{"id":8703,"date":"2024-10-08T11:59:10","date_gmt":"2024-10-08T11:59:10","guid":{"rendered":"https:\/\/pelestest.thepoint-agency.com\/amorul-sacru-si-amorul-profan\/"},"modified":"2024-10-08T11:59:10","modified_gmt":"2024-10-08T11:59:10","slug":"amorul-sacru-si-amorul-profan","status":"publish","type":"post","link":"https:\/\/thewebdevpoint.com\/ro\/patrimoniu\/amorul-sacru-si-amorul-profan\/8703\/","title":{"rendered":"Amorul Sacru si Amorul Profan"},"content":{"rendered":"

[stag_toggle style=”normal” title=”Detalii despre pies\u0103” state=”closed”],,Amorul sacru \u015fi amorul profan\u201d
Maximilian von Schneidt (1858 \u2013 1937)
Copie dup\u0103 Ti\u0163ian
Ulei\/p\u00e2nz\u0103
167 cm x 95 cm
4\/4 sec. XIX[\/stag_toggle]<\/p>\n

\u00cen cadrul expozi\u0163iei temporare ,,Armonie \u015fi grandoare<\/a>\u201d, vizitatorii muzeului pot admira cele mai valoroase obiecte de art\u0103 italian\u0103 din colec\u0163ia regal\u0103: mobilier elaborat sculptat, marchet\u0103rii \u00een marmur\u0103 \u015fi pietre semipre\u0163ioase, lucrate \u00een tehnica ,,pietra dura\u201d, vase spectaculoase de maiolic\u0103 \u015fi fascinante cristaluri de Murano. Al\u0103turi de arta decorativ\u0103, Muzeul Na\u0163ional Pele\u015f aduce \u00een aten\u0163ia publicului larg c\u00e2teva sculpturi de referin\u0163\u0103, precum \u015fi seria tablourilor copiate sau inspirate de arti\u015ftii consacra\u0163i ai Rena\u015fterii italiene: Rafael, Correggio, Ti\u0163ian, Veronese, Palma Vecchio etc. Dintre toate p\u00e2nzele etalate \u00een cadrul expozi\u0163iei, am ales spre ilustrare ,,Amorul sacru \u015fi amorul profan\u201d, reprodus\u0103 cu talent de Maximilian von Schneidt (1858\u20131937) dup\u0103 celebra p\u00e2nz\u0103 cu acela\u015fi nume, pictat\u0103 de Ti\u0163ian (1480? \u2013 1576).<\/p>\n

Artist de origine german\u0103, cooptat de Casa regal\u0103 rom\u00e2n\u0103 \u00een vastul proiect artistic de la Pele\u015f, al\u0103turi de Gustav \u015fi Ernst Klimt, Franz Matsch, Georg Bregenzer, E. Ritter Gotha \u015fi al\u0163ii, Maximilian von Schneidt se remarc\u0103 prin erudi\u0163ie \u015fi devine, probabil spre sf\u00e2r\u015fitul secolului al XIX-lea, custodele pinacotecii Regelui Carol I. Dintre cele circa 100 de c\u00f3pii identificate p\u00e2n\u0103 \u00een prezent, realizate la comand\u0103 regal\u0103 \u00een perioada 1880-1910, de numele lui Maximilian von Schneidt se leag\u0103 unsprezece c\u00f3pii dup\u0103 vechi mae\u015ftrii, precum \u015fi cel pu\u0163in o p\u00e2nz\u0103 (pictat\u0103 la 1912, cu tem\u0103 mitologic\u0103).<\/p>\n

Cunoscut\u0103 fiind predilec\u0163ia Regelui pentru subiectele religioase, alegerea p\u00e2nzei ,,Amorul sacru \u015fi amorul profan\u201d, pare \u2013 la prima vedere \u2013 insolit\u0103. Pasionat de pictura vene\u0163ian\u0103, Carol I s-a orientat cu prec\u0103dere c\u0103tre lucr\u0103rile de maturitate ale lui Ti\u0163ian, \u00een special c\u0103tre portretistic\u0103. \u00cens\u0103 frumuse\u0163ea \u015fi misterul capodoperei de tinere\u0163e a artistului se pare c\u0103 au avut c\u00e2\u015ftig de cauz\u0103. Din punct de vedere istoric, \u00een anul 1514, la numai dou\u0103zeci \u015fi cinci de ani, \u00eenc\u0103 discipol al lui Giovanni Bellini (1430-1516), Ti\u0163ian prime\u015fte din partea marelui cancelar al Vene\u0163iei, Niccolo Aurelio una dintre cele mai importante comenzi de p\u00e2n\u0103 atunci. Fascinat de frumuse\u0163ea viitoarei sale so\u0163ii, Niccolo Aurelio \u00ee\u015fi dore\u015fte cu orice chip o uniune matrimonial\u0103 cu t\u00e2n\u0103ra v\u0103duv\u0103, Laura Bagarotto. Destinul Laurei pare \u00eens\u0103 marcat de nefericire: pe l\u00e2ng\u0103 durerea provocat\u0103 de moartea prematur\u0103 a primului s\u0103u so\u0163, se confrunt\u0103 \u015fi cu pierderea iminent\u0103 a tat\u0103lui, acuzat de \u00eenalt\u0103 tr\u0103dare chiar de Aurelio. Dubl\u0103 suferin\u0163\u0103, pe care \u00eenaltul func\u0163ionar \u00eencearc\u0103 s\u0103 o tempereze, prin mijlocirea geniului artistic al lui Ti\u0163ian. Reconcilierea dintre so\u0163i \u2013 at\u00e2t c\u00e2t a fost ea omene\u015fte posibil\u0103 \u2013 s-a realizat, \u015fi \u00een cele din urm\u0103, Laura Bagarotto a r\u0103mas \u00een istorie drept fericita posesoare a uneia dintre cele mai controversate p\u00e2nze realizate vreodat\u0103.<\/p>\n

Pasionat de art\u0103 \u015fi determinat s\u0103 creeze pinacoteca cea mai invidiat\u0103 din Roma, cardinalul Scipione Borghese, nepotul papei Paul al V-lea (1605-1621) achizi\u0163ioneaz\u0103 tabloul prin intermediul cardinalului Pallavicini la 1608, \u015fi \u00eel etaleaz\u0103 \u00een interioarele somptuoase ale Villei Borghese. Timp de trei secole, tabloul a f\u0103cut deliciul aristocra\u0163ilor invita\u0163i la banchetele fastuoase organizate de familie. Acolo poate fi admirat \u015fi ast\u0103zi, al\u0103turi de alte capodopere, precum ,,Danae\u201d a lui Correggio, ,,T\u00e2n\u0103r cu co\u015f cu fructe\u201d, a lui Carravaggio \u015fi ,,Paulina Borghese, sub chipul lui Venus\u201d, a lui Canova. Nici onoranta \u00eenrudire cu familia Bonaparte prin Camillo Borghese, devenit so\u0163ul Paulinei Bonaparte, nu-i \u00eenduplec\u0103 pe Borghese s\u0103 renun\u0163e la valoroasa achizi\u0163ie. \u00cen anul 1807, peste 500 de obiecte de art\u0103 din vasta colec\u0163ie Borghese iau drumul Parisului \u015fi constituie ast\u0103zi exponate pre\u0163ioase la Muzeul Louvre. Spre sf\u00e2r\u015fitul secolului al XIX-lea, celebrii bancheri Rotschild ofer\u0103 mo\u015ftenitorilor Villei Borghese un pre\u0163 astronomic pentru p\u00e2nza lui Ti\u0163ian, pre\u0163 pe care, desigur, Regele Carol I, \u00eenfocat colec\u0163ionar, nu \u015fi l-ar fi permis niciodat\u0103. Descenden\u0163ii Borghese \u00eens\u0103 refuz\u0103 oferta \u015fi r\u0103m\u00e2n fermi \u00een a p\u0103stra ceea ce considerau inestimabil. \u00cen anul 1995, pentru prima oar\u0103, ,,Amorul sacru \u015fi amorul profan\u201d ajunge s\u0103 bucure privirile avide ale consumatorilor de art\u0103, \u00een cadrul unei expozi\u0163ii deschise la Roma.<\/p>\n

De-a lungul a cinci secole, p\u00e2nza \u015fi-a p\u0103strat inalterat misterul de odinioar\u0103, provoc\u00e2nd controverse religioase, literare \u015fi filozofice, cu at\u00e2t mai mult cu c\u00e2t titlul actual este atestat abia la 1793 ! Influen\u0163at de pictura lui Giovanni Bellini \u015fi a lui Giorgione, Ti\u0163ian compune un dublu portret feminin, ipostaze ale aceluia\u015fi personaj, pe care \u00eel plaseaz\u0103 \u00eentr-un \u00eenc\u00e2nt\u0103tor peisaj bucolic, de o parte \u015fi de alta unui sarcofag-f\u00e2nt\u00e2n\u0103, decorat cu stemele reunite ale familiilor Aurelio \u015fi Bagarotto. Omagiu adus Dragostei, p\u00e2nza subliniaz\u0103 dualismul sacru-profan, dar \u015fi fa\u0163etele unei c\u0103s\u0103torii, cu sfera public\u0103, social\u0103, delimitat\u0103 strict de cea privat\u0103, intim\u0103. T\u00e2n\u0103ra femeie din st\u00e2nga, poart\u0103 ve\u015fmintele \u015fi accesoriile specifice mireselor secolului al XVI-lea: rochia ampl\u0103, cununa de mirt, centura, m\u0103nu\u015file \u015fi buchetul de trandafiri, iar cea din dreapta, un simplu drapaj purpuriu peste m\u00e2na st\u00e2ng\u0103 \u015fi un voal str\u0103veziu \u00een jurul coapselor. T\u00e2n\u0103r\u0103 \u015fi frumoas\u0103, femeia se expune privitorului f\u0103r\u0103 pudoare, dar \u015fi f\u0103r\u0103 cochet\u0103rie. Chipul ei splendid, ce anticipeaz\u0103 puritatea neoclasic\u0103, urm\u0103re\u015fte absent ludicul Cupidon \u00eenaripat. Peisajul din fundal, schi\u0163at cu o m\u00e2n\u0103 sigur\u0103, a fost identificat ca fiind Val Lapisina, re\u015fedin\u0163\u0103 temporar\u0103 a pictorului, turnul seme\u0163, San Floriano, iar lacul cu suprafa\u0163a ca oglinda, Lago Morto.<\/p>\n

Tema matrimonial\u0103 se \u00eemplete\u015fte \u00eens\u0103 cu alegoria, fiecare element din recuzita celor dou\u0103 femei fiind atent evaluat: mirtul este simbolul fericirii conjugale, sarcofagul, trimitere la moartea nefericit\u0103 a tat\u0103lui, iar opai\u0163ul din m\u00e2na ridicat\u0103 a femeii seminude, aluzie la credin\u0163\u0103. Din punct de vedere literar, speciali\u015ftii au adus \u00een discu\u0163ie lucrarea lui Francesco Colonna, ,,Il Sogno di Polifilo\u201d, cele dou\u0103 femei fiind identificate cu Polia, t\u0103n\u0103ra \u00eenve\u015fm\u00e2ntat\u0103 \u015fi Venera, t\u00e2n\u0103ra seminud\u0103. De\u015fi jur\u0103 s\u0103 r\u0103m\u00e2n\u0103 cast\u0103, Polia nu-\u015fi poate respecta promisiunea f\u0103cut\u0103 \u015fie\u015fi \u015fi cade \u00een mrejele unui t\u00e2n\u0103r, devenind o asidu\u0103 slujitoare a zei\u0163ei Dragostei. Savurat\u0103 \u00een mediile aristoratice, drama nu-i era str\u0103in\u0103 artistului vene\u0163ian.<\/p>\n

Un alt filon interpretativ este cel filozofic \u015fi porne\u015fte de la doctrina neoplatonismului ficinian, care se bazeaz\u0103 pe teoria complementarit\u0103\u0163ii dintre Venus terestra \u015fi Venus celesta. Figura femeii seminude este explicat\u0103 ca fiind Venus celesta, frumoas\u0103 ca Adev\u0103rul, despre care se spune c\u0103 este gol. Bra\u0163ul ridicat simbolizeaz\u0103 caritatea, cunoa\u015fterea spiritual\u0103, simplitatea \u015fi puritatea. Venus terestra este simbolul maternit\u0103\u0163ii, al for\u0163ei de regenerare a Naturii. \u00cen deplin\u0103 concordan\u0163\u0103 cu simbolistica celor dou\u0103 personaje, peisajul din fundal apare jum\u0103tate \u00eenv\u0103luit \u00een semi\u00eentuneric, jum\u0103tate sc\u0103ldat \u00eentr-o lumin\u0103 divin\u0103. Colorist de mare for\u0163\u0103, Ti\u0163ian confirm\u0103 \u00een ,,Amorul sacru \u015fi amorul profan\u201d c\u0103 valoarea nu a\u015fteapt\u0103 num\u0103rul anilor: cu tu\u015fe fine, sensibile, artistul a creat via\u0163\u0103, str\u0103lucire, frumuse\u0163e. Cu sclipire de geniu, a dozat culoarea \u015fi a produs accente pline de dramatism.<\/p>\n

Lucrarea lui Maximilian von Schneidt din colec\u0163ia Pele\u015fului nu reproduce mecanic originalul, ci \u00eei imprim\u0103 ceva din sensibilitatea secolului al XIX-lea, ca \u015fi din romantismul personalit\u0103\u0163ii sale. Cu ,,Amorul sacru \u015fi amorul profan\u201d, ca \u015fi cu celelalte obiecte de art\u0103 italian\u0103, expozi\u0163ia ,,Armonie \u015fi grandoare\u201d v\u0103 invit\u0103 \u00eentr-o c\u0103l\u0103torie imaginar\u0103 \u00een universul veacurilor de aur ale culturii umaniste europene, poposind pentru o clip\u0103 la sursele ei.<\/p>\n

Macrina Oproiu, muzeograf<\/small><\/h4>\n","protected":false},"excerpt":{"rendered":"

[stag_toggle style=”normal” title=”Detalii despre pies\u0103” state=”closed”],,Amorul sacru \u015fi amorul profan\u201dMaximilian von Schneidt (1858 \u2013 1937)Copie dup\u0103 Ti\u0163ianUlei\/p\u00e2nz\u0103167 cm x 95 cm4\/4 sec. XIX[\/stag_toggle] \u00cen cadrul expozi\u0163iei temporare ,,Armonie \u015fi grandoare\u201d, vizitatorii muzeului pot admira cele mai valoroase obiecte de art\u0103 italian\u0103 din colec\u0163ia regal\u0103: mobilier elaborat sculptat, marchet\u0103rii \u00een marmur\u0103 \u015fi pietre semipre\u0163ioase, lucrate \u00een […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[263,259],"tags":[155],"class_list":["post-8703","post","type-post","status-publish","format-standard","hentry","category-arta-plastica","category-patrimoniu","tag-colectia-de-arta-plasticamaximilian-von-schneidt"],"acf":[],"yoast_head":"\nAmorul Sacru si Amorul Profan · Peles Test<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<script type=\"application\/ld+json\" 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