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- Herausgeber: Youcanprint
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
- Veröffentlichungsjahr: 2019
How to make art? What is art? What is the point of making art? From sculpture to flowforms and then to the environment, which becomes Landart, here the world of planets intertwines with that of plants in a magical game, it is a continuous discovery.
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FREE WILL
and moral fantasy
AN ESOTERAL REFLECTION AS A CONTRIBUTION OF AN INGENUALARTIST ON THE BASIS OF THE PURPOSES OF WILL BE FLOOD FROM THE "RUDOLF STEINER PHILOSOPHY ofFREEDOM"
Youcanprint
TAB.1
TABLE INDEX
Tab. 1 Exlibris
Tab. 2 Graphic design
Tab. 3 Exlibris
Tab. 4 Graphic design
Tab. 5 Graphicdesign
Tab. 6 Maddalena, Donatello
Tab. 7 Davide, Donatello Tab. 8 Graphicdesign
Tab. 9 Graphicdesign
Tab. 10 Flint arrow (Paleolithic)
Tab. 11 Archaic,marble
Tab. 12 PietàRondanini
Tab. 13 Judith/ Holofernes, bronze h. 150 cm
Tab. 14 Outside the self (setting of sculpture in an architectural context.
Tab. 15 ibidem
Tab. 16 Elementary beings. Marble
Tab. 17 Arcangelo. Pink marble
Tab. 18 Threefolding. marble Without title. Ag. (Merger)
Tab. 19 Incarnation. Bronze
Tab. 20 Caravaggio
Tab. 21 Rainbow,bronze
Tab. 22 Regressito. Cotto. (see Mattia Moreni)
Tab. 23 Cypresses.Crete
Tab. 24 Warrior. Bronze
Tab. 25 Longing. bronze
Tab. 26 Four cosmic imaginations. bronze cm. 80
Tab. 27 the Universo. Bronze cm. 80 (back)
Tab. 28 Magna mater. bronze
Tab. 29 The self and the soul, marble
Tab. 30 "Giovanni", marble
Tab. 31 The old and the young, marble
Tab. 32 The old and the young, marble
Tab. 33 Vaulted cranial drawn from the periphery. (anatomy drawing)
Tab. 34 Perone and tibia drawn from the center. (anatomy drawing)
Tab. 35 Inner ear and the dragon. (anatomy table)
Tab. 36 Man, graphite drawing
Tab. 37 Human thought and universe, marble
Tab. 38 Human thought and universe, marble
Tab. 39 Zodiac and planets, drawing
Tab. 40 Walkiria, bronze
Tab. 41 Buddha, bronze
Tab. 42 Awakening, bronze
Tab. 43 Thought, bronze
Tab. 44 Ex libris
Tab. 45 Sail, bronze
Tab. 46 Sails, bronz
Tab. 47 Pyramid, fusion
Tab. 48 Will, fusion
Tab. 49 Pyramid, fusion
Tab. 50 Resinflowforms
Tab. 51 Flowform (prototype)
Tab. 52 Rimini Health Flowform
Tab. 53 Flowforms at Botanical Planetarium.
Tab. 54 Lake of the Moon at Botanical Planetarium.
ABBREVIATIONS
Lia’s introduction
More than just a thesis in the History of Art, Silvano Angelini has written his first work, in which his aesthetic conception is outlined. "The Philosophy of Freedom" by Rudolf Steiner, is the opportunity that Angelini seizes to express his "feeling of art", and his experience as a sculptor and medalist. Through a review of the great Italian Renaissance art, Leonardo, Raphael, Michelangelo, Donatello, and Caravaggio, Angelini lets us glimpse into the artist's initiatory path, which goes beyond the application of making art (the idea that becomes representation: drawing, sketching, execution of the work), since it is a personal expression of feeling, will, action; it is also a cosmic reflection of the action of the universe and of nature onhumanity.
From nature to form: light is the primordial element that reveals itself to the artist as a source of sensitive revelation. From natural elements springs form: light and marble in sculpting, clay and water or wax in modeling , the metal, the fire and the air in the fusion, are at the origin of the work of art in which the material is shaped to new life. The sculptor grasps the form in matter, which comes to life through expressive lines. In a symbiotic relationship with the suprasensible, which reveals itself and shows in the creative act, the artist sees in the crystals of marble that is scratching or in the clay that is modeling, the afflatus of ethereal presences of the I which are born from the hand of the sculptor and acquire a symbolic meaning in the completed work. "If our identity is a story made up of the interweaving of a thousand stories, it is precisely this identity that we must project and invest in the field of knowledge. "From Limina di F.Rella.
It is in Chaos that the creative act manifests itself as an acting will and through a loving propensity for matter, it becomes art. The work of art is therefore the becoming of the
present, unrepeatable in the passing of time, which moment by moment, is transformed into the uniqueness of its creation. For Angelini, "the artistic journey is still a yearning for freedom and truth". Artistic creation is therefore a vitalistic path in which intuition and perception are freed in moral experience as much as physical and practical, becoming a place for the flow of being that materializes in the work of art.
The work has a life in its own right, and proposes itself to the world as both a mysterious and revealing message. Angelini's sculptures, eminently symbolic, express a moral purpose aimed at good; yet their incompleteness and the marvelous emergence of matter leads us back to a mysterious, evocative dimension of artistic creation. The cosmic dimension accompanies our life, and sometimes we manage to be aware of it when we are immersed in nature, facing the sea, on the top of a mountain or in a valley, if only we listen to it in silence, forgetting our ego. In Angelini's sculptures, as in his bas- reliefs and also in watercolors, the living perception of the universe becomes movement, volutes, sinuous waves that are arcane reflection of the whirling unfolding of the becoming in the cosmos. This reveals the sensitivity of the artist, a profound humility, in his intuitive creation, available to the emotional perception of nature and life. It is his deeply religious art that is born in harmony with the elements and expresses the flow oflife.
Lia Briganti
Bologna, September 2004
Afterword September 29th 2004
Twelve years later, and for the occasion of the exhibition organized under the patronage of the Municipality of Rimini, I wanted to take up this work which was for me a sort of project to be realized. The theme of the exhibition: Education, consonance and dissonance, was and I hope that it will continue to be a common thread to my commitment.
The consonances are the harmonies I get when I educate and draw out from myself the good or the best. The dissonances are also positive, when with the art of metamorphosis they are transformed like what sometimes happens when the frog is transformed into the prince with a kiss, the self. At the end of the Appendix, there is a paragraph that I titled "The principle of lemniscata", it was a hint of the research work on the forms of flow of water the "flowform", the beginning of this research remained at a stand still for seven years until 1999 when it had an important development and it commits me to today, a beautiful mystery which really is our life!
Silvano Angelini
Afterword 24 June 2012
On the occasion of this publication, the work has been revised and corrected, in reality small things, but in substance the thoughts are those written in 1992, they are still valid, because they were not thoughts born of the intellect, but born of free will and from the heart. In recent years, the thinking of the heart has been increasingly brought to consciousness by various researchers, and even in me this need has become more and more conscious, clearer and clearer, Years ago I was not aware of it, I knew that I felt and that I had to write , without ruminating, I felt it almost like an instinct, but I knew that instinct was not what leads us to the satisfaction of cravings and passions and this led me to the renunciation of the so-called "good of theintellect"!
Silvano Angelini
Afterword July 2018
The Botanical Planetarium is now ten years old, the plants have grown and so I insert in this new edition some pages about it, near the end.
Silvano Angelini
ACADEMY OF FINE ARTS BOLOGNA
ACADEMIC YEAR 1991/1992 HISTORY OF ART THESIS MATTERS:
AN ESOTERAL REFLECTION AS A CONTRIBUTION OF AN INGENUAL ARTIST ON THE BASIS OF THE PURPOSES OF WILL BE FLOOD FROM THE "RUDOLF STEINER PHILOSOPHY ofFREEDOM"
4th-YEAR FREQUENCY COURSES
MAIN COURSE: SCULPTURE Prof. FRANCO MAURO FRANCHI FUNDAMENTAL COURSES:
ARTISTIC ANATOMY Prof. GIOVANNI TIBONI HISTORY OF ART Prof. WALTER GUADAGNINI SPECIAL COURSES:
MARBLE Prof.GRAZIANO POMPILI ARENARY AND RESIN
Prof. GUGLIELMO VECCHIETTI FOUNDRY Prof. BRUNO RASPANTI
TEC. GRAPHICS SPEC. Prof. MAURIZIO OSTI PHOTOGRAPHY Prof. CLAUDIO MARRA
II YEAR FREQUENCY COURSES PEDAGOGY Prof. MARCO DALLARI FREQUENCY COURSES OF THE YEAR HISTORY OF CONTEMPORARY ART : Prof. EVANGELISTI
HISTORY AND METHODOLOGY OF ART CRITICISM: Prof. ADRIANO BACCILIERI
TAB.2
PREFACE - 1992
In 1988 when I decided to start attending the Academy of Fine Arts in Bologna, I realized that given my nature more inclined to the activity of making art, instead of studying art, I would not stand for such an intellectual effort , I would be left very stressed or I would play the notorious stereotype, of the demiurge artist. Living that life every day presents great exaltation or deepdepression.
I knew, from my studies, of "Science of spirit by Rudolf Steiner" that man can be considered a microcosm and so I imagined the student in the center, the target of a considerable group of human beings, the "teachers". They were trying to pour their macrocosm into him.
I knew that this experience would be extremely stimulating, but some natural reluctance towards an intellectual type of knowledge restrained me and invited me to be wary.
I felt that my being needed this knowledge and to work in the action. It also needed to bring the will and the feeling in the work of thinking which is supported by the heat of the feeling of the heart, to bring consciousness into the will .
I needed a job that became an inner foundation and at the same time did not preclude me from a part of the College's learningmaterials, It was the action and above all the life, the throbbing of the soul that maintained Ariadne's thread that bound me to the spiritualworld.
I chose the Philosophy of freedom which was a text drawn up in 1894 by Rudolf Steiner. He throws a bridge between man and the spiritual world making use of the pure logical thinking forces.
The author then wrote other books that were not only based on this thought, but were based on, above all his investigations into the supersensible worlds thanks to the quality of clairvoyant captured with a continuous and conscious inner work.
Initially, I only meant to base myself on the book in question.
But my strength didn’t grant me this, so I decided to also draw on the vast literature following the "Philosophy of Freedom", thinking that after all, this Anthroposophical knowledge had existed in the world for the past eighty years1 and that it was legitimate to refer to it as a fact which the world couldn’t ignore.
I realized that even if we give him a head and a tail, this is a dead-end job. I just hope it can be of some use to others also. For those who have never been interested in esoteric, some insights will also seem delusional2, but if it is not, this is shown by the practice of meditation.
Meditating, before any other consideration dictated by the constraints imposed by our "form corporis" understood as lived, is living in thinking, to observe our own thoughts and evaluate them objectively.
If we try to do that we could assess the validity of such thoughts to the extent that the thinking that we observe can find the links between these statements and our own cognitive world.
As it is the thinking that establishes the links between the things that we sense making them intelligible, it is due to thinking that we find the connections that support our conception of the world.
Thinking is woven into the becoming of the world like our own being and plants, animals, or stones.
TAB.3
