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The difficult, vain «Ascent of the Memory»

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  • Marco Vallora

Abstract

It is sufficient to see the scaffolding of the Giotto frescoes, in Assisi orPadua, of Signorelli in Orvieto or Piero della Francesca in Arezzo, tounderstand the true meaning and significance of that magical and fatefulmoment in which the wet plaster finally takes body and shape, solidifiesand consolidates into visible imagination.The essay examines the various iconographic solutions given in thehistory of art to the events of the Genesis, emphasizing how a faithfuladherence to the texts has now become untenable, and highlighting andstudying in depth subjects such as the material and tangible concept oflight as a concrete manifestation of the Divine; that of the representationof an act of generation, without regard for development and temporalities;that of the impossibility of depicting the Holy Trinity. And the text stillmethodically follows the voyage of Noah's Ark, which at the outset isshaped like a large rectangular box, completely different from the nauticalform imposed by modernity.The impression in art today is that it is the silent and burnished cry ofAbsence which increasingly connotes sacred subjects: and the artist whoperhaps best marks this drifting away, which can also be extremely fertile,is Claudio Parmiggiani, of the Delocazioni, himself. Sacredness withoutreligion or religion without the Sacred. Like the trace of something vanished,yet preserved in art.

Suggested Citation

  • Marco Vallora, 2013. "The difficult, vain «Ascent of the Memory»," Economia della Cultura, Società editrice il Mulino, issue 1, pages 47-56.
    • Handle: RePEc:mul:jkrece:doi:10.1446/73336:y:2013:i:1:p:47-56
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