere' din urmi
I;;t";d;;"'un plus de ambiguiiate : .depingerezr (inacom-paraqte
c1J pingereT2) iesemneazd.
na numai activitatea de prcta' cr 9r
p" i.""a" a'reprezenta. Este vorba deci, aici' de o sem.nituri
doar
indirectd: Bart.u' Uirillo seipsurn' depingens nu constituie
cum este semnitura
li-pl" semn al ,,auteniicitdqii", asa b ie ctul r ep re z e ntdrii
""
.tir, E" J"r"-"""re ir,"irrte d"'ori'ce,o
""iie. care coincide cu executanwl (seipsum depingens)'
a;Nil;;ilb"),
:k
NOTE
1 A. Palomino,Vidas, ed. de N. Ayalla Mallory, Madrid" 1986 (prima edigie
in: Museo P;ctorico Escala Optica, vol. I, Madrid, l7l5), p.290'
2 l) Viziunea Sf. Anton din Padooa, catedrala din Sevilla (citre 1656):
. .. .ha habido quien depusiese, haber visto un pajarillo trabajar por asentarse en
61, para picar las que estaban en una jarra" (Palomino 1986, p.292).
Pgrnetul^zuecenas,
lui Don de Nette, col. londonezi Landsdowne (citre
2) Justino
1660-1655): , .. .a una perrilla inglesa que riene junto
a si, la suelen ladrara los
perros ..."(Palomino 1986, p. 293).
3) Sf. Francisc tn Portiuncula. Koln, \D(allraf-Richartz Museum (citre
1665-1568): . ...verdaderamente parece estar alli la gloria..." (Palomino 1980,
p.2e3).
3 Louis Viardot, Notices sur les principaux peintres de l'Espagne, Paris,
1816, pp.4349. Despre .fortuna critica" lui Murillo, vezil. Lopez-Rey,
'nrz4l rBru aP ,,pJlsEaJeJ ap lnlnolqEr( elaruauela alEol rtrsrxa aJpt
u!'(gtIZ'.r51) erpuol urp l;a11zg leuoneN e1 ep (auouaprod rnl rrngrne)
ptz! ap lnlaurcd arntpsuor p rrlrpe;r relsaf,E Inrp?f, uJ fllu{ n) un ll
allrlJlp ap ruerlxe 'acprlod rarienlrs EznEr urp ,olil.rrrry
rn1 eooda u1'nere EpuEIO r$ erurd5 arlurp alelr?luoC '(€g 'y) 2991-9991'ecc
'aualrg epleurat 'uaasny41 eqrrlreets .ur1.rag ,p,uszatat o7 a[qupuag:(lS .tt)
1991 'unasn141 puorleN trrloq{rots 'g,ttsoatat q ?l?il lgg91 (urnasnnt rJEI
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'e.rpuo1 'pnsyaut o7 ptp1 :grgl'alnlrlsul uy o8ecq3 ,nlu putpt u! pe1 gl
'Ol 'd '8Oll 'srte4'say'tcut.td nd atuutad ap snoJ,salr4 ap .11 q1
'92 'd 'eiuarop '?lpry'T ap 'pe 'vtu77t4 ryaq,ruegly.V '-I tI
'r€t-9u 'dd (osor) s
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1asse3 I e8aug 'Iap sztqg:uJ,,orrthl lep sauonprrpay,q. lasseg I .i
1776,1 'urrprso4'tsuuy .tap atqdosopqr1 u7:ur ,,uarurlErreplrg req. "druO.g
]auul5
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sep btlErl,txg
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.V.I Zt
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'66e 'rv'rEO 'Zg6l zonErgl olnEuy 61
at a
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ss
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faluv nq'dwa11 '41 (a:enulruoc ug r$ orc) rzat:orr,rud-aur8eiur puodrir
a.rdsaq'trrrn 16 6ZI'd'9961 'uuro11 ,rllalse3 .A ep .pe ,pg5y ou&i1g gy-g7
'4zaua11 'tttlsturut11 ?pmS ?p alpuolllun1ul ossat&uoS III pp itlv ,orrotlg
a ?Juolay :ur ',,occo.reg a orusrlelotsrry" .angerlEr; oSrndrol,rq .g g
'(get'd'996,1 oururole4)
,,?nurlsrp ellanbu ua oJp?no un JecoloJ ru .e;n1urd ?l ?Je Bsor anb oprqrs
uElgErI ou sef,uolua erseq anb 'uoro(rp .sarolurd sol uoJara o1 opuenb.'. .-, -
(Z 'rru) Terou'ztdng 9
'('ur-rn r$ 999.d
'tl6l'pypeyl 'pu.l_apour elJlpa'9771 'zyodsg ap a{m1 'zuo4 'y .,r)
,,arua;rp
unprs pnop' eaurdps ollrJnry pc lnrde; asprrEruer efap s8ua11 IaBJJeU g
"€,96I-Z96I'e:puo1,o.ry yo,(urapecy
ye,(og;- plrpel4l 'oper4 lap oasnl I ,(Zygt-ttg) olluulA[ u?qats7 g*o1ottrg
rarirzodxa lnEolerec I5 tgOt 'pypey1l ,1ot g,optullJ',zan?rg161nEuy 'q y
'6,36,1 t1lnag'(ooot-zegt)
olr..nw eP puu?rol ErrrEg soluEs sol ep Err?II:rs i6-1 .dd
',7'vtarrElag
'186I XIO 'sr,ty-xnoag sap anazlC ur ,,oilLrnIt uo suoqcalJe)I pup siarr^.
lsl o'r'rrunilr rn'r vusdo NI srzn-rr rS yJ,tv
158 IMAGINI ALE TRANSGRESIUNII
18 Vezi recent'W. Kemp, Rembrandt. Die Heilige Familie oder die Kunst,
einen Vorbang zu lilften, Frankfurt/M., 1986.
79 Yezi V.L StoichiqA, RIGIS: Kunsttheorie und ktinigliches
"IMAGO
Portrit in den .Meninas" von Y ellzqvez" ,in Zeitschrift filr Kunstgescbicbte,
49,1986, pp. 165-189. (v. volumul de faqi, pp.55-89).
20 la figura contrahecha de alguna Persona principal, y de
"RETRATO:
cuenla, cuya efigie, y semejanga, es justo quede por memoria a los siglos
venideros" (Covarrubias 167 4, a.v.).
21 Schmoll 7970, p.131 qi urm.; B.Ylind,Velizquez's Bodegones, Fairfax,
1987, p.729.
22-W.H. Schoemaker, -lil/indows on the Spanish Stage in the Sixteenth
Century", in Hispanic Reztiezo,II, (1934), p. 303 Ei urm.
23 Angulo lrtiguez 1981, Cat. nr. 396.
24 An[ulo lfri[uez 1981, Cat. nr. 380, Vezi 9i M. Soria .The Boy and the
Girl, Companion Pieces ?" in: Burlington Magdzine, XC (1948), p.22 1i
N. Maclaren, The Spanish School. Natianal Gallery Catalogue, London, 1952,
p. 68 qi urm.
25 Angulo lilrguez 1981, Cat. nr. 66.
26 Aici gi in continuare: S. Ringbom, Icon to Narratiae. Tbe Rise of the
Dramatic Close-tJp in Fifteenth-Century De'ttotional Painting, Abo, 1965,
p.39 qi urm.
27 Ca in Cintarea Cintirilor, 2-9: ....iati-l privegte pe fereastrS" printre
gratii iati-l se uite."
28 .Que es 1o que miro? Es por dicha/Lienzo o cristal transparente/" se
intreba .in.ta, intr-un alt contexg la Calder6n de la Barca (Obras completas
de Don Calder6n de la Barca, ed. de A. Valbuena Briones, vol' I, Madrid,
1959, p. 1254). Pasajul a fost comentat de E.R. Curtius, .Calder6n und die
Malerei", in: Romanische Forschungen,50, 1936, p.126 9i urm.
29P.. Graci6n, El Critic6n (1651), I, 2 (rrad. rom. Sorin Mirculescu, vol. I,
Minerva, Bucure;ti, 1975).
30 Doroth6e Klein, St. Luhas als Maler der Maria (Ikonograpbie der
Luhas-Mad.onna), tezd de doctorat, Flamburg, 1933, p. 60 qi urm.
31 V.P. 'Waugh, Meufiction. Tbe Theorie and Practice of Self-Conscious
Fiction, Londra/New York, 1984.
32 E. Michalski, Dle Bedentung der iistbetiscben Grenze, Berlin, 1932,
p.
- 145 ;i urm.
33 Nu cunosc o lucrare satisficitoare asuPra acestei teme' Cite ceva la
J. A. Emmens, .Ay Rembrandg maal Cornelis-Stem" in: Nederlands Kunst-
historisch Jaarboeih, T, 1956, p. 144 9i urm.; Th. Ziolkowski, Desenchanted
Images. A Literary lconology, Princenton, 7977, p.78 gi urm., trateazd
supravieluirea
-34 motivului in literatura modernl.
G.B. Marino, Galeri'a (1619), ed. de M' Pieri, Padova,7979, p.252.
35 .DiBo seior, que pondr6/ al retrato tal cuidado,/_que aun en el lienzo
pintado/ tin fuera del lienzo est6,/ que llegue tu amor feliz/ a persuadirse, no
ln vano,/ que echarla puede la mano/ entre el cuadro y el madz/' (Calder6n
1959, p.12+8). Expreiia .ent." el cuadro y el matiz" este oarecum neclari
(v. Covarrubias 7674: MATIZ: la mistura de colores')
Acelagi motiv apare la Calder5n intr-un alt context: .Fuera de la tabla
est4/ y aun estuviera mas fueral si en la tabla no estuvierea.-./" (Calder6n
1959, b. 966). Y ezi Bauer, Der Ind,ex Pictorius Calderons. Untersuchungen
zu seiier Malermetapborik, Hamburg, 1969, pp' 136;i urm, qi 176 qi urm.
17'salezuog
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olErlar' Iere nr lEf,r1rlu_apl r$ purSuo rde.rp .f .lr .rEJ .196,1 zanSrgl oln8uy
li
ap leJoprsuoc) te:uodotnE pa_lrerl rlr un .uor8ury1a2l ,erpuol e1
Inaznu
pre.nspd arsa (aridycsul E.rH) ardoc
O.fln.ru .tEO .1gi1 z.t3tg1 oln8uv Zg
'e6Z'd '995,1 ouruop6
ep lero^a ,,e11rloE ap (ore.lra.l) orlo- IarE ap
.yrgegord ,eq.ro,r, arsA
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691 o'r'rrunhr rn'r vutrdo NI srzn-rr rS yruv
160 IMAGINI ALE TRANScRESIUNII
|tru| , S
st8rlJEg se-1") lttsl)l{ ,/ Due! lHo(l
o-l-lluny,t NVsSrsS !t^,iolol.uvg z(
61, BAR'f OI-O\1 6 IlS'I'EBAN ]\'1U]tILLO
Au to !ortre t
1nJt,t3ot g
J.:lt:I(l NI(l XSet'{X:IA NVI t8
9'. DAVID BAILL),
AutoPortret cu ndtur; modrti
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Cnfd das Ambdssid.urs
YaNr-rco
rNrsvwr
?l ra rur$el e 15 _llrnrputues e euaos ur ?araJnpe .drull rselace
ug 'aundrur r$ raricrprarur e pJerirur ea3a1 gJ[EJuJ arec preorradns
piro; o ap surrlsuoc (aunds as nes) apal as rnlnJolrlsa,rod 1na
ere) el.a-rBrtsrSarug 6 'lynricrJ InrorJalur ug ales rrrgnsrSerug 1e
elace 15 (rarparuo3 euadoc ad pge as arEJ ,,atueq..
laci; eauric
aprqlsep € ap aturcup fcul mlnJolrlrJ JErlrruEJ,er.unu rnun rrJerJrs
-upJl IE E[aJp :JoI earaunde-rdns r$ ea-r-ecaunle puJJo,rord ,e1a,rru
pnop ad acnpo,rd as pJeurtuou ezoldxa fJ alsa ,,e.'. rnds 1g
rJpls ep lrlrs rore-aJeo ad'asnds alaunu pugc
-
,ea ards sroru;?
I-lru
:eriuale terparur a?ette atu?O/lnJotne tunf, BSe rore pliuasg
-
,zi alu€O 'pcur a3ur1d nu
'tepez u,rcre-a8ugld nu '13'lrn snp r-?C*
:rarul?ag Ergtun ap trnp?3ug alatunu atede nuol
-73tn4 ulp XXi rnptr.t], 1e'far4,r.'rsjrd q ,i pinrr"rl plseace urp
lS 'nps Intunrp ad raod ad vnglgc ?^ IJ aturEuJ rrrB ap ete) ee)
alSalr as rS purn prp; aredsrp nr1r3rr4 ereJ ur edrlc ug :pl€rJnJf,
?uaJs o-JtuJ Jol aJe areo 'rnlerunu eruelrde (pcsearpSard ps rS)
evrylu[?s tJJap psul aJEJ nu ericrprarul 'rricrpralw reun .trol potu
ug 'sns_ r?w l?lrJ lnsJaa ur 'aundns es '(atpauoJ pu?ale fr?lnl
-rtur rri:pc euadoc ad rrr?drrlsr-rcs ursp8 [I awnu rsace) rliauaruo
alaiurr1 eteote) rnun JnJol?und.lnrotny
- rnSrsap
',,?alelarJolou"
- eurnu €JuI surl€ ne nu e[Bs alafde;
aJ?J uJ eJns?tu ug rS al$argrr aJeJ ur EJnsfu uI urruou-B alsa alueq
_
'euotsr urp aJtsn[ arunu ap ?Jrt?rrrerp earrnrr6ur ur ?Jsealugupd
giuazatd ernSurs (-rolargun ?atunl uJ el^ ?iullJ ern8urs
:P[gnP a etierr,rlotu '.eJB taunspJ tlntu nu" nps alaunu g)eq
'Ealelrluapr ytlg^zep r$-e ap plEredar eelurupSnr
e1 'nuolaSthd utp AIX IntuJc ur .alueg eapundsgr JeJlsV
,raJ? leunsBJ llnw nu eleunu rcgc
Jepez u-\ J? 'ne s-aurc aunds e-r6'
al?ru?Jur arunN
164 TMAGTNI lN ocLINDA
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lnraod 'nps 1e ualarrd un ri r$nsul [ntsrge : rJolelrzrl rop 'rnlnrc
-€seru Ear€otlJ^ u!'(ll 'll '8OgI) tuqian ap O00OI rcln fy.tl
-tpW uI 'lsruetun-laod rnun erueduoc uJ ?J?o eur.rd n-rtuad dort
lsaJ? ap ar$afn1s es JaJnC ?J xaluoJ lsar? ur Anef,rJruuas alsg
'sreleteu roprpldulruJ Joln? ?J 'aurs ad gtur.zatd as n?s tetuez
I? \
-ard elsa JolrrJJs un n?s laod un arec urrd Gzeq E ?JnlpsJoluJ o
'a1arp arturrd'alsa elseacy 'vsdalarcut:arirpen pre8unppug o nc
!
I
?Jrlaod-ocuotal prnSry o rrrntcrd rrueruJel ug pundsueJr ?s {Jap
aJ?J nu lnrorJrd 'JrJolaJ ?trrar.ualuJ IEur
- paro - 16 pxaJdruoc
retu 'pleauzgrpu! r?tu etsa rernq rnl e eal '(lol'69 'p] prnrpd
-srp arnlets + prnlpuruas '[89 'BI'y.) ppurlSo ug aurSerur + ?rnt
-puwas) sns r?ru alelrJ erezne:uretotnt ap alaiuarradxe ap pi?J
'ntl?reP
7lpt1u7t1 te..pto?V
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/ UAU161 SnItAg"Iy) arldrrcsur o-rturrd ra lnroTralur uJ
eredo pturzatd au IE 'Gt'tt) rugugd ad alarrorcrd nc 'eldearp
urp 1nl1oc ug arede lnrotcrd''unreJ uJ Jo[ are pledrcurrd
€ueJs :lalru ap eiuara;rp azeleurues ?s ?suJ alruo e gtpl'1a
InJolne rderp es-npuJluezatd'alvuorlo,rap rrurSBrur lnrieds ug
prtur r6nsug lnrorcrd '(St '1y't1SI) glpt1u1t1 eat?.topv uJ 'sr?s
ernlcrd ufproqB p)ep e:eIJ r?ru urlap reJn6[ rn1 alniuaiul
ell arvwYuNl swnN
174 rMAcrNr lN ocLINDA
din 1650 reia dialogul dintre imagine ;i nume inscris, facind din
el centrul reprezentdrii ca atare.
Punerea in sceni simbolici la care recurge Poussin a consti-
tuit in uldmii ani obiectul unor studii clre atras atenqia, intre
^rt
Fericita imprejurare
altele, asupra complexitigii acestui dialog22.
de a dispune de o documentagie validi in ceea ce priveite geneza
Aatoportretalui (c.orespondenqa dintre Poussin gi Chantelou)
ne netezegte gi mai mult calea.
Poussin se'reprezinti ca pictor doct (o cafte in mini, togl raf-
faellesci pe umir23) proiectindu-se Pe fundalul ,attein
(tablourile dispuse in adincime). Cel mai apropiat dintre aceste
tablouri (o pinziintoarsi cu spatele, sau poate' cum au sus[inut
80. NIcoLAs PoussIN, AutoPorftet
'pl?ntJalarur I$ p[BrnDId arirpe:r gSealug o gJIJTrcruJ eJE3
f r
1
aceo nu rio rncg;'raue osrad r:ptuaz ardarotne r$ l!rytuaze td urdnse
srnJsrp un alsg 'laruodolw un lJtap urind IELu llnu rS tlnu reru
lptrr atsa IE',,tuasq€ taruodolne" un elsa'ru,rn1 elzgtse 'polqer
:6a)a;o)'petc'tnzgl ne urJ?W sno'I r$ uueruqcslgg J?IsO
',,?JEIJolJne" p)teril acrro 15,,lv q aSutd'w q anal Texutd'1o at
utnsdTas" eJ alntuJoJ csasdrl 'vtgtuazatdal Inltll It BJnl?utuas
ptnod nu ,runl?uues Ino[q?l" :rps IIJosaJaPaJd ap rlnru eard
pzeatrydapur as nu urssnod 'p8nrpe JJ ar€J ad crloqrurs lerede
ln8alul ap aricensqe uarBJ gceq '(,,eruox?S ap alacnq" tursou
Inze) ur) rrrgtuazatdat Inrf,alqo rJ 'loleelc lnrJarqns at6e,r.r-rd
nu Ia :,,n1lrl" un - riarrr pcep - rJ ',,pJnlguLuas" o trn8rsap ta
nu aurnu lsarv 'teznantod rnlao aleunu pueod tvtupJul InlrpunJ
rnlnpuetu€lJ elelerilod ug 'piuerrodur ap ?rlsdll nu erelelsuo3
o EI I Esur
^ putu?apur. au u-aessog rn1 rrado nt ?eJelun{uoD
I v
'alrrieorlitu, ,lr"rr*" EI pugd 1Jt.t r1gt
rnrri e Ia ?3 r?rp^epe ep [aJ ?l arsa - parr ?s r?uIIJuJ"ttuJs runJ -
ua8 lsaoe ap ataruod aJapa^ uI ?aae ulssnod BJ?O ',,arl grnSr;'
ef, Intaruo d pny uJ pulrJelo:d 'ppun; ap erirpuoc e1 ,,1no1qel"
aSurdruS ? e[ ?uJd crldo rnlnusruorznlr alalep azateoldxa ps
tnrt6 ne '[)
- aulnJ o suas tsaf,E ur gturzatdat'( t g asnqelAl r$ srz
'uaessog uef Eal-IAX I? Inloras urp reJ sa[E rew r$ ea1-ny p
-
Inlooas urp rrzu?ru?l{
'tu?lJodur 1or un IJIe rS preo( erlrperl
',,rn[nolq?t etele uf alsa urssnod
Im€JpAapV '?rqtun ?3 'arunu e) tgzeet)etord as ulssnod aJeJ
ed lnrieds alsa fsnpoJ dat ezuyd :rcte -rn8ts a nJJnl un 'tunctrg
'aps ralurr; e glrqrsod ,,glerueu"
aur8erur eJrun 'letgtepe dqc p-rn8urs 'aleod 'alsa pru:n urp ?rsaJe
lr.urssno4 rnl EJqwn 15 alaunu -reop 'ea e4 'pzu1d ad ,,pundsuell"
I-ps erels uJ rJ re aJ?J Inlae e (areod) earedat$e ur'u,tnana pa
gturzatdat IJ nfs lntartrodolnv 'rz,InJnolqer etele uy" un rc
'nolqet un alsa nu Es .e13gg" 'gfenzrtrnd arinlos o a8ap urssnod
'ruserg rnl Inleruod urp rarng rnl I? JlteuBrSord Inrxel ug e(ap
eatgde ,,ara Br8r;a" r$ ,pleaurlap yaur8eut" eJlurp erirzodg
r',,erA €r3rya* r6psug rJ 'erBJaleo aurSrtur o elsa nu
'onualod'etsacy 'r..laruodoln€' un pJeJ ps rJap eproap 1g 'r6nsug
[e rerr.lJ azeztleet I-?s elsPrPloq as ulssnod 'nps 1e-ap tartrod
un pqre ?s Erorl arec 'nolatupr{O rnl e[? aleladar rolalualsrsur
apundspr e nrluad rS auerodruaruoJ llJnsltaJlrod earets ap
rrtunilnruaN 'urssnod rnl eiuapuodsaroc ap TBJIJITeIc g aleod au
(nrrrollag pzeauuasap p unc) ,rnlaunu1no1qet" r$ leznaruod
Iar erlurp lnrrodeg 'eridrnsur prreod (gcug prercrdau rup
'plrredard gzuTd o - serr.{u8111 rS
uueuqcstpg Je>lso
'zreuur/)N
6ll arvwYuNl aWnN
180 TMAGINI tN ocLINDA
88. REMBRANDT vAN RIJN, Autoportret 89. REMBRANDT vAN RIJN, Autoportret
zi, din clipiti in clipitl. (...) DacI sufletul meu ar putea si aibl
implintare, nu ag mai sta la indoiali, m-ag hotlri; el este intotdeauna
la ucenicie gi incercarel2.'
NOTE
1 Asupra autoportretelor lui Rembrandt se va Putea consulta_: V.Pinder,
Re mbraidts S elbltbildniss e, Leipzig, 1 943 ; Chr. \(right, Rembrandt, S e lf
- Portraits, Londra, 1892; H. Perry Chapman, Rembrandt's Self - Por-
traits,Princeton, 1990. A se vedea deopotrivi: M. Bal, Reading,Rem-
brandt' Beyond tbe Word-Image Opposition, Cambridge/New York, 1991,
p.247 urlr:'.
- 2 CfSi. A.Pizzorusso,
-L'id6e d'auteur au XVII' siEcle" in Milanges Paul
Bdnichou. Le statut de la litt|rature, Geneva, 1982, pp' 5549.
3 A se vedea: V. I. Stoichild, L'Instauration du tableau.Mdtapeinture i.
l'aube d,es ternps modernes, Paris, 1993
4 Intenqia era evidenti incl la Diirer, dar realizarea ei (din punct de vedere
cantitativ, desigur) rimine mult mai modesti.
5 J. Starobinski, L'G,il ztiaant II. La relation critique, Paris, 1970, p.83.
6 H. Cardanus, De Viu propria, Basel, 1542.
7 Manuscrisul dareazd din anii 1558-1566, dar prima edilie a apirut abia
in 7728, Ia Neapole.
8 Autobiogiafia lui Huygens a fost publicati abia la sfirqitul secolului
trecut: .Fragrnent eener autobiographie van Constantijn Huygens", editat de
citre L A. '!forp, in Bijdragen en Med.edeelingen'uan het Historiscb Genoot-
scbap, 78 (1987), pp. 1-121.
S Cf. FI.a. Hbfman, Constantiin Huygens (1t96-1657), Utrechg 1983,
pp. 19-49. A se vedea de asemeni; St. Greenblatg Renaissance Self-Fashbning
from More to Shahespeare, Chicago, 1980.
1O M. de Montaign e, Essais, ed. stabiliti de A' Thibaudet qi M. Rat, Paris,
Gallimard, Bibl. de la Pl6iade, 7967 (traducerea citatelor urmeazd Montaigne,
Eseuri, trad. rom. de Mariella Seulescu, Editura gtiinlifici, Bucuregti, vol I -
1966, vol II - 1971);11,382.
11 J. Starobin ski, Monaigne en mouoement, Paris, 1982, p.43.
12 Montaign e, ed.. cit. lI, 372. A se vedea in aceasti privinqe observaliile
lui G.Pouleg Etudes sur le ternPs humain, Edimbourg, 1949, pp' 49-40-
13 P. Bonafoux, Rernbrandt, Autoportrde!, Geneva, 1985, p. 8. De acelagi
autor: Les Peintres et I'autoPortrdit, Geneva, 1984, p.720:.Autoportretele lui
Rembrandt nu sint porrettea vielii lui, nu sint jurnalul siu. De la autoportretul
din 7626 la cel din 7669, ceea ce se scrie nu este o poveste."
14 A se vedea cazul aseminitor (dar nu analog) al lui Poussin, studiat
recent de E. Cropper, "Poussin's Portrait for Chantelou and the Essais of
:ul',,ar^n:r\ s?rrup1 s.{lpE{ pI^EO or eruaraJeg ur Pu?lloH l.rnrua3 IIAX ul
Sunure4 aJI-IJIpS sErrlre1 pIrE arrurrtlrod;1a5" lpnlson-raddo4 'N'JC Og
'9551 'srrr4 1 uaeS'apqts
nr anlutad z1 supp s?1tupy sa7 tatltzodxa IB lar l$ OZOt 'ep,{a1 'uapacl
"IIAXup ppqlapfi ratirzodxa
laph 1n8o1erec lf,alqns lsare n.rluad EaPO^ as V 6Z
'Zgr-BZl'dd 'uc 'do'uewdeg3 d;.ra4 'g '13 97
'969 'II'g9€-99e 'I ''t!c 'Pa 'au8retuo141 17
'09-6r'dd'(SSO1) 8Z'qcnqtqzf -
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'tu;n tS V'd'qtdo'urwdeq3 d;.1a4'11 r$
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'gge 'r'uaPI zz
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tuz aBzntag axalg'(uotrpa) qclay 'fTuosurt5 uo^ O :u1 ',,tpue.lqura5 raqn
uorpnls uaqcslqde.rSouo{r uaranau nz ua8unl.ratuag 'tPuerqrua1 raq PIaH
.raqcs€err sle repuns :aq' 'ntrolsolelg 'I lSS-OZ 'dd \rct) 91 t* 971-96'dd
'(SSe t) 91 'ua&ux1uturlsisuux ta8tnqu'og np qcnqtqz[:ur ',,1puelgua11 nz
a3errrag eqcsrqde.rEouoll' '1adwn1 'rI{O :'turn l$ tt'd '2961 'erydpPrlltld
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gyd 'vc'do'ueurdeq3 .,fu.ra4 'g :EePea as V 8l
'(cru1o.l.au ri $e1 drqc uJ ?rEoru f s
rJ3ap Inl Ealrpr pl?ol ug ar$apu13 as nu Ia"') ,,a.r,rq uos lnol :ed ruaurallour la
ruawer{.El rrrnour p.nb asuad au (au8retuoy{) II
.''' :€9'ru'saasua4'1erse4
'ruaruese ap eape^ es V 'OE 'd 'Tuautaauotu ua auEtrluo1;g 'r1surgo.tels 'f I I
Gt'd
''l!t 'pt)',,aurs a.rdsap tlnu eerd atsag.lorr. ri p6a,rod atlnur ea.rd aucs* :pc 1nldrl
pzee$o.rda: es r arBr ul'g9 'ru '(29'd'196l 'r13a-gnrng lcr;durnS EJTIPA '.PIqO
ncuvl aS.loag ap 'ruorpen) '79';u '(Scuqesurug 'Pe) saasued '1ecse4 91
e re
1
) eze )ue r re qiur 1 u1 rirpo a a.r e., a.,ru u d',
Jro:'&;y#:illtl:i ::tt'"#il:
au8reruol4l rnl e.lado utuad seratur elareu'aued ptle eP ed'l1z-lll'dd'9161
'eptlel'ttatua2 qiuaaluaaas at1l ut ,Cltsnuun uePnT:ut ',,1coJeg Pun aJuEs
-sleue)I uaqrsuilz rarrqalatpsrartrun sp snrsdrl snrsnf''qora;atsag'9'P)
epdal urp Ealelrsra^Iun ap:osalord 1a.1n141 auloluv nt
EI ?Ierour agozolrJ
Ernurlsns piuapuodsa:oc o lnurla.nur r euEreluol4l 'aps rriara.lndurn u[ 9l
60g-g8t' dd'266I'urragurar1tr
(BuerzuaFf ?cetpollglg .lap urntsodur,(5 saleuorteuraul'Ela71.
'536,1 'euro11
utautas u lsqlas qtrs nql! raFsunx ng'(pa) tauulr(\'h[:uJ',,auEreluo141
l0z sEscsur vauvtil oNIAYUcnz
202 rMAGrNr lN ocLrNDA
Pantheon, XXXI (1973), pp. 58-74; S. Alpers, Tbe Art of Desuibing, Chicago,
1983, pp, 103-109; M.'Wurfbain, .David Bailly's Vanitas of 1651", in Papers
in Art History from tbe Pennsyloaniz Sute Unioersity,lll (1988), pp. 48-69.
31 Montaigne, ed. cit. II, 351.
32 Montaign e, ed. cit. ,lI, 76.
33 Studiile consacrate acestui tablou, deja citate (a se vedea supra nota3O),
au atras de altminteri atenda asupra similitudinilor, de formi gi de conqinug
cu gravura lui Aegitius Sadeler dupi imaginea memoriall a lui B. Spranger
(1600), creati cu prilejul mo4ii soqiei sale. Portretul de femeie pe care se
proiecteazl o luminare stins{ din tabloul lui Bailly, 9i acela care, in palimpsesq
reprczenta aceeagi femeie, aratd cA gindirea lui Bailly era srrins legattr de cea
a lui Spranger.
urp arapa^ ap lnrJund:€s Brado rs lsru€ erlurp rnlnuod€r a[?
eredse len zeztleue ?s undord I-J gzeeurrn arec alrurSed u;
',?uJapolu'
?trwnu proda e8earrug nrluad prn8neur n?s lnJalf,?J?J tau?W
rn1 erado gzeele^er 16g rnlnrorne eluezatd 16 eiuasqe arrurp lnco{
ur rrtucol go nrtuad'lueuodrur Dadse un nJ rf,re aJ?J e-ep uralu
?J Baueuuase ap ared ag 'ra rnJuotne Btuardue 'tuaredB ullnd
reru nes llntu rcw potu un-Jlu1'pa:asuoc
reun l?JrJraJ lJn{
- a^rlJnpord rl?trance
IB - eaurSeur aJ?J ur Inpow r; e a-red ru;
1a nnuad crlrruotdurls Pnt
'leu?W rn1 rarlearc € ?Alsnlcxe e)reuJ
?J pl€Japrsuor r6nlol ry areod nu eartcaJ? rrr?drcrtred eiuasqy
'z,la[]ns are-u rep 'rolcrd €J n{ro arr Ia igrerq alelrpuosrad
o elsa leu?tr J( ?J rounle ad ap ?Jur n?elocos rreoda re drtndar
reur ral rrJrlrJJ urp lnun 'pcne:uret?ord eraprsuoc o-Balnd
ur? aJeJ ad prarueru o ap prepnle J?rqJ alse ales roJlurSeur
?awnl nJ rnlntsrue e glrrtca1e rrirlaa 'Jrpunoas IoJ un trJap eJrl
-
-u?tuoJ rrcoda Dlnr,usraltJarqns" nJ sale IElu arieredruoc uJ lsrl
-
-rB lsaJe eI Weo( nu cr;erSorqotnu lnrcadsy 'lauery rn1 rarlearc
'1ipr1ncr;rp
IE ,AnJerqo" lnraloe.re) elpre!$ es eJa erlurp €wud
ep ?weas o ap gleropuJ grpJ ar$aqzr es sreluap Baueuas? u1f
JolsaJ? Bri'rrJruues rS pcrrseld eaur8erur uJ Jor?eJJ ,"r"J;:;
alarurn 'a1es alarado ?[ ap pururod'apur,rdsap ? ep puJrnJ reur
rc 'taue1A1 rnl ?at?lrleuosrad srz-nrrdord ecorta ? ap e nu aletu
rrJ?leJJeJ lndocs rcpc 'rur8eurr raun EaJEol?^ rloap ?suJ aJ?-u
tetnunrdtuJ InlllJ 't1a ardsap lfs rollualarrd a1e-ap trrlultuu
r$ r6nsug tauery rnl el€-ap asnds ?rl€loel funp? anc '9761
uJ ?tecrlqnd'alrec o p[ ap rrnlard alsa lortlJ? tnlsaJp InplJ
r6nsug Ia erdsep teu?tr J
204 rMAGrNr lN ocLINDA
7, Punctul de vedere
Definirea originali, personali, a locului din care se produce
luarea imaginii este o constanti pentru ,,noua picturi' al clrei
iniliator a fost Manet. Eseul lui Edmond Duranty care poartd
tocmai titlul de Noua Picturd (1876) aduce clarificiri in acest
subiect:
oPunctul nostru de vedere nu este totdeauna plasat in centrul unei
camere, cu cei doi pereqi laterali fugind cltre cel din fund; el nu redi
totdeauna liniile gi unghiurile cornigelor cu o regularitate gi o simetrie
matematici; el nu-gi poate de asemenea permite totdeauna sI suprime
marile derultri de teren gi de pardoseali din primul plan; punctul de
vedere e citeodattr foarte inalt, citeodati foane coborit, pierzind din
vedere plafonul, adunind obiectele in partea de jos, decupind mobilele
in mod neagteptat ( ...).
Personajul, la rindul siu, dacl e prins, fie in camerl, fie in stradl,
nu e totdeauna la o distanli egali de doui obiecte paralele, in linie
dreapti ( ...) Citeodati, ochiul il cuprinde foane de aproape, in toatl
mireqia sa, impingind departe, ?n micqoririle perspectivei, tot restul
multrimilor strizii sau grupurile adunate intr-un loc public. Detalierea
runrror acestor decupaje ar fi infinite, dupi cum infiniti ar fi indicarea
tururor decorurilor3."
ln acest elogiu al multiplicitiqii punctelor de vedre posibile,
elogiu a cirui componenti polemicd la adresa picturii in per-
spectivi nu poate scepa niminui, un lucru este clar: imaginile
,,noii picturi" implicd o instanqi privitoare a cdrei.prezenqi.in
captareaimaginii va fi statornic subliniatd.Fagd de pictura clasici
obiectivi, atotgtiutoare gi ,,atowlzdtoals" -,,noua picturi'
-serealizeazl dintr-un punct de vedere personal ;i ocazional, ba
chiar accidental.
Una dintre marile probleme pe care istoria artelor ar trebui
s-o abordeze consti in stabilirea felului cum se manifesti in
operele diferiqilor pictori,,impresionigti" subiectivitatea Puncte-
lor de vedere. Un studiu de genul acesta lipsegte din picate, gi
ne vedem confruntaqi cu o situaqie paradoxili: problema punc-
tului de vedere, problemi exclusiv ,vizaale" , a fost in profun-
zime tratrti de isioria ;i ieoria hterarda, dar a rimas, inexplicabil,
neglijati de istoria gi teoria artei5. Aceasti lacuni neputind fi
acoperiti dintr-o datd,, md"voi limita la citeva observagii privind
punctul de vedere la Manet.
?rJolsl( J€II'{f,
?[ rS 'etu?urwlnJ ales elaluewour
- la^ru llE un
",rau?uJ - rS 'lnrolelrads 'lnrotea-rc
pzeat8atw p igzeegolSug arec lrerqo un a tauery rnl InoJq?J
'rrur8etur rnlnroldacer a[E 16 rnlnrorpcnpord ale elrq?qurqcs
-Jatur alunloJ ad arieunsqo ?lg? n) tezlrn E-u lauetr l ?[ ?uJd
pleporrru rep '6lnrolercads prp nes IaJ un-rtur recrJdur B Inolq?l
'ruolsr ales rrSartug ln8unl e-a(I ',nolger" a-rdsap aridacuoc ppu
-r8rro ap lntsep o ppe8pr ap piurrnd p.rp; ar$ap.ar'op rdr; rserv
'leuetrAJ rinsug ep pr?iunuord r; rnrnd r;
JB
- s,iel?ry - 'netu lnuaruas 'nl - 'rrunip; Jolrlr, 19" - arrc1
-ePn?g rnl BriecoluJ 'rarlEerc 1e 1ac ad pzeeJf4J.et I-aJEJ rrrpldacar
Intte uJ Brq? prsaJrueur as Jo[ EaJrurldru; gc nrlued ',,aleurru
-ral* plepororu luJs nu lauery gnl alarado 'sues lsere uI 'eJEot?aJO
raluelsur € ?lrqrzr^ur. e\uezatd pzeeleler rnlnolq?r JurunpJurp
earrurrrd 'ra.rado lnrleds uJ rnlnJot?tcads r aJarJrsuJ o gzeeJ
-ado arec uJ luauoru r6elace u1 'rnrdp;ug as ? ap apr ad rarado
eiel uy rnJn:otcrd rarirzod eatetadat rpap a nu atrurJ rarado elel ug
rnluol?tJeds erirzo4 'rarado € araJnpoJd ap rarlenus F xalJal un
rroep psuJ a nu rarado e a:eldacar ap arienlrs ?lseacv 'GOf '66
'86 'll)1a ad ar6aarrd p lnolqer r$ rc '1no1qer ar$a,rrrd [a rerunu nu
: Fvz1L lSnsu;
[a apa^ es Inrotenads 'lauepl ap azugd raun ele; u1
'arpJrunruoc ap xnlJ un-rturp arred pugcpJ rlarqo un BJ ?t€reprs
-uoJ e erado :?lrrunu retucol rsoJ e rri?JrJruuas eJlurp BrurJcI
i ra erlecrJrur.uas
atsa ar?J 'rGpt?g uap snp Tllg) rnlnolq?r Inlun?1urp earrrrrrd
gtuezatd atsa 'atq8tag-saxpl pl tpg A aua1t1 ?J ?uJd oldut,Qg
.rreu aps alarado al?ol uI .llul8?tuJ
$ 7,q,to1 ad Tnuntaq e1 ap
eie;erdns ap aoeoJurp ar$asp8 as ac lnrleds arlpJ gru(rrrp atsa'rn1
-nolq?l lnrieds utp 'arec earr,rrrd alse elEutues elsacE eJluIP lu?l
-rodur rEur [aJ 'rrJpJrunuroJ [E xnlJ un-JtuJ eaurSeur gzeat?iatur.
aJ€c eJeuruas uriuoc lauetrAJ rnl alrrnolq?l urp au?d erctu mu EaJ
:leuorlBtuazatdat-etaut rdarp el\ylw earnd tue-l arEJ ad'rrra;rp
lalru un ?l pz€enrp as BlsaJ?'aps rarado E ?lu€lsuoJ o ?J l?Japrs
-uoJ rJ ?rBod !s aruc ,rrur8erur 11r;rdeo" rlur,rrrd ug cr;rcads un
?lstxa gceq ',,tn1ulual e rraprard" etunue raun roJ pp JulSeur
JolsaJ? 1e ,,lueur8r q" ep Iualr?J?J ter'ur1d sot3 un ec 'luldorde
eu?oJ erepal ap rcund un-rlurp elrnrlsuoo luJs 6lgl-glgI
rrue urp suncuoS-gto7 pugruaza-rder elunolq€t rEoC 'aprlrz
-oduoc aundns r$g arec E[ EaJEJtuaJ uI sele r?ru plsaJru€ru as
(rorpla$ug) usrJeuorirp?rl lsecv 'gpuorirperl ?ruJ luarede praru
16g laueyl rJo allnru retu ela3 eC
-etrr o ap ,,alrur8evl.gzeatdec"
SOZ rSnsNI 'rs audsss rlrNvw
206 rMAGrNr lN ocLrNDA
1
i
$
NOTE
1 E. Moreau-N6lanton, Manet racontd par lui-mAme,2 vol.,Paris, 7926.
2 Albert \flolf, in Petite Presse, 77 aprilie 1876, dupi G. H. Hamilton,
Manet and his critecs, New Haven ;i Londr4 7969, p.796.
3 E. Duranty, .La Nouvelle Peinture", Paris, 1876, in: D. Riout (ed.), Zes
ecriaains deaant l'Impressionnisme, Pais,7989, p. 127.
4 Mtr limitez si citez dou; texte devenite clasice: lV. C. Booth, .Distance
et point de vlre" (1961), in R. Barthes er al., Podtique du rdcit,Paris,1977,
pp.85-1 14;i G. Genette, Figures III,Pans, 1972,pp.783-267.
5 Existi totugi excepgii: a se vedea'W.Kemp, Der Anteil des Betrachters.
Rezeptiansiistbetiscbe Studien zur. Malerei des 19. Jahrbunderts, Miinchen, 1983
gi numtrrul consacrat aceslei probleme de revista Carte Semiotiche, 5-6 ( 1988).
6 Dati fiind absenga unui corespondent convenabil care sI desemneze privirea
pe care unul din personajele dintr-o picturi o adreseazi spectatorului, prefer
expresia germani creatl de A. Neumeyer , Der Blbh aus dem Bild.e,Berhn, 1964.
'GZ t:' SZ'su ''17t'do 'urersuapll/N-uenoU) nie;ado
rderalare Inpor ruJs ereJ laurhl rn1 a1e aie;eurr ap a.rado ?nop prslxa IE1I 8[
'(OS-SS 'dd'ptel ap lnunlo^'^) 68[-99[ 'dd '(SgOt) el
uol <seuluahl> uap ur tgruod
'alqctqtsa8tsuny n! lttqcsllaz u!',,zanbze1a6(eirqcrotg'I
saqeqSruol pun alroaqusunll :s€a11 o8eurl' 'A :pepe^ es V ll
' Il'd \'1or"t1t'do'uotue1a51-neerory 9l
'pirqcs o er puynl reru teraprsuo) a (UZ ru'916l
'eaaua3 'altltosl?t au8o1elr2 '1au/W pfinopE'uratsuaplrrlX 'g r$ rrenoa 'q)
o.{1oa El ep rletuaprrro ErrV ap Inazny{ el ep Inrorlrodorny 91
'9y51 'e:puo1
'rydut,(,1g : jau/J4[ '#tu 'qI : EaPeA as y 'rrurldtug rde; un era 'lapour aP lrruple
'aur8eurr uJ rnlnJolEarr Eaunrznrlur'(tOOt) oss€Jld Inl nes'(eggf ) urnSneg rn1
'(OZgt) avuezeJ rnl alErolep'(nldruexe tsaf,B EI elurnzer au e n-rruad) 7a1du,C76
elrrpta.ld.ratur uI 'rrtiu.re 'apeda: ep Imsep prul ri 'sundsp.t ne-ay upco,ro.rd
JolseJV ('ge 'd-'ln'do <e^aqle-I pnde 'g9g1 erunr 'a1n7ty,7 ur 'artarr13
salnf),,1zrdurd1g ad aturzetdat o-s eriuata.rd ar? aJE. 16'sa1nc apun ar1$
auro Iepou'uaqp8 ra lnraruld nc'ppqrued prsrlepo ?lsEaf,E nf, r-a3' :?f,uJnES
'(Z€'d'6Set'srte4'asatd z1 lu?aap salsqoqut,Cs 7a salsruuolssatdutl'ety1la1 'l
ep tr1rtr g98I arunr ,Zrrlp lasuarun tkalluory ur'.rar1neg'qa) ,,yeac.leac
un ad surlur lapour AEJIJ un 'atsa ar eaar rdarp o-purnl JeII{tr nru 'a.repa,r ap
tcund un rcru urp pcrydxa as ru ptdu(.1g" :rea-rasqoau rnrarl ? nps Insues J?p
aue.loduretuo. pu? ep rrJrtlrc e aued ?unq o ap lef,JetueJ rso; e lnrdeg 'e;lsnlr
reru alaf, ales alrrira-rr Erprunu as aJEJ a.ltuud 1aue141 rn1 ale.arado ap euas g8unl
o-Jtur eluazard ruls ,,purzod IepouJ" e:nre1 ri ,,.rar1ate' ap lnrcadsy y1
'1e.laua3 Ieur JolaeJeJ un nf, alEnzIA r8ulur raun € Euaf,s ur
ruaund pJoqrl epl usgl e nrtuad 'rnlnfcargns Inle^ru e1 are;3arur es er.rdord lapse
purloruersa '(yn(ruos.rad) auuezns 7 (1n1apour) euuezns Eaunrxeuo. EI plrrEJ
aratnurrl arrro tetorue3sa e 1n:olcrd 'r5ntol '(tSV'd'tOZOtl '-IIXf, 'autzz8ty4T
uolSut1tng aqJ u! ',,<sa:tule4 sap arIotsIFI> s<ruelg puE lauetrAl' 'JJaU'tIJ
I$ OgZ'd 'g651 er;qruorco-arrgurardas'1tl,,1 ap tuoutv<I ur '3ur1.rar5'q3)
suaqn1 lrll e uun?q * zuzzng punnpo:dar p:n.,'.e-13 o-rlurp le.rrdsur e-s
ezuld 'drur1 rielace u1 '(ge 'd'Zrcl 'uarlcunlaq 'nuoly punopT'a;ae.r9-.rara141 'f
ap prtlEler lyoquaaj-r11eo){ uog'I rn1 errnr.rpru) rnlruotord e arios pareollll
'1;oquaal auuezns ad lapour ?r lnl? e psuudtns ol*lN'rpp E-l r arec ad 1eur1
ur.ld lenuale'cr;e:Sorgotne luauala un ri auriuoc prado grseacy g1
1n1rrr
'9g|d'168r
snur'aqcurlg auaav 17 ur',,sxua^nos 'tauEtrAl prenopg' 1sno.l4 'y 71
'672-9Ce'dd
'Grct) IIAXO 'autzr8z141 uot8ut1ng aqJW ',,pasud.rn5 aqdrud5l s(rauEtrt'
'ssner;tr'A purlesoU :rSl-6Vt 'dd (eEe t) Lyl'suv-xn?ag sap aliazpC
:uJ ,,X suoder sal te tauetr I ep asr.rd.rns aqdurd5l E-I' 'Iurperro3 'p II
'(eg'd'e86['sue4'sie1e4 puerC np srleuorleN selraleC'(€ggI-e€gI iau"W
erirzodxa e1 1n3o1ere) ug) urqce3 asro5uerg rn1 auri.rede rg ersa;dxg g1
't56 I'slrtd'pars1cur1;tr suarprrglt
'npalqq ,tp uotl"t ltlsut<7 ee."r eeue) elllerap n-rruad.ty(T
f i;rt9,jilIfr"n
'e,r:aur141 'aprddrlq4 n;puexelv ep 'ruorpen) ltut np suad sa7 '196l
'sr,re4 'aper914 e1 ap anbqqroqgrg'sat41dutor satanD'alelapneg selreq3 8
'0661 'slred
1aur147 apn8at a1r'uouagreg auluehl rn1 ayrie.raprsuot ri 721-1yI'dd'186I
'uolaouu4 '1tV ue so Suttuzrrl'urraq11o2tr '11 rn1 aprieraprsuof, papal es v I
ItZ rSnsNI 'rs audsac rsNvlt
232 IMAGTNI lN ocLINDA
III
Calea feratd a lui Manet a fost inceputi in 1872, in strinsi
colaboraie cu Berthe Morisot. Tabloul pictoriqei intitulat
Pe balcon (il. 129) dezviluie cit de apropiaqi erau, pe atunci,
rnaestrul gi eleva. Nu este dificil de inqeles cit de diferit s-a
(ales laleutunJ r$ raualarrd
o-JluJ gtratuezerdeJ alse ea eteJ uJ 1e
taruod un lrlord e 'rLBl ut 'aJEJ lauBtrAI aP lnJsouno aurq lsoJ
IJ Es alnqarr ac rde; 'rr,,a1ertz1t rrra8undprls( Etual aP ?leJatu
-JaJ luelsuoo res?[ rJ as ?s arBd tostrolAJ al{uag 'EalsaJE al?ol nD
'orlueuodtur r?w llnur IoJ un ttut8Btut E auJelul IaJaIJEq PuJPJoc?
rS ,,nrt1r;-rr.rn8r1" I€ [aJ nJ lnlnrotr,rrrd IE aJaPa^ ap lnrcund pc
-rp?J r€r.u puruneJ'uo1es ap r.rnrcrd laun alluntsuetulP ?[ rnlnolq?r
lnr?r.uJoJ rS-npurrpru 'Eurel tSeaacr t$ eun ap tau?IAI terdorde
uulvq ad',rosluotat EHruag '6Zt
197, ArVUrlI{ IIUIAIUd1nAIJohl
268 IMAGINI lN DIsoLUTIE
4r
E[ riuat€ aiEJ aLI 'rnlnpod sPerlsnleq ad trurfr"rds 'r:npu58 ad ',;,1
JotrJuRut un 'pldEaJP eaurS:eu tr5 'ttutSeul Saur3utpe ut 'a-1en *
-rteadsrad tt:g:o5:tu Jnrpeuratuiurrd 'te-ln3r1 arsa rnlnpod iu
'urapoul Inlnslted € puelpllor puats o elsa 3s
Iaio ap Inla[aq]S
'Lrua1-'(ig | 'y.) vdotn7
l?tpocI :pseorirqrue otrao!
p.rntcrd o plutz
-e-rd 1a 'rr(U_gl) prsruorsa;drur aritzodxa elaJl e aP ?aJ 3T -'*5r
G
'Ec,,lapl ap reuoricaloc" lurl:odrur un rS fsol E 'psut ratu eara:9d
?d"O roirrd ap eal nJtuad rgrap reuoricalol aP EalElIAIlce n-rluad
F
eujapolu ralJ? ?rJolsr ur lncsoun, rEur alsa Iu 'rt(v68t-SISI)
etloqallr?J aAElsnO rsoJ E ?llqerJIlsap :o$_n rEuI [aJ elsa *.. ;
EI
i".:. ''
iaueyrl"inl uiuanl;ur ares ?l lstuotsa:dui rn1ndn"r8 lnrdapy
;^:
-*- {
I
e{
a.
tqBqyl vlnsut ad ap atapaTt'rosIuoN gHJ.x-:Is 'Ze I
tr.
''.it
b'
h*a
-dd
ffi/r ***cnqq -'Y
a ;l r,s*"i" *-frl
irt!. -. t
692 srVUr-IIi IIUIAIUd'InAIrOhl
270 IMAGINI lN DISoLUTIE
;,1
toli (...). Nici nu-gi pogi inchipui ce nostim era si o vezi ficindu-ti
jocul, sau mai curind meseria (...).MIintrebam: cum reugeste si se
facd inqeleasl atlt de bine, atit de repede, de total. Oare adaugi privirii
un semn al capului sau o miscare a miinii ?
$i, ca si-mi dau seama cum proced eazd, r.r'i-ar..,:' luat binoclul de
teatru. Oh ! era foarte simplu: mai intii o ocheadi, apoi un suris, apoi
un mic gest care voia si spund: <urcali!", dar un gest atit de ugor, atit
de vag, de discret, ci-gi trebuia intr-adevir mult gic pentru a-l reugi
atit de bine ca ea. $i mi intrebam: *Oare a; Putea si-l reugesc gi eu,
acest gest de jos in sus, indrizneq ;i gingag?"; cici era foarte drngug
gesrul ei.
- m-am dus si ?ncerc ln faga oglinzii. Draga mea, inchipuie-gi, il
$i
reugeam mai bine decit ea, mult mai bine ! Eram incintati; am revenit
la fereastrtr22."
NOTE
1J. K. Huysmans, -L'art moderne", in D. Riout (ed.), tes 1ctioains d.eoant
l' I rnpr es sionnism e, P ans, 1 989, p. 258.
i 1. R. S.h-oll zis Eisenwert, .Fensterbilder. Motivketcen in der europi-
ischen Maler ei",in Beitrage zur Motiokunde des 19. Jabrhunderts, Mtnchen,
'tg7-gt7 'dd '( tSe t) 't1c 'do 'uotue11 'I{d €Z
- 'l1l-g1t 'dd '11 '1o,r 'tP"l9l.I e1 ap anbqgr
-ollqlg 'sue4'sayaonou la saluoJ u1 ',,au8rs a1* luessednelN aP 't 7Z
.Oi2'jJ. t dO t-. sui a
'- -- 4,ln &as p n p as,Cl ruo,l 4 uour n p otlu 1'uourc11'tld. t Z
'dyit ioee t t.tpuo17ua,r"H reaN 'anoqaqn3 aatlsnC 'eopeu
-rEA') 197'tu '816I 'sye.I 'atailP uos 'ala n 'anoqa11o3 lneqrrag 'yq 67
'- 'i(g'z:a 'tzeilus"tttrt g 's'raarul 'n-rsa3'roa' 't 'ruo'pett) 8l'd '1961 'q3
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' s 2
sa a1 uI
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uort"uossv.l aP snrqpJ u1 ',,9urtge141 eP s?rreual sa1' 'uqo3 '3 '11 8l
'V'd '(eSe t) 'tP'do 'uourg'q4 21
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",',r'opu1',$.
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'1S 2 'g:19-29 'dd
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.995i,utirr.rir4'.1'tr'Uru'Uta1 pu, sauaqT to t?r! t :tnqntp to slaoo^u eqJ
'
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'gs-sz'ii'gg6l-'utqt.rt 1r1'statqczn ag saP f a1uv'laq'.'druay',4tr I1
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h' d't86t'sue4' anotanq't14
su"p uozpnlptu? la dlxdJ'uoureg
1a atc1uptgtq 'stna1z11 ;afo7o9p1 6,
'iZt'd'U6l'syed'flcat np anbugo4 ''1e n
saqueg'1 ut',,a3euuos.lad_np anb€o1orur9s lruals un lno4o 'uoureH 'qd 8
'1951 'o8errqT 'uottng to ruolacly aq1 'tTtoog '3'/(\ I
'68'g/;:di'9761''i{gnuotlt 'i't"" '(rai11eg 'g aP 'Pa) 'acuapuod
-sauoJ 1p2'g, u1 '(anEq:qr1e1'V arrpf, a:eosr'ros),,uena,1" 'v1o7'g 9
'&L'{'4r '7t\i,, rnorv "qi u3 '-arnlurad ella^nou e1' 'lrwrng
l}.fra,
'r.reg'(uosdero 'O 'pa) yo&|ol atadg u7 ',,"rnnld €llao' '*"tl1rf_lrl.UU
'dd'0661
'o171,u1,y u7 u.ado u! arznf * TttV':9\e1 aP Inurnlo^'^) 6gI.-90.1
'1ioa ,ta51-qor.rn2-tuiaqjs?PllH 'srxnaT saP uaqnpq eKI '(Pe) raurgy'H
u! '.J.t""p sb1yr.rn1,,q airiiBtrqitttl$r"g. .la.repuosaq rarun rrapunq'rqef
'll utl lre{qtlplrrrt1 Pun """ PII{ 'l{eJJg aro(rn} rag' 'phqcrols'I'A(qalluog€ 'f,
'186t '{ro1 ,ta51 'l.ry ul cLoPurA rqJ
19251 'zadotT-tu:rag'aaguat 4 :innn1 4 aczdsa un,CI'P ra 1e3'loa9 'd.:016l
l8Z Y'IvnzIA veIxrNI IS srross't.Ilvc
Giacometti
Mina, vidul
,rr-; /y-41 aP
/Anv+Q-**a+.-t.
c/ee,z ?fufrz-aLo
nu este o picturi* va spune el. $i, puqin mai inainte: ,,si-mi arit
opera?... Nu, nu, trebuie s-o mai perfecgionez'. Reluind o
discuqie deja deschisi de citre Ren6 Passeron3, se poate spune
ci Porbus incarneazd tipul ,,pictorului de clienteld", in timp ce
Frenhofer intruchipe azd,,pictorul cercetitor'.
,lnciperea de sus" a lui Frenhofer va avea pragul inci gi mai
bine supravegheat decit pragul atelierului lui Porbus, de parci
ar fi vorba de intrarea in laboratoarele unor ciutitori ai pietrei
filozofale:
, Si mergem la atelierul lui !" va exclama tinrrul Poussin rispun-
- -
zind ispitei de a contempla .capodopera necunoscuti'. .- Vicleanul
bitrin a gtiut si-gi ztrvorascd bine uga' va rispunde Porbus. oComo-
rile lui sint prea bine pistrate ca sI putem ajunge la ele. N-am atteptat
eu sfarul gi fantezia dumitale ca si incerc si iau cu asalt taina.
Existi deci o taini
- Da, ?
Dar cit de fragili este aici limita intre sacru ;i profan ! Ajunge
si citim Elogiul macbiajului al lui Baudelaire, lector ideal al lui
Flaubert, pentru a ne da seama de aceasta:
....muselina, vilurile, nesfirgitele 9i mingiietoarele lesiruri in care se
inve;minteazd qi care sint ca nigte atribute, piedestalul insugi al acestei
zeheji; (...) metalul ori pietrele ce se incolicesc Pe brale sau pe- git
( ... ) care-;i aduc scipiriiile lo. v;piii din privirea ei .. ' Machiajul nu
are drept scop ;i rezultat decit si creeze o unitate abstracti;i, in con-
secingi, sn apropie pe dati f;ptura uman'i de statuie' adice de o fiini;
divinl, superioarl' 1e.
'uaqnelg:p, alurcul Lunr€ ap prerrc) atitpa ptseet€ UIP aseJlxe lu1s'g.1e;luor
arirorput o ruare; U) ylzer ap ErEJE'a1aleltr alEol'tge 'd'11'1o,r'916l-116l
'aurruog atguuoH(l ep gnlf, 'srn4'salqlduot satavD llagne1g a^?lsn9 I
gION
'
,,leto) aP ?JPnd nJ l€f,alsarue 'nr3au
drsru un-rlulp" '- uaqnelJ ad ruaperJ l-gs a Wep - Br€3aI J
urp JolrJalod ruaues? (alnf,pJ 'afeuosrad ?noP Jolef, a[IIJol
-JereJl ?JaPrsuoJ Eelnd E ulued luaIJIJnS nrsIPuI un EaAB tuE Is
'r.et)etetet rolaluaror pcol(ru ug r.(ogerypq) aprqel ales rolalqnP
(aurnu InlsaJe €al?luouos rJJaP IJ J€-u ac
InreunsPJ nJ
,' rr,lse to g Btuwg rcseaunu
as ?s O ieorr^E:tg8rrts un gtepoap aseo.s 1a 'ru8au lruer8 ap Jollcugs
alrJnlJl uI purqzr lnllN tu?e^r:d rou ac durrt u!'glc€J€t€c EnoP €
rwwop areo rr3nogv-laqa[C ?etuln ad'areoua;tn lelqnN alareroq e1"
: due3 nC eunds au
'gquuplps Inuewor nnuad
- epasqo II rnlnrrpeu rarios EIrolsI
rrrptuauncop ?arepa^ u1 rdrSg uJ ?as?3 as uaqnelJ Og![ uJ
'rr?uolet r8unlapug
gdnp erqr Jep (teqwrqJs (JnSrsap 'rso; e teutoJe elarunN
'eJEtulag aurqdlaq'rrios aps raJIlBJnSn
eatde rS prel ap rrpau rnun e purp^epe ?Irolsl arierrdsur ep pFdI3
-ur:d gsrns €J tnle 11 n fuaaog puuraoe pc apunard 'rragnelg
rnl F uaterrd 'drut3 nC[ aturx?IAJ el ellrulrt arec ,prirp?rr O
'or(tIIzt'111) asnppp o arec ad
"grepoar^
arso8erp ap aletrr.r?s ?rs:orlul IELu ?ac 'grrSrl;s ra earalnd preot no 'np?p
'rnlnuuoq rnlnrg 1ndrut ap alaznq rA-npurdrl 'rS 'alas tsoJ rJ JB-I urnc
rS ec '1nrg8 asulul r31 euuE Isutu? :lnxtJtcruc ?I gs ?rIpIJ as lnfoar4'
: ranueSorarq
1e 'nnes rnlnJor.ue InJol erse au?our eP InlEd
(Ittn '1t) ,"'a1ara8ap rodt asratS rSg lnroar4
'qqun rpru rol nu (unr? ap arec r5 'alaluuop gcsealorod r6-gs e8rale pugc
lreorurpo ara8e {p e6e 'rolareorcrd edler ad'rrS.rgs ut 'r$ aarns al.ra8uue
el n€rgJsap as arer alulltu ad rode 1n1r;sap ur asedrl r$ arlnrr ap asnwa8
a.rec lunrcuru ruluad asastrlrsap as aJ?c e.rn8 ad rode iralso8eJP elau
-sarrru ap rS aplec rratp€ ap atuooe[.elu?u ad rode .'rr6atr{w?d ayrla.rpru
aleol sl rlntu ap l!18 ?JasruAIJ arsc Irq.o ad r1ru1 IeLu :altulul o-s ndacug
r$uualaprun u1 grdrarp €ultu q ap ar?ur 1ac ynra8ap arnur ('" ) 1nroar4"
:eueoru aP n?s
lrusd ad ,,ernt€ts'( EJ Jolne ep gtr-tueze-rd a eurug ?J?o ?tulllll
qzt IUVAOgWWV.Ivs
326 IMAGINI rExruALIzArE
Dat fiind cd, abia a fost citatd' in intregime, imi voi permite
si o descompun in pirgile componente, pentru.a putea identi-
fica gi explica, pe cit poiibil, problem.l" p" care le conqine. Tre-
buie si remarcinsi oii"n- ci traducerile pe care le-am consultat
demonstre azd in repetate rinduri dificultatea textului'
partea descripdvl a discursului lui Ippolir.conqine gaprc freze.
1. ,,Tabloul^acesta il reprezinti pe Hristos imediat dupi
coborirea de pe cruce."
ln aceasti-primi propoziqie, care este' aga cum tocmai s-a
demonsrrat, piogr"-itiia (tabloul il infiqigeazi pe Cristos, deci
o-ul "".. it"bn"ie si invie dupi moarte), se remarci imediat
imorecizia iconoerafici a scriitorului.
'Ce semnifici ie fapt ,,imediat dupi coborirea de pe cruce"
(,,tolko Sto snintti so kresta")? -
"' Dupi cum se gtie, iconografia cregtini (cea occidentali la fel
ca cea'rdsdriteani) inregistreazd. mat multe momente codificate
vizual care urmea zd coboririi de pe cruce, printre care plingerea
154. MAEsTRU ANoNIM' Punerea in mormint
ggrP ?s ear^ aJ pzerl eseourrcIqae es €Aauac EI eP euaqs^arol
-sop alarou u; '(raunriereu r$) errotsr puJznlrxa 'lerodual
-erdns 'ze) eJtro ur 'alsg 'Jrlels-oa ftrr{o nes 'Jnels pJ l?uuasaP IJ
ateod (?s ,,Brulou") rlsaarorsoq €l aiasnun:; ap lnrdacuo3
,,'ruru8rlspr IE uIr{J Inrol?ruJurgdsug (eau
Eleatof,os gdnp) rJnsEaJ ase$ qp euraJl t?Jnpul e ete)'rrSrgs ug
'?arn'rJ eund 1$g pugo IJunlE aturllnru aP lnrpq 'rieplos eP l€rnuol
'lmrSurgcs tr,ro1 tsog e ere)'tru3nspr tsoJ IJ e aP alurcug etruzeot?
rrcqdns lrJaJns e eJE) r.uo Inun InJ^€p?3 J?AepE-Jlug arede rcre
lrotpuguase Jrurru rzaa nu'ul[o3o11 Inl lnolqet ul'1cp JO" 'e
'eridacxa 'uraqlog Inl [? ,,uoru [nlslJ3<( Jet 'eLuJou alnlnsuoJ
(,,tern3r;suerl lndrqc") eueocr 'I{slalotsoq n-rruad 'ec ezetodr.
nJ ?lepru€coap runilnru rol gIN'gt::- ap InJuolst nrluad tcte
ap Srncap ac alaiurcasuoc aleol zazrleue gs zauoriuatur nu rctu t$
lrqrsodur alsE ',,al€zrJaJdau" elrsaoons alauaJs ug rS acnrc ad ap
eeruoqoJ ug r$ rerqc'(qSf '[) pueool o-rtuJ eJ ietvazatdar alsa
solsrJ3 rn1 lndrgc (- Dlslelolsog pdnp - ,,IeJIgo aq" 'telnuol
lndn-rr $ (aiq a gos?tq xouuaaouqxqoau) ,,lern8gsuerl lndrgc"
aJlurp lrus?Jluor puyrsnlr 'enop e o 'Jn?tuoldrurs 'atede nle
',,pt5ln elidaoxa" rS ,,gseoturu; Eurrou" arlug eararfuaJeJlP aP fiBC
',,pr?urproertxe" runrareo aurSerur o elsa laseg ulp ti"Jff*""
ap ureqloH rn1 rarariuaraJrp gzeernua))e pzeq ptSrtry
,,'rJnurqc alrldunc r?ru alal e1 sndns lsoJ ?
pup alaruaruour ur r$ -rerqc aiasnun:y plsEaJB puriuau r-?s plnef,
ra !aiasnunry glrnuSlqoeu o ap drgc un nJ solslrll ad recrqo
ap gzeair.\g1uJ Il eJnrJ ad ap lrryoqot p rS rrrruSrls?r Inluaulotu
csa,rprSnz aJec ruolJrd pc ersardrur euneaPlol ln^e vw" 'Z
'rolruned erJolsr uJ rnlnJlepeJ e pJll?ls Eateluezerdar prod
-uel eJpEJuI E ap aJ?JJaJuJ o 16 'pugrnf, uJ e,r as wnc e$r
"apaa
'1a ?1 ?suJ ?uweasuJ ,,eJnro ad ap eaJIroqo3 pdnp terpaul"
'uraqloH ep gtrcruazerdar euacs n:tuad gfJexe aJlunuaP o rrspS
e nu 'axopolJo lrrrls aps rariecnpa (prrrorep retuJol ateod nes)
Bpnro ur'r4s,rarots.ocl ?J prde; Arl€JIJnruJas retu etsa rou ruluad
'ezsoqrv alalunru.e ap prnrcrd ep eefiE) pz?aJlsuotuap o unc e6e
I
'eluatuotu ?nop Jolat e gsrcard pcr;erSouocr ea,raduaralP l€f,JeruI
e-s 'rlsaarolsoq rnl aJ?rIrtuEJ'psnl ?aJ ur r$ arzrgl gunuezrqe]:e_
ur 'eatsar€ er"ol n3 'GSl'VSt'[) ffiqtsodwl ?esePe alsa psrcard
eJ?tnu{ap o tIJuJ 'luyurotu ug rrraund € EeJ nJ are3a1 suyrs eP
lll? tuls rr-raSuqd alu?luazardar 'gsnr aq3a^ rS punuezrq-nrco1(nu
ea, uJ 'arrndrurl ?ueIIEtI elJe uI '(atuaqatSo't41qod oa atuaI
-o14) tuTttttoru uI earaund r.i(aacilsttll qat axuvatEo1dg gsnt u1)
ltt. vrLs^Is NI rorql Nn
338 IMAGINI TEXTUALIZATE
interesanti: daci toli discipolii lui Hristos, acei care au devenit mai
tirziu principalii lui apostoli, femeile care-l vegheau' st?nd in picioare
lingi cruce, daci, intr-un cuvint, to$ adepgii gi adoratorii lui i-au vtrzut
trupul in halul acesta (gi cu siguranql cd el ardta intocmai a;a), cum de
an pnt.tt si mai ctead6,la vederea acestor jalnice rimlgiqe, ctr martirul
acesta va invia ?'
NOTE
1 Lebenserinnerungen der Gattin Dostoieoshis, ed. de R. Fiiliip-Miller;i
frriedri.h Eckstein, iliinchen, 7925, pp.771-172 (trad' rom' de Leonida
Teodo rescu, IJnivers, Bucureqti, 797 5, pp. 1 42-1 43)'
2 Despre problemele de datare ale acestei pic-turi:H. Reinhard,t, -Das
frr*t.hurigrja'h, d"r toten Christen von Hans Holbein d. 1.", Zeitscbrift fil'r
S ch w e iz erlsih e Ar ch iio lo gi e un d K un stge s c h ic h te, 20 (19 60), PP' 41
i?'
Dostoievski, Idiotul,in rominegte de Tamara
3 Toate ciatele sint di"n: F.M.
si -tb. Gane, Bucureqti, 1962; aici, p' 304'
' NicolaeSr..-o.rkhoff, .'FI"r* Holbein et Claude Lorrain dans l'IJnivers de
Dostoievski.., Actes d.u Cinquiime Congrds International,des La-ngue-s et
Littlratures Mod.rrrrr. Les tangues et lei Littdratures Modernes dans leurs
Relations aoec les Beaux-Arts, Florenla 27-37 Mai 1951, Florenla, 1955,
pp. 441446 (aici, P. 445).
^' 5 Therese \flagn"r-Si-on, -Dosroievskis \flelt im Spie-gel dreier Bilder'
KunstinterpretatiJn in der Begegnung mit.der PsychiatriC, in: R. Battegay
(ed.), Heriusford.erung und Begegnung in der Psychtlllie' 7u Ebren oon Pro-
frtto, Dr. *id. Gorulro Benedeiti, Bern/Stuttgar/Wien, 1989, pp' 239-254
(aici p.2a9).
'- a'R. L- j"ckson, Dostoie,z.tsky,s Quest for From. A Study of His Pbilosopby
of Art, New Haven/Londra, 1966, P' 67.
' Z J. Kristev 4 Soleil Noir. Ddpression et mdlancolie,Pais, 1987, pp' 119-150
(aici p.1a7).
' i'Vezi'in special: FI.von Einem,.Holbeins Christus im Grabe",
Offentlirie Kunitsammlung Basel, Jahresb.ericbt, 1961,-pp' 51-68; H' Klotz,
Kuns tsamtnlung .B a.se l,
-fi olb.i"r Leichnam Chri;i im Grabe", Offentlic b e Holbein. The Paintings
Iabresberichte 1964-1966, pp. 117-132;J. Rowlands,
"oi iars Hotbein The Youigtr, Compteti Edition, oxford, 1985, p' 52 9i urm'
-'
; o. S.ttirr"t v. Flescheriberg, .Die Technik des Bildeinsatzes", Pbilo,log.u-s
LXXII (N. F. XXy1) (1913), pf. Sr-tr+; E. Keuls, -Rhglori_c and visual Aids
in Greece and Rome;', in E. A. i{avelockiJ. P. Hershbell (ed.), Comunication
Lt, in tbe-Ancient World', New York, ieza, pp' 127-134; J' M' Blanchard,
.The Eye qf the Beholder: on the Semiotic Status of Paranarratives", se-
'*;ot;ro,22:3/4
(1978), pp.235-268; Ph. Hamon, La Description littiraire'
Paris, 1991, PP.7-9 9i 119 9i urm. ,
fO U. d"t t ti ne,'La poitique de Dostoieoshi, Pais,lgT0 (in rus;', 7927).
17 Yezi supra, nota 8,
ii rirt"t h. p" ."-" tabloului (IESVS NAZARENVS REX IUDAE-
irovenienqi mai recenri: Se pare ciinci din
ORUM) este de secolul al XVI-lea
pi;; .r"t Li" de un ,titlu", Pentru a indepdrta dubiul privitorului'
"rr."
ua <Inb ar aoulurJatap awJoJ aun.p JnaAaJ alla-tnad uourur8eurr.l" '(gVt'd
'II_'lo^ '7251 'sue4 'eqcod ap er^rl a1 lno.ry .g ap .perl ,tolpL7),,t aurro; ep
sed e.u rnb ac aEeurl.p eruJoJ aun snos JroA uo-lnad. :aldruaxa fnop ptEI .alrg
-rurl atEol edeo;de ur alrglzr^ luJs ezerJ relsarE rlraf,nperl elliEllnrllq O€
'rnsa8ns atlnu zaJotEp rr
lercads
potu ur Surrlag 'H tn-I '1951 'uq.rag 'uotssrrJ ,tap u1atmppt .taqut{ uottEunl pun
utol 'nqplan?W utl utnryqr4d was puu pt?g see,Eurlleg .11 rS .ru.rn I$ tSZ .d
'2761 '8gdg1'8qsluqac '09 utnz npupplartl '[ nt {uqcstsag ur '.sr1e1ar4
o8erul* 'd:1s;oue4 'E : rrpnts atueuodur reru alar brc zelo ps zetnull PI I 6Z
'Ol Elou ztdng 97
'lZ'd'196I'uloylsuny uaqrsirtapqv up apuE s"p pun ata&uuI
np uaqpH ':apur4'1X\ rnl BJmf,al alse txatuoc lsaf,E ur ElrleJllruuas lZ
'9tg-ZOg 'dd 'Og5l '3ue3;qef ,gOl ,l[ ,3unfiaztnjpl,an7 aqcstEo1oaql
',,196,1 ;en;qaC'6, tue srlsr$.etotsoq.yq.g 3ersapol 'OOt urnz .uasolra rlerrN
elp pJrll lrequoqts erq' rlf,seuo 'X :tuaral tzar ntseace a.rdsag .g .dec ,e-6
e eeued'flo1pI rS ((61 erou atdus) lotpJ,T ap siau&J sa7 (rlsirarolsoq 97
'hl-gtI 'dd '616I'auerpr.ra141 'p6e;ncng ,rlel5 ueqreg ri rrer5 ntprg ppuEruurs
ep 'uJolpvn <soqlv alatunW 4 ap pntctd ap alr.?C lu.rng utp arsruorcl gZ
'gng-grg'dd ''rc 'pa 'pto1p1(Dlslerotsocl tZ
'u.rn 16 gtt'd'196l ''141 'e un;:1ue tg,uauorttututtqlJ iu! (7951) ,,rrary"gratznp
-o.rde1 uaqf,sruqf,el Jauras JollElrez ulr {Jeafsuny sEC. .unur(uag'.r1g 67
'rrin 1e ri rnln8e.rd
Inusrloclurs n_c eriela.roc gsuyts uJ Inolqn gzeelvJt rls^arolsoq .parteJrJruruas
atsa ,,auode:dns' ec Ba-raundxa ri .lerq3 'cle ,,ariuate pluau nu a.reJ indoo
urp ledrcur.rd uJ Elsuo, Ineznu
(Jrlrturc urrd
e;a naznru eJtpf, InrunJCI. '(:-rtt
I5 tgg 'd '.taqcnqaBel 'ere:1s,raro1soq
.t 'V rzaa) laseg urp erieprs nf, aunruof,
untf spJt allnur aJE 'ueruoJ uJ Eluetsrxe 'rnlnlxatuoc E aJarJJsap v$e$V ZZ
'rO€-ZOe 'dd ''ttc 'pa 'ftrcryJ'rls,rerolsog 17
'raurPeu lraqou lnl zaroleP
o erIauV.C[ r$ neane3 EI ?aratrtur"rl 'lzz-16l .dd,(OgSt-gg8l) IAX ,aqurna
-pls aqJuJt[',,r1s.tarolsoq ur rcrJourd r^rtolt. .erlaury.q .y 16 rza,r,r:1s,rarol
-soc pl frual EJ errucrd a.rdseg 'naznru r$eyace urp seuJ supl{ ep ,,lruorpzarog
u?oJ rnlruulJs rnlnder Eeralpl' ap Eqro^ ygeqo.rd auzoJ ?suJ atsg 'ureglol{ lnl
pererrnl g re riugd raurud ,1.u.rn
F rcurr lnlorrdec u1 up1$g11 ep l?.o^e Inolgsr pJ
16 Sg
'd '_9761 '1qsaa1olsoe
zaqr aubusqtp uotlp?tJ 17) etwrd 15 rys,rarol
-soq a.rdsap lualarxa p;eua8 u1 lnlorrdec ur aurisns neaup3 sanbcef gg
'€g5l '(apelgld) sue41otp1,7 u7'totp1,1 ap flatu?J saT.rqs,rerolsoq .hl .J 6t
'r{s^erolsoc rnl rolelur^nf, E plaplJ arEpar o ef,
psealaiul arngarl erc{slerotsoCI rauuv Inleurn( urp rnlnolget Eerau.saq gl
'g€g 'd '(g1 erou u1 ec) rrels,rarolsocl .C'v lI
un r'op 1c luss ,rurrr re uI plsrxe
"(:ilffit';1ll:ili:ir'#3:ilHJ;
ap runlrrd e ?arlecrJriruas rep lsrcuoc erprola o oloce irsrxg .10;t .d,11 .1oa
'9191 '3.rnqs.le1ad rlues 'atadg) tnt tot?lpt lnur1 aftosr.Lta ,urzrue;ey plo{lN
rn1 'pqego.rd aueol \ztetorep as lnslndurl W (69€, .d ,016l,e,rocso141 \zatse4
araonpe.lt) piuyaya; ap es er;e.l3orq u1 eriuare aSB.rle ueurssorC pruoe-I 9I
'urrn rA ,ee 'd'9g6l ''slTurals8ruoy peruo3 ErEqrEg uol uarlrsrssn1 ruap sne
'ua1sa1y, uap u asza[ atq',taqc1qa8zl tre:1s,ra(otsoq eu,rauoEug Euu17 El
'('r'z) tn1ruolne ea.lrra;d.lelur aurlsns e nrtuad plErrJlp
-our;oSn tsoJ E €erarnprrl 'gtg-g'g .dd ,.trc 'pa,1ulotpJ.r:lsaarolsoq g1
'pll'd 'II 'lo^ 'y1g1 'Erzdrc1 1za7 autas pun utaqlopj .uue'ur1o2tr .y g1
lyt vrlsl'ra NI rorot Nn
348 IMAGINITEXTUALIzATE
18. Jan Van Eyck, Potretul sopilor Arnolfin;, 1434, ulei pe lemn, 82x59, 5 cm,
Londra, National Gallery.
19. David Teniers II, Arbiducele Leopold Wilhelm vizitind galeri.a sa de
picturd din Bruxelles, spre 7647 , ulei pe placi de arami, 106x1 29 cm, Madrid,
Prado.
20. Diego Yelizquez, Filip 1V (-Portretul de la Fraga'), 1644, ulei pe pinzi,
133,5x95 cm, New York, Colecgia Frick.
21. Juan Bautista Maino, Recucerirea Bahiei, 1634-1635, ulei pe pinzi,
309x381 cm, Madrid, Prado.
22. Diego Yelitzqrez, Filip lV,1655, ulei pe pinzi, 69x56 cm, Madrid, Prado.
23. Juan Carreio de Miranda, Carol II, Berlin, Staatliche Museen.
24. Francisco de Zurbarin, Ndframa sfintei Veronica, 1631, ulei pe pinzi,
101x78 cm, Buenos Aires, colecgie particulari.
25. Francisco de Ztrbarln, Ndfrann sfintei Veronica, 1658, ulei pe pinzi,
105x83 cm, Valladolid, Museo Nacional de Escultura.
26. Maestru anonim din regiunea Rinului inferior sau din Westfalia, Purtarea
cru cii, Koln, \T allraf -Richartz Museurn.
2T.Maestru anonim din secolul al Vl-lea, Mand'ylion, Cetatea Vaticanului,
Sf. Petru, Capela Sfintei Matilda.
28. Jan Wiericx, Purtarea crucii, ilustragie la Evangelicae Historize Ima-
gines, de H. Nadal, Anvers, 1593/1607.
29. Francisco de ZurbarLn, Ndframa sfintei Veronica, 7637, ulei pe pinzi,
70x51,5 crn, Stockholm, Nationalmuseum.
30. Domenico Fetri, Ndframa sfintei Veronica,inainte de 7622, ulei pe lemn,
87,5x67,5 cm, W'ashington, National Gallery of Art.
31 . Philippe de Champaig ne, Ndfrarna sfintei Veronica, c|fte 1660, grar"uri,
Paris, Biblioteca Nationali.
32. Ndframa sfintei Veronica, Ja6n, Catedrala.
33. Maestru anonim, Ndfrarna sfintei Veronlca, secolul al XVII-lea, ulei pe
pinzi, 100x82 cm, Milwaukee, Art Center.
34. Francisco de Zurbarin, Ndframa sfintei Veronica, ulei pe pinzi, 104x84
cm, Bilbao, Museo de Bellas Artes.
35. Jacopo de'Barbari, Naturd moartd, temPera pe lemn, 52x42,5 clr^,
Miinchen, Alte Pinakothek.
36. David Teniers ll, Arbiducele Leopold Wilhelm ttizitind galeria sa de
picturd din Bruxelles, ulei pe pinzd, 95x126 cm, Staatsgalerie-Schloss
Schleissheim.
37. Franz von Stampaert gi Antonius von Prenner, Foaie din Prodromos
T b e atrum Artis P ictorLre, Y iena, 77 35.
38. El Greco, Viziunea sftntului loan la Patrnos, spre 1580-1585, ulei pe
p1n2d,236x718 cm, Toledo, Museo de Santa Cruz.
39. Diego Yelizquez, Viziunea sftntului loan la P4trlos, spre 1618, ulei pe
pinzi, 135x102 cm, Londra, National Gallery,
40. Jan Sadeler, Viziunea sfintului loan la Patrnos, gravuri.
41. Diego Yelizquez, Irnacuhta Conceppie, spre 1618, ulei pe pinzi, 135x1o2
cm, Lodra, National Gallery.
42. Diego Yelizguez, Autoportret, spre 7623, ulei pe pinzd, 56x39 cm,
Madrid, Padro.
43. Antonio Vallejo, Fecioara din Guadalupe,1782, Montemolin (Badaioz),
Biserica parohiali.
44. Antonio Vallejo, Fecioara d.in Guadalupe, detaliu.
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354 LISTAILUsTRATIILoR
130. Edouard Manet, Bertbe Morisot, 1872, ulei pe pinzl,60x45 cm, Pans,
Mus6e d'Orsay.
1 31. Berthe Morisot, Eugdne Manet pe inswla Wigh t, 187 5, lingi, 38x46 cm,
Colecqie particulari.
132. Berthe Morisot, Vedere de pe insula Wigbt, 1875, ulei pe pinzd',
48x36 cm, Colecqie particulari.
133. Gustave Caillebotte, Podul Europa, 1'876, ulei pe pinzd, 724,7x78Q,6
cm, Geneva, Mus6e du Petit Palais.
1 34. Gustave Caillebotte, Po du I Europa, 187 6-1877, ulei pe pinzi, 1A5x131
Zirich, Kunsthaus.
148. Ren6 Magritte, Dificila trt'uersdre, 1926, tlei pe pinzi,81x65 cm,
ColecAie particulari.
149. Alberto Giacometti, Masa, 1933,bronz, 143x103x43 cm, Paris, Mus6e
National d'Art Moderne.
1 5 0. Alberto Giacometti, M tnd, varianrl, 1 9 47, ghips, 55,5x79x 1 2 cm, Zirich,
Kunsthaus.
151. Hans Holbein, Cristos tnort,7527-1522,tempeta pe lemn,30,5x200 cm,
Basel Offentliche Kunstsammlung.
152. Hans Holbein, Cristos mort, detalru-
753. Galeria de picturd din Basel, desen, 1848.
154. Maesrru Punerea in mormtnt, 1433, piart\ policromi, Fribourg,
"nonim,
Capela Sfintufu i Mormint.
155. Maestru rus, Coborirea de pe cruce, secolul al XV-lea, temPera pe lemn,
90,8x63 cm, Moscova, Galeria Tretiakov.
155. Andrei Rubliov, Mintuitarul, spre 1409, temPera pe lemn, 158x103,5 cm,
Moscova, Galeria Tretiakov.
157. Hans Holbein, Cristos mort, detahu-
158. Maestrul Nicolae, fiul lui loan, Epitaf, 1407, Londr4 Victoria and
Albert Museum.
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