Wandering journey through literature, art and the Italian styleadmin
The Search for Beauty
of Massimiliano Napoleone
Incipit: “The essence of beauty lies in creative art as a product of the spirit; in fact,while thinking about art, the spirit thinks of itself in one of its encounted forms ".
The artistic beauty
Man has always been committed to the absolute search for beautywhich also gives him peace and pleasure, almost like an equation in which harmony is the common denominator. Harmony and Beauty have always been deeply linked, as an expression of a clearly visible lasting couple through whichman tries to express himself and the environment in which he is plunged in.
The artistic beauty rises as an ideal of the perfect reconciliation between form and substance. Beauty is seen as one of the most significant phenomena of our experience of things, namely the knowledge of the Real and our involvement with it. Indeed if it’s true that man is the one who’s wondering about everything, it is also true that we can question on all only because in our experience we begin to find satisfaction in our expectation of knowledge and possession of reality that is the expression of harmony around details and care, details that often materialize in the Art of Doing.
The aesthetic experience
The attempt of this wandering journey gathers around the connection between the aesthetic experience and the discovery of the reality and the Italian art that finds the maximum expression, in the ‘MADE IN ITALY’ , that is the immediate sensible perception of the conscience regarding the critical judgment on the meaning of things.
In fact, one of the most significant and indicative positions of our time was that of Theodor W. Adorno, a German philosopher. In his Aesthetic Theory, Adorno observes that the aesthetic experience always implies a sort of separation from the empirical reality, even a real opposition to the fact.
In every work of art there is something that doesn’t exist, that’s why on the one hand, there would be reality with its intolerable weight, on the other the aesthetic experience as an antithetical moment, but just for this reason also liberating with respect to being effective. And liberation would coincide precisely with the promise, even if it is ultimately a promise, as the impossibility of being fulfilled in reality. Infact, as Adorno himself observes, "nothing guarantees that art keeps its objective promise". In art there is lie, to the extent that it fails to produce the possibility that it itself produces as an appearance and misses it precisely because of this; and so art, in its appearance of beauty and form, promises and at the same time betrays, and the appearance itself, to be a trace becomes deception.
Aestheticism, in its general features is a literary artistic movement that was born in the second half of the nineteenth century; it developed from decadentism and it saw Oscar Wilde and Gabriele D'Annunzio in Italy among its main exponents. At the beginning, therefore, there’s the emerging attempt to insert creative art as a liberation of the existent, something similar to what Michelangelo Buonarroti said about the Art of Sculpture. He simplified sculpture, makingemerge from the stone, endless forms.
Made in Italy and Italian Style
Beauty cannot be real; in the perspective of this impossibility, beauty ends up locked up, consumed between the epidermal taste of fashions and a rational exercise of literature. Nevertheless it seems risky to consider that beauty needs to be freed from the condition of hostage in which it was taken, in order to return to show itself and speak to us in its language. This is the essence of the vision of ‘MADE IN ITALY’a design vision that is emancipated in italian style, an expression of details, form and substance typical of our thinking, of italian thinking as the philosophy of style and taste of us Etruscan.
Moreover, from the aesthetic conception proposed by Søren Kierkegaard in 1843 we can find, what will constitute a dominant position in the common contemporary aesthetic feeling. As is known, the aesthetic experience is for the Danish philosopher nothing but the first stage in the life of every man; a stage that must be overcome in order to access the ethical life, that is, theetosHe highlights how the vision of aesthetic existence is mere immediacy, like sensuality but without judgment. It is above all in the writing dedicated by Kierkegaard to Don Giovanni, the music of Mozart and Eros, that the emblematic figure of this "aesthetic" man Don Giovanni emerges with arrogance, in fact. It expresses all its being in pure immediacy, "darting" from one experience to another, chasing joys and pleasures, enjoyments and passions, as in a continuous vortex, and in a continuous race towards the conquest of the moment.
The aesthetic life
It’s themoment the goal the aesthetic lifeaspires to, from which eros and the sensuality of forms take force. Thus, aesthetic life is where man lives spontaneously, impulsively, that is, in an irrational immediacy. Unlike the ethical stage, in the aesthetic stage there is no opportunity to become a different man than how he is. In fact, although Don Giovanni lives an existence at the limit of every excess and recklessness, he cannot produce and does not even possess the conditions of his life. He cannot make choices, he cannot express any judgment. His reign is not that of thought or language, but that of pure sensuality that governs his actions.
This is probably embodied in the practicality that animates the designer, who is carried away by the sensuality of his actions that manifest themselves in an infinite number of forms, making his creative work unique and rare, almost like a work of art.
Rome and art
Art is synonimous of the City of Rome, capital of art and culture and acquired "Home" of one of the most outstanding artistic minds in history: Michelangelo Buonarroti. There are several traceable and visitable works in Rome of the Master. He worked there for almost all of his life, between 1400-1500s, in full Renaissance and together with other brilliant minds like Bramante, Leonardo, Raffaello.
Therefore Rome becomes like an Italian artisan workshop, open and animated by craftsmen or designerwho decide to impress their creative and passionate truth in the care and in the multifaceted transformation of thebeing, which dresses to appear to itself and to the others, catching in a moment all the sensuality and harmony of pleasures. It cannot be associated only to a habit, but to the moment when thehabit, il creative master decides that that form is, as an expression of his thinking, of italian thinking. It’s the only one in that moment able to transfer the sensuality of the moment and that there are innumerable others, able to tell the History of a Country,Italy naturally used to the irrationality of the moment that is consumed in stylistic creations.
In fact, this itinerant journey wants to be a historical-cultural journey starting from the Ancient Villages of Italian Cities, with the idea of creating a synergical relationship between the Italian Fashion Brands and the most important historic squares in Italy. A journey that takes strength from the history of our country and that looks at national fashion productions as if they were a natural evolution between the ethical, the artistic and the creative.
The Italian Genius
Beauty is one of ITALIAN GENIUSforms, it is higher than GENIUS so much that it has no need for explanations; on the contrary it relates to it and becomes concrete in the love of forms.
But if it is true that the autopoietic or creative science realizes in innumerable forms, it’s also true that the aesthetic experience concretizes in the Italianmaking, like the extreme attempt to capture through the forms and the colors or better through language and interpretation, the encounter with thework of art.
The concept of beauty survives still today in the ancient sense and ultimately in the Greek sense. Sometimes we also connect the concept of "beauty" to the fact that it is publicly recognized by customs and similar things; that it - as we usually say – it’s pleasing to the eye, and that it is destined to make a good impression. Plato recognizes beauty in what shines and attracts most, in what acquires light more than anything else, in all that has a persuasive and lasting light. It’s what we all perceive as beauty in nature and in art, and that forces us to agree, saying "this is true".
The ontological and human dimension of beauty is configured as the linguistic constraint that conditions us, that’s why when we say "something is beautiful" we mean, as Kant suggested, that everyone's consent is required. The intention of the Master's creativework , that is to say what it says, is understood through its comprehension, or rather the necessary condition of what the designer has in mind. Hegel, a German philosopher, rightly sees when he maintains that natural beauty is a reflection of artistic beauty, so much so that we learn to see the natural beauty guided by the eye and by the artist's creation. In conclusion, the design vision that I imagined responds to the facts that are happening and that we are the result of this penalty. From this we need to start again to bring hope back, the same hope that is at the basis of the path to relaunch our country.