![]() ![]() I am now looking at this etching on my wall,Īnd for the first time I am struck, despite its amazing perfection, by the degree of its balanced. Therefore I always assigned this etching which I like so much to the series Invenzioni eaprieeiosi di eareeri ("Fantasies on the Theme of Prisons") known in two variants, 17-1765, and not to the earlier series Opere. I am a long-standing admirer of the architectural frenzies of Piranesi's Prisons.īut more of an enthusiast than a connoisseur. Neatly mounted, this property is separated from the canary-yellow walls by its expressive burnt sienna colored coffee stains. 7īut finally in return this and one other etching by Piranesi 85 are now my property. In exchange went one Edelinck, 4 one Hogarth,S one Nanteuil6 and a charming Claude Mellane. ![]() I In his private residence a stuffed bear got along peacefully with a serving dish, terrible carved "Moors" with candlef sticks and pretty objects of very high quality: for example, several etchings by Piranesi. The base of the museum's collection was an extravagant and unsystematic assortment of rare pieces gathered by some merchant who had often traveled abroad. Quite recentlY-Qn1y just now-I was able to acquire it.Īs always-by means both strange and inscrutable. ![]() It is thought to have been created under the influence of the etching "Prison ~madis" of Daniel Marot. It is part of the series Opere varie di Arehitettura,Īnd it is called Careere oseura ("The Dark Prison," fig. I first saw it in the form of a reproduction in a small book (thicker than it was wide) on the history of theater design: Giulio Ferrari, La Seenografia (Milan, 1902) from the library of the former theater of S. It is the object of an aggressive hunt that went on for years. In 1941 the German invader was not permitted to come as far as this line and was detained somewhere without having rolled up to my yellow room above the village of Troitska and the field of "The Battle on the Ice" looking with its windows in the direction of Mozhaisk and Minsk.īetween the windows in the corner is a section of wall. Now the edges of the city have expanded, and the space between suburbs and city has moved far beyond my windows. If a cucumber had dropped inadvertently out of the kitchen window, it might have dropped into. Only recently the contour of the city of Moscow ended just beyond these windows,Īnd the house where I live was the last house inside the boundaries of the city of Moscow. Here, that summer, after transforming the square into the ice-covered surface of Lake Chud, I went on recreating for a month, earlier hordes of invaders of the Russian land, the dog-knights of Alexander Nevsky (fig. I cleared this square of orchard to make the battlefield for "The Battle on the Ice." (This provided the name for the whole region.)Īnother window looks out on an empty field. From here partisans, attacking the French "on the flank," once pursued the army of Napoleon's invaders from Moscow. It is the corner room of my apartment in Potylixa2 and one of its windows looks out on the village of Troitskoe-Golenishchevo. I am sitting in a bright yellow room flooded with sunlight. ![]() 1 (frontispiece) Eisenstein filming Que Viva Mexico (1981) in the Yucatan.Ģ The dog-knights of Eisenstein's Alexander Nevsky, 1988. ![]()
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