For a little while now I’ve been interested in finding out more about muses… as in our proudly individualistic culture the relationship between the artist and his muse, once standard and then legendary, is no longer part of our common vocabulary.
Who are the muses? Gracious goddesses – daughters of the titaness of memory, platonic ideals, models for the Holly mother portraits, virtuous or harlot women, feminine paragons, mysterious unreachable lovers, feminine valets to someone else’s imagination, complementary concepts, great understanders, poetic inventions, much desired ghosts that sometimes come uninvited, queens of the superficial, self-muse, inner muses?
In its earliest conception in classical Greek writings, the relationship between the artist and the muse was one of reciprocity; the woman acting as intermediary for the Gods offered the man access to memory and knowledge that he lacked. The artist would subsequently produce an autonomous text that was not about the female muse, but which celebrated her involvement in the act of creativity. Such an exchange implied a lack on the part of the man that could only be filled by a momentary loss of self-possession as he was inhabited by the power and the insight of the muse.
During the middle ages, romantic narrative’s landscape of kings and queens, knights and ladies, heroism, bravery, destiny and magic became established in the western imagination, so the idea of romantic love has penetrated so deep into our culture that few people escape its influence before leaving the nursery.
The romantic themes of idealisations and forbidden (or non-consumated) love were taken to new extremes in Renaissance Italy.
Poets such as Dante and Petrarch placed their muses on elevated pedestals. Dante’s Beatrice and Petrach’s Laura are portrayed as models of perfection and purity, while later Boccaccio’s interest in his muse, Maria (Fiametta), is the perfect blend of mind, body and spiritual love.
The idealisation of Beatrice and Laura is partly attributable to Marianism, because during the 13th century Mary became increasingly important as mediator between human beeings and God. It was to Mary that the majority prayed for divine intercession. She was more „human” and therefore approachable than all three personifications of the Holy Trinity. Moreover her position as the mother of God gave her considerable authority.
For some time, the river of romantic literature was swollen by the tributary of Marianism. Women were worshipped with religious fervour and sexual desire was holly sublimated.
By the Romantic age, however, the muse helped the creator to express feelings, ideas, and emotions, rather than religious and political ideas. this period, brought the idea of the freelance artist, the idea of art for art’s sake, comes about, and this signifies a major change in the conception of art, the essence of art, and what constituted art.
The muse in her purest aspect is the feminine part of the male artist, with which he must have or not have intercourse if he is to bring into being a new work. She is the anima to his animus, except that, in a reversal of gender roles, she penetrates or inspires him and he gestates and brings forth, from the womb of the mind. Painters don’t claim muses until painting begins to take itself as seriously as poetry.
Nowadays when our attention is assaulted by a dynamic loud media mixture, we began unexpectedly to forget to read. We’ve starded to neglect the words writen on paper. We’re anxious and in a constant hurry, loosing the patience to read a page in a book. And with all these we began to alienate poetry out of our lives. We do not have rhyme or joining crossover exercise, we forgot the ancient hexameter or the romance lyrical note. We forgot to be dreamers and to lose ourselves in dreaming…
Schopenhauer said poetry is the art that put in motion our imagination by the help of words. My artistic endeavor adds image to words.
I think it’s a good idea to tell you about my works. I’m not trying to explain, I’m trying to reveal what it’s hidden behind them. Today I will tell you about “De vulgari eloquentia”, which is included in the MYTOPIA series and was used as poster for my exhibition in Lisbon, on the 30th of July 2011.
As the title says, “about eloquence in vulgarity”, the artwork was inspired from the homonymous writing by Dante Alighieri. In the beginning Dante had conceived it as an essay and finally wanted it as writing in four volumes, but he has stopped at the half of the second. In principle it was written in Latin and it’s about the transition from the use of Latin in Italian by blending it with the vernacular, the vulgar language used by simple people. In Dante’s opinion, language is a living body, constantly changing and developing, hence the image created by me.
In my artwork, Latin is represented by the statue of marble, while the new language is born and alive and is trying to leave the arms of the old language, yet relying on it.
I actually used this metaphor to illustrate the changes that we pass in various stages of life and the way we struggle to break away from the past. And the past is cold and still while the newborn is dynamic and expressive, hence the movement, the dance, the rustle…
There are limited editions (Lamba Prints) of 25 prints, 50×70 cm, and of 10 prints, 70×100 cm, signed, dated and numbered, accompanied by the Certificate of Authenticity.
“De vulgari eloquentia” was realized in November 2010. Details regarding purchase are offered HERE.
M-am gandit ca nu ar fi rau sa incep sa va vorbesc despre lucrarile mele. Nu incerc sa le explic, dar cred ca nu ar fi rau sa aflati ce a stat in spatele realizarii lor. Astazi va voi vorbi despre: “De vulgari eloquentia”, care face parte din seria MYTOPYA. Lucrarea a fost folosita la afisul expozitiei mele din Lisabona.
Asa cum spune si titlul “Despre elocinta in vulgaritate” este inspirata dintr-o scriere cu acelasi nume, a lui Dante Alighieri. La inceput gandita ca un eseu in cele din urma s-a vrut o scriere in 4 volume, dar Dante s-a oprit la jumatatea celui de-al doilea. In principiu lucrarea scrisa in latina, vorbeste despre trecerea de la folosirea limbii latine la limba italiana prin impletirea acesteia cu vernacularul, limba vulgara folosita de poporul simplu.
In opinia lui Dante, limba este un organism viu, in continua schimbare si dezvoltare, de aici si imaginea creata de mine.
In lucrarea mea, limba latina este reprezentata de statuia de marmura, iar noua limba ce se naste, este vie si incearca sa se desprinda din bratele vechii limbi, sprijinindu-se totusi pe aceasta.
De fapt am folosit aceasta metafora, pentru a ilustra schimbarile prin care trecem noi insine in diverse etape ale vietii, felul in care luptam pentru a ne desprinde de trecut. Iar trecutul este rece si imobil in timp ce noul eu, care se naste e dinamic si expresiv, de aici miscarea, dansul, freamatul.
Lucrarea mea este realizata in procedeul photo alteration, este realizata pornind de la 6 fotografii diferite, prelucrate prin diverse tehnici digitale si manuale.
Ea exista in serie limitata de 25 de bucati la dimensiunea de 50×70 cm, si serie limitata de 10 bucati la dimensiunea de 70×100 cm semnate, datate si inseriate, insotite de certificat de autenticitate. A fost realizata in noiembrie 2010. Pentru detalii privind achizitionarea unei lucrari, pot fi contactat prin email.