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Bastoncini di Bacchus, vervolg op blog van 14 november 2013
De bijzondere vorm van deze stok, met een verdikking in het midden, bracht me op het idee om een zittende of knielende figuur te maken met een tweede figuur daar boven
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En hoe gaat dat?
Zonder voorstudie werken betekent een grote vrijheid in handelen en gaandeweg ontstond deze dubbelfiguur. En wat is nu zo bijzonder: enerzijds kwam het beeld in mij boven van een dragende figuur die ik in 1971 in Verona (It) in de San Anastasia had gezien, zie 1,
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anderzijds herinnerde ik me de beroemde uitspraak, toegeschreven aan Bernard van Chartres, zie 2, een monnik in de 12 eeuw.
In didactisch opzicht is deze uitspraak zeer waardevol: je leert van je voorgangers. Maar draai het eens om, ook een reus wil toch wel eens wat meer zien?
Vandaar dat hij nu op de schouders van de dwerg staat.
Materiaal acaciahout, lengte stok 1.20 m; reus 47 cm, dwerg 9 cm.
Diameter stok 4 cm.
Follow-up
on my blog Nov. 2013
Standing on shoulders…………………
This
sticks special form, with a thickening in the middle, inspired me to create a
sitting or kneeling figure with a second figure above that.
And how do you do
that?
Working without a preliminary study means great freedom to act and while
working this double figure came to life. What makes it so special.. on the one
hand the image of a bearing figure came to my mind which I saw in Verona
(Italy) in 1971 in the San Anastasia[1],
and I remembered a famous quote from Bernard van Chartres [2]
a 12th century monk. From a didactic point of view this quote is very valuable.
You learn from your predecessors. But turn it around! A giant wants to see
something more every now and then? That is exactly why he is standing on the
dwarf’s shoulder.
Acacia,
length stick 1,20. Giant 47 cm,
[1] Ik was
de plaats vergeten maar met behulp van vriend Pierluigi uit Italie, kreeg ik de
volgende gegevens opgestuurd.
http://www.duepassinelmistero.com/Verona.htm; http://it.wikipedia.org/wiki/Chiesa_di_Sant'Anastasia_(Verona) At the entrance, the beautiful church of St. Anastasia in Verona presents two impressing sculptures: the 'gobbi' (hunchbacks) that sustain the stoup.
Hunchback of left
It appears as you enter the church to left, leaning against a pillar. It can be dated back to 1495 and attributed to Gabriele Caliari (father of the world-famous painter Paolo, known as 'Veronese'). The 'hunchback' is dressed very simply, has bare feet resting on the ground, curly hair and a proud face, eyes straight and penetrating. The hands resting on his knees, as if trying to make less burdensome his 'task'. Holds a darkened bronze basin, with various decorations.
Hunchback of right
Leaning against the pillar on the right, as you enter, there is a second stoup, called 'Pasquino', because it was placed here on Easter Sunday of 1591 and is engraved, at the upper end of the basin (in red Verona marble) with the same date in Roman numerals.
Uncertain is the authorship of the work, which appears more detailed than the previous. Perhaps it was sculpted by Paolo Orefice, but according to others it was made by Alessandrino Rossi, named 'il gobbino'. The feet rest on a square red marble basement, the clothes are torn in several points. The 'gobbo's' mustache appear well cared for. The left hand rests on the right knee, while the right hand holds a kind of burden, which hangs behind his back. The expression in his face is more thoughtful than burdensome. The basin is chiselled in some places, making impossible any other inscriptions.
In the traditional interpretation, the hunchbacks represent the efforts and the hardship of the Veronese people for the building of the church. Touching their hump is is believed to bring good luck.
[2] http://en.wikipedia.org/wiki/Standing_on_the_shoulders_of_giants
