F + F

Am descoperit un blog minunat:  – X –: rezonante imposibile. Am dat de el (blogul) / ea (autoarea) in momentul in care ultimul post era dedicat artistului lituanian Karlis Padegs (1911-1940). Ma bucur cand dau peste artisti putini cunoscuti, prezentati, admirati. Ma bucur sa vad ca exista persoane ce nu traiesc intr-o lume in care exista doar Bach, Mozart, Vivaldi si da Vinci. Ma bucur cand descopar posturi fara titlu.

F + F = Pavel Alexandrovici Florensky (1882 – 1943) si Vladimir Andreevici Favorsky (1886 – 1964).

Favorsky, a carui fotografie o puteti vedea mai sus, a fost un gravor, sculptor, designer de scena si teoretician al artei rus. A studiat in diverse scoli din Moscova, iar intre 1906 – 1907 la München, in academia privata a lui Shimon Hollosy (ce mica e lumea).

In 1907, Favorsky incepe sa graveze in lemn, acesta devenind mediul sau predilect de exprimare. Deosebit de productiv, a exectutat gravuri pentru multe din cartile Vechiului Testament, pentru opere lui Shakespeare, Dante, Puskin, Tolstoi si multi autori sovietici.

Dante – Vita nuova (1933)

In anul 1915 a tradus, in rusa, lucrarea Forma in arta figurativa a lui A. Hildebrandt, fundamentala pentru dezvoltarea propriei sale viziuni in ceea ce priveste arta. Intre 1921 – 1923, tine cursuri de compozitie la celebra Vkhutemas, unde va preda, de asemeni, si Florensky. Subiectul general al acestor cursuri a fost: Compozitia ca si mod de organizare / structurare a timpului. Prezenta si rolul timpului, de aceasta data in geometrie, a fost unul din subiectele abordate de Florensky in cursurile sale la aceeasi scoala.

Afisul unei expozitii dedicate gravurilor lui Favorsky. Japonia, 1927

Multe lucruri a spus si a scris Favorsky insa fraza cheie a intregii sale activitati artistice si publicistice ramane:

The only possible representation is flat, yet it will always, one way or another, appear spatial.

Despre Florensky am mai scris. Nu mai revin, momentan, decat cu o singura fraza  – pe care o scria intr-una din scrisorile catre fiul sau:

Frome early childhood until this day I have stubbornly dwelt on one thing, but this one thing needs to be approached from various angles.

Printre prietenii marelui savant si martir se numara si Favorsky, cu care s-a cunoscut in timpul razboiului civil din 1917 la Manastirea Sf. Serghie unde acesta, ca multi alti intelectuali si artisti, si-a gasit refugiu. Florensky se afla deja acolo, lucrand de mai mult timp la descrierea sistematica a icoanelor si altor piese din tezaurul manastirii. Intelegandu-i capacitatea artistica, la rugat sa-i creeze coperta la cartea sa Mnimosti v geometrii, de curand terminata. Cand lucrarea a fost gata, Florenky a fost atat de impresionat de aceasta incat i-a dedicat un intreg capitol, pe care l-a introdus in volum in ultimul moment.

Coperta volumului Punctele imaginare in geometrie (Moscova, 1922)

__________

In Leonardo, vol. 22, nr. 2 din 1989, in articolul lui Kirill Sokolov si Avril Pyman, Father Pavel Florensky and Vladimir Favorsky: Mutual Insights into the Perception of Space (sursa bibliografica de baza pentru prezentarea de mai sus) este prezentat, pe scurt, grupul artistic Macovet:

Florensky’s constant search for synthesis and his belief in the essentially liturgical function of art were reflected, to some extent, in the journal Makovets and in the work and theories of Vasiliy Chekrygin, of whose secular religiosity the priest disapproved but whose painting he admired. ‘Makovets’ is the name of the small hill on which the Monastery at Zagorsk is built, and the journal and society of that name were founded under the influence of Florensky. Favorsky’s cover for the journal (pe care ati putut-o admira mai sus) illustrates Florensky’s premise that life is above art and that the source of all beauty and truth is “to be discovered not invented”. Florensky hoped that the journal would become “a gatherer of Russian culture”, just as St. Sergius, ‘the founder of the Makovets’, had salvaged and gathered Russian culture in the fourteenth century. The original name taken by the Moscow-based group of artists and poets was ‘Art- Life’, and Makovets was their journal, edited and published by Aleksey Mikhaylovich Chernyshev, brother of the artist Nikolay Mikhaylovich Chernyshev. The name originated from the title Florensky had wanted to give to the first chapter of a book on aesthetics he was planning at the time of writing Imaginary Points in Geometry. This chapter, entitled “Na Makovtse” and consisting of a long excerpt from a letter to Rozanov written in 1913, was not fated to be published until 1985. Besides Favorsky, Chekrygin and Chernyshev, ‘Makovets’ (as ‘Art-Life’ was to call itself after the foundation of the journal) included the artists M. A. Dobrov, L. F. Zhegin, K. K. Zefirov, M. S. Rodionov, S. M. Romanovich, V. F. Ryndin and A. V. Shevchenko. The group organised four exhibitions, one in 1922, two in 1924 and one in 1925 (pp. 238 – 239).

Articolul continua cu traducerea in egleza a intregului capitol dedicat lucrarii lui Favorsky: The following document is a memorial to these Olympian discussions among the ruins.

Tot in Leonardo, vol. 7, nr. 2 din 1976, a aparut un articol-manifest scris de Favorsky insusi si intitulat On Artistic Integrity (o alta sursa bibliografica a plictisitoarelor randuri de mai sus):

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