Pequena história do azul. O azul como imagem e limite do visível: Manlio Brusatin e a perspectiva pictórica

• Autor(a) principal: Cravo, Ana
• Data de Publicação: 2010
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/24219
• topic: Filosofia; Cor; Azul; Brusatin, Manlio; Arte

Among the conscience of the intrinsic value of the pictorial, it resides a continuum understanding of which is fundamental in the relationships and contradictions of succedaneum poetic acts, and they will be better understood as the better we think as M. Brusatin, in order to «dedicate ourselves to the painting return». Reminding all that which was symptomatic and repeatedly hidden and deprecated by the draw – «the colour as decorative complement of the narrative allegory of art history», in our interpretation about Storia dei Colori, we follow the painting in its nature-temporal-space, seeing the “colour-image”, the “colour- shadow”, the “flux to light in white-opacity”. We count the intrinsic vitality of bluish life in people’s cultures; listening to it in its deepness, also in the singular profession’s act, as «once upon a time there was a time again, naturally, the once upon the time of being the Painter» as, for instance, Rafael, Kandinsky, Yves Klein, Mark Rothko and Gerhard Richter.